{ "title": "Fux counterpoint: aligned Latin and English from the opening dialogue through FINIS", "status": "Opening dialogue restored; edition covers the supplied PDF from printed page 43 through FINIS on page 279.", "source_pdf": "fux-counter.pdf (supplied source; page scans retained here)", "source_sha256": "4a4ba55bf905804f24a95da046d050a98bc1e240033b0baeadbd760f8ce2d2ee", "normalization": [ "Long s normalized to s; original ligatures, spelling, capitalization and legible accents retained.", "Line-end split words joined; paragraphs joined across pages 45/46 and 47/48.", "Running headings, signatures and catchwords recorded separately; catchwords not duplicated in author text.", "Stable pilot IDs retained for reused blocks; English aligned one-to-one by block ID." ], "blocks": [ { "id": "intro-43-h2", "type": "heading", "sources": [ { "pdf_page": 1, "printed_page": 43 } ], "latin": "DIALOGUS.", "english": "DIALOGUE.", "section": "introduction", "lesson": 0, "exercise": 0, "reading_order": 1 }, { "id": "intro-43-1", "type": "paragraph", "sources": [ { "pdf_page": 1, "printed_page": 43 } ], "latin": "Josephus. Te, venerande Magister, accedo, Musicæ Præceptis, ac Institutis imbuendus.", "english": "Josephus. I come to you, revered Master, to be instructed in the precepts and principles of music.", "section": "introduction", "lesson": 0, "exercise": 0, "reading_order": 2 }, { "id": "intro-43-2", "type": "paragraph", "sources": [ { "pdf_page": 1, "printed_page": 43 } ], "latin": "Aloysius. Quid, musicalem Compositionem addiscere cupis?", "english": "Aloysius. What, do you wish to learn musical composition?", "section": "introduction", "lesson": 0, "exercise": 0, "reading_order": 3 }, { "id": "intro-43-3", "type": "paragraph", "sources": [ { "pdf_page": 1, "printed_page": 43 } ], "latin": "Joseph. Ità sanè.", "english": "Joseph. Yes, indeed.", "section": "introduction", "lesson": 0, "exercise": 0, "reading_order": 4 }, { "id": "intro-43-4", "type": "paragraph", "sources": [ { "pdf_page": 1, "printed_page": 43 } ], "latin": "Aloys. An nescis, Musicæ Studium immensum esse mare, neque Nestoris annis terminandum? Verè rem difficilem, onusque Ætnâ gravius suscipere intendis. Etenim si universo in genere vitæ deligendo res est plena difficultatis, utpote de qua electione aut rectè, aut sinistrè susceptâ, totius reliquæ vitæ dependet aut bonæ, aut malæ fortunæ cursus; quantâ præcautionis providentiâ utendum erit ei, qui hujus Disciplinæ viam ingredi cogitat, antequam consilium sumere, & de eo decernere audeat. Musicus enim, & Poëta nascuntur. Retro meminisse te oportet, an à tenera ætate, singulari quodam naturæ impetu impulsum te ad hoc studium senseris, Concentûsque oblectamento vehementer moveri tibi contingat?", "english": "Aloysius. Do you not know that the study of music is an immense sea, which cannot be brought to an end even in the years of Nestor? You truly intend to undertake something difficult, a burden heavier than Etna. If choosing any way of life is full of difficulty, since the good or bad fortune of the whole remaining life depends on whether that choice is made rightly or wrongly, how much careful foresight must someone use who thinks of entering this discipline, before daring to form and settle upon a decision? For musicians and poets are born. You must think back and recall whether, from an early age, you felt yourself drawn to this study by some special impulse of nature, and whether the pleasure of harmonious music moves you deeply.", "section": "introduction", "lesson": 0, "exercise": 0, "reading_order": 5 }, { "id": "intro-43-5", "type": "paragraph", "sources": [ { "pdf_page": 1, "printed_page": 43 }, { "pdf_page": 2, "printed_page": 44 } ], "latin": "Joseph. Vehementissimè quidem. A quo tempore enim necdum bene rationis usus mihi fuerat, nescio, cujus ardoris vehementiâ raptus, omnes meas cogitationes, omnemque curam in Musicam conjiciens, etiamnum mirabili planè ad eam addiscendam cupiditate inflammatus, quasi invitus rapior, dieque, noctuque aures dulci modulamine circumsonare videntur; ità ut de vocationis meæ veritate nullam prorsùs dubitandi causam habere mihi videar. Nec me abstrahit laboris gravitas, quam superare, naturâ adjuvante, non mihi difficile futurum confido. Audivi enim à quodam Sene: Studium, voluptatem esse potiùs, quàm laborem.", "english": "Joseph. Very deeply indeed. Since a time when I did not yet have the full use of reason, I have been carried away by the force of some ardor I cannot explain, directing all my thoughts and all my attention toward music. Even now, aflame with a truly remarkable desire to learn it, I am drawn to it almost against my will, and day and night my ears seem to ring with sweet melody. Thus I seem to have absolutely no reason to doubt the truth of my calling. Nor does the weight of the work turn me away: with nature’s help, I trust that overcoming it will not be difficult for me. For I heard an old man say that study is pleasure rather than toil.", "section": "introduction", "lesson": 0, "exercise": 0, "reading_order": 6 }, { "id": "intro-44-1", "type": "paragraph", "sources": [ { "pdf_page": 2, "printed_page": 44 } ], "latin": "Aloys. Mirabiliter delector, intelligens naturæ tuæ propensionem. Unicam adhuc tibi movebo difficultatem, quâ sublatâ, in numerum meorum te adscribam.", "english": "Aloysius. I am wonderfully pleased to understand your natural inclination. I shall raise just one more difficulty for you; when it has been removed, I shall enroll you among my pupils.", "section": "introduction", "lesson": 0, "exercise": 0, "reading_order": 7 }, { "id": "intro-44-2", "type": "paragraph", "sources": [ { "pdf_page": 2, "printed_page": 44 } ], "latin": "Joseph. Edic liberè, Magister observande. Sed certus sum, neque isto tuo, neque ullo alio motivo me deterritum iri, ut de concepto meo Consilio desistam.", "english": "Joseph. Speak freely, respected Master. But I am certain that neither this reason of yours nor any other will frighten me into abandoning the plan I have formed.", "section": "introduction", "lesson": 0, "exercise": 0, "reading_order": 8 }, { "id": "intro-44-3", "type": "paragraph", "sources": [ { "pdf_page": 2, "printed_page": 44 } ], "latin": "Aloys. Forsan spe futurarum divitiarum, rerumque familiarium copiâ ad amplectendum hujus vitæ statum titillaris? Si ità res se habet, crede mihi, muta consilium. Non enim Plutus, sed Apollo præest Parnasso. Aliâ viâ incedendum est iis, qui divitiarum cupiditate incensi, aditum ad eas reperire volunt.", "english": "Aloysius. Perhaps the hope of future riches and abundant possessions tempts you to embrace this way of life? If that is so, believe me and change your plan. For it is not Plutus but Apollo who presides over Parnassus. Those who burn with a desire for riches and wish to find a way to them must take a different road.", "section": "introduction", "lesson": 0, "exercise": 0, "reading_order": 9 }, { "id": "intro-44-4", "type": "paragraph", "sources": [ { "pdf_page": 2, "printed_page": 44 } ], "latin": "Joseph. Minimè. Vellem tibi persuadeas, alium voti mei scopum non esse, quàm ipsum Musices amorem, abstractum ab omni lucri desiderio. Accedit, quod meminerim, persæpe à Præceptore meo admonitum me, ut mediocri vivendi ratione contenti, virtutis, famæ, nominisque studiosiores esse cuperemus, quàm facultatum, eò quod virtus sui ipsius sit præmium.", "english": "Joseph. Not at all. I would have you be convinced that my wish has no other aim than the love of music itself, apart from every desire for profit. Moreover, I remember that my teacher very often advised me that, content with a modest way of life, we should strive more for virtue, reputation, and a good name than for wealth, because virtue is its own reward.", "section": "introduction", "lesson": 0, "exercise": 0, "reading_order": 10 }, { "id": "intro-44-5", "type": "paragraph", "sources": [ { "pdf_page": 2, "printed_page": 44 } ], "latin": "Aloys. Incredibiliter lætor, reperisse me juvenem meo genio accommodatum; sed notane tibi sunt ea omnia, quæ de Intervallis, Consonantiarum Dissonantiarumque divisione, de Motuum varietate, & de quatuor Regulis Libro præcedenti dicta sunt.", "english": "Aloysius. I am incredibly glad to have found a young man suited to my temperament. But do you know everything said in the preceding book about intervals, the division of consonances and dissonances, the different kinds of motion, and the four rules?", "section": "introduction", "lesson": 0, "exercise": 0, "reading_order": 11 }, { "id": "intro-44-6", "type": "paragraph", "sources": [ { "pdf_page": 2, "printed_page": 44 } ], "latin": "Joseph. Nil illorum, quantum quidem credo, me latere existimo.", "english": "Joseph. As far as I believe, I think that none of those things is unknown to me.", "section": "introduction", "lesson": 0, "exercise": 0, "reading_order": 12 }, { "id": "intro-44-7", "type": "paragraph", "sources": [ { "pdf_page": 2, "printed_page": 44 } ], "latin": "Aloys. Ergo ad opus pergamus, exordium sumendo ab ipso Deo ter maximo, omnium Scientiarum fonte.", "english": "Aloysius. Then let us proceed to the work, taking our beginning from God himself, thrice greatest, the source of all knowledge.", "section": "introduction", "lesson": 0, "exercise": 0, "reading_order": 13 }, { "id": "intro-44-8", "type": "paragraph", "sources": [ { "pdf_page": 2, "printed_page": 44 } ], "latin": "Joseph. Antequam initium Lectionum ineamus, liceat mihi, venerande Magister, primò interrogare, quid nomine Contrapuncti intelligendum sit, quod vocabulum adeò commune non solùm in ore peritorum, verùm etiam Musicæ Artis expertium tam frequenter versari audio?", "english": "Joseph. Before we begin the lessons, allow me, revered Master, first to ask what is meant by the name counterpoint. I hear this very common word used so frequently, not only by experts but even by people unfamiliar with the art of music.", "section": "introduction", "lesson": 0, "exercise": 0, "reading_order": 14 }, { "id": "intro-44-9", "type": "paragraph", "sources": [ { "pdf_page": 2, "printed_page": 44 }, { "pdf_page": 3, "printed_page": 45 } ], "latin": "Aloys. Rectè interrogas. Hoc enim erit nostri Studii, nostrique laboris princeps objectum. Scire oportet, loco Notularum modernarum, antiquis temporibus puncta adhibita fuisse, ità ut Compositio punctis contra puncta positis Contrapunctum appellari consueverit; quod etiamnum hodie non obstantibus aliarum Notularum figuris, usuvenit; & nomine Contrapuncti Compositio intelligitur ad Artis Regulas elaborata. Complures Contrapunctum tanquam Genus continet Species, quas successivè videbimus. Interim fiat principium à Specie simplicissima, nempe:", "english": "Aloysius. You are right to ask, for this will be the chief object of our study and work. You should know that in ancient times points were used in place of modern note shapes. Thus composition made by placing points against points came to be called counterpoint. That name is still used today, despite the different shapes of the notes, and by counterpoint is understood a composition worked out according to the rules of the art. Counterpoint, as a genus, contains several species, which we shall examine in succession. Meanwhile, let us begin with the simplest species, namely:", "section": "introduction", "lesson": 0, "exercise": 0, "reading_order": 15 }, { "id": "45-h1", "type": "heading", "latin": "EXERCITII I.", "english": "EXERCISE I.", "sources": [ { "pdf_page": 3, "printed_page": 45 } ], "reused_from": "pilot.json#45-h1", "reading_order": 16, "lesson": 1, "exercise": 1 }, { "id": "45-h2", "type": "heading", "latin": "LECTIO PRIMA,", "english": "FIRST LESSON,", "sources": [ { "pdf_page": 3, "printed_page": 45 } ], "reused_from": "pilot.json#45-h2", "reading_order": 17, "lesson": 1, "exercise": 1 }, { "id": "45-h3", "type": "heading", "latin": "De Nota contra Notam.", "english": "On Note against Note.", "sources": [ { "pdf_page": 3, "printed_page": 45 } ], "reused_from": "pilot.json#45-h3", "reading_order": 18, "lesson": 1, "exercise": 1 }, { "id": "45-2", "type": "paragraph", "latin": "Joseph. Bonitate tuâ satisfactum est primæ Quæstioni meæ. Nunc docere ne graveris, quid sit prima ista Species Contrapuncti, Nota contra Notam.", "english": "Joseph. Through your kindness, my first question has been answered. Now please explain what this first species of counterpoint, note against note, is.", "sources": [ { "pdf_page": 3, "printed_page": 45 } ], "reused_from": "pilot.json#45-2", "reading_order": 19, "lesson": 1, "exercise": 1 }, { "id": "45-3", "type": "paragraph", "latin": "Aloys. Dicam. Est duarum, vel plurium vocum, Notarumque valore æqualium simplicissima Compositio, meris Consonantiis constans. Nec interest, cujus qualitatis Notæ, modò omnes sint ejusdem valoris. Quia tamen Nota semibrevis commodiorem intelligendi præbet viam, eâ in his Exercitationibus nobis utendum esse, consultum existimavi. Fiat ergo principium, Auspice Deo, à Compositione duarum vocum, ponendo quendam Cantum firmum, vel à proprio judicio inventum, vel ex aliquo Libro Chorali assumptum pro fundamento. E. G.", "english": "Aloysius. I shall explain. It is the simplest composition for two or more voices, with notes of equal value, consisting entirely of consonances. It does not matter what kind of notes they are, provided that all have the same value. Since, however, the semibreve offers an easier way of understanding, I have thought it advisable for us to use it in these exercises. Let us therefore begin, with God’s aid, with composition for two voices, setting as the foundation a cantus firmus either devised by one’s own judgment or taken from some chant book. For example:", "sources": [ { "pdf_page": 3, "printed_page": 45 } ], "reused_from": "pilot.json#45-3", "reading_order": 20, "lesson": 1, "exercise": 1 }, { "id": "45-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 3, "printed_page": 45 } ], "reused_from": "pilot.json#45-a", "asset_refs": [ "45-a" ], "playback_status": "ready", "reading_order": 21, "lesson": 1, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "45-a" ] }, { "id": "45-4", "type": "paragraph", "latin": "Cuilibet harum Notarum superiùs in Cantu detur sua particularis consonantia, observatâ motuum, regularumque ratione, in fine præcedentis Libri expressâ, adhibendo ut plurimùm, motum contrarium, vel obliquum, quorum usu non facile in errorem incidere possumus. Majori præcautione opus erit in progressione de una Nota ad alteram per motum rectum, ubi, quia majus errandi periculum, major etiam ad Regulas attentio adhibenda est.", "english": "Above each of these notes, let its particular consonance be supplied in the melody, observing the principles of motion and the rules set out at the end of the preceding book. Use contrary or oblique motion for the most part, since by using them we cannot easily fall into error. Greater caution will be needed in proceeding from one note to another by similar motion; because the danger of error is greater there, greater attention must also be paid to the rules.", "sources": [ { "pdf_page": 3, "printed_page": 45 } ], "reused_from": "pilot.json#45-4", "reading_order": 22, "lesson": 1, "exercise": 1 }, { "id": "45-5", "type": "paragraph", "latin": "Joseph. Ex notitiâ, regularumque perspicientiâ, omnia, quæ modò dixisti, mihi nota esse videntur: verùm memini, te distinctionem fecisse, Consonantiarum quasdam esse perfectas, quasdam imperfectas, scire, ut mihi videtur, necesse est, an etiam in iis adhibendis quædam differentia sit facienda?", "english": "Joseph. From my knowledge and understanding of the rules, everything you have just said seems familiar to me. But I remember that you made a distinction: some consonances are perfect, others imperfect. It seems to me necessary to know whether some distinction must also be made in using them.", "sources": [ { "pdf_page": 3, "printed_page": 45 }, { "pdf_page": 4, "printed_page": 46, "region": "opening continuation" } ], "reused_from": "pilot.json#45-5", "reading_order": 23, "lesson": 1, "exercise": 1 }, { "id": "46-1", "type": "paragraph", "latin": "Aloys. Patientiam habe, omnia dicam. Magnam esse quidem disparitatem inter Consonantias perfectas, & imperfectas, quod alibi dicemus; hoc loco autem præter motûs rationem, & quod plures imperfectæ, quàm perfectæ adhibendæ sunt, planè æqualis earum usus est: excepto principio, & fine, quorum utrumque Consonantiâ perfectâ constare debet.", "english": "Aloysius. Be patient; I shall explain everything. There is indeed a great difference between perfect and imperfect consonances, as we shall discuss elsewhere. Here, however, apart from the manner of motion and the requirement to use more imperfect consonances than perfect ones, their use is quite equal, except at the beginning and the end, each of which must consist of a perfect consonance.", "sources": [ { "pdf_page": 4, "printed_page": 46 } ], "reading_order": 24, "lesson": 1, "exercise": 1 }, { "id": "46-2", "type": "paragraph", "latin": "Joseph. Non displiceat tibi care Magister, explanare rationes, cur plures Consonantiæ imperfectæ, quàm perfectæ hoc loco ponendæ sint, & cur principium, & finis Consonantiâ perfectâ constare debeant?", "english": "Joseph. Dear Master, please explain the reasons why more imperfect consonances than perfect ones should be placed here, and why the beginning and the end must consist of a perfect consonance.", "sources": [ { "pdf_page": 4, "printed_page": 46 } ], "reading_order": 25, "lesson": 1, "exercise": 1 }, { "id": "46-3", "type": "paragraph", "latin": "Aloys. Tuâ aviditate, quam tamen laudo, fit, ut vix non quædam mihi præposterè dicenda sint. Dicam tamen, sed non totum, ne intellectus principio tot rerum varietate obrutus confundatur. Scito ergo. Consonantias imperfectas, perfectis magis harmonicas esse, ob rationem alibi dicendam. Quapropter, si hujus Speciei, & duarum tantùm partium, & aliàs simplicissima Compositio perfectis Consonantiis impleretur, inanem, & omni harmoniâ vacantem existere, necesse foret. Quod attinet ad principium, & finem, cape hanc rationem. Principium perfectionis, & finis requietis index est. Cùm autem Consonantiæ imperfectæ, & perfectionis expertes sint, & finem concludere non possint, ideo principium, & finis Consonantiis perfectis constare debent. Postremò notandum est, quod si Cantus firmus in parte inferiori reperiatur, penultimæ Notæ Sexta major; si in superiore, Tertia minor danda sit.", "english": "Aloysius. Your eagerness, which I nevertheless commend, makes it almost necessary for me to explain certain things out of their proper order. I shall explain, however, though not everything, lest your understanding become confused at the outset, overwhelmed by so many different matters. Know, then, that imperfect consonances are more harmonious than perfect ones, for a reason to be given elsewhere. Consequently, if a composition in this species, for only two parts and already extremely simple, were filled with perfect consonances, it would necessarily be empty and devoid of all harmony. As for the beginning and the end, take this explanation: the beginning is a sign of perfection, and the end of repose. Since imperfect consonances both lack perfection and cannot bring the ending to a close, the beginning and the end must therefore consist of perfect consonances. Finally, note that if the cantus firmus is in the lower part, a major sixth must be given to its penultimate note; if it is in the upper part, a minor third.", "sources": [ { "pdf_page": 4, "printed_page": 46 } ], "reading_order": 26, "lesson": 1, "exercise": 1 }, { "id": "46-4", "type": "paragraph", "latin": "Joseph. Suntne ista omnia, quæ ad speciem hujus Contrapuncti requiruntur?", "english": "Joseph. Is that everything required for this species of counterpoint?", "sources": [ { "pdf_page": 4, "printed_page": 46 } ], "reading_order": 27, "lesson": 1, "exercise": 1 }, { "id": "46-5", "type": "paragraph", "latin": "Aloys. Non omnia quidem, sed quæ sufficiunt ad fundamenta jacienda. Cætera ex correctione patebunt. Ad opus ergo te accingas, & posito Cantu firmo pro fundamento, Contrapunctum in clave Cantûs, dictâ hucusque ratione superædificare tenta.", "english": "Aloysius. Not everything, certainly, but enough to lay the foundations. The rest will become clear through correction. Set yourself to work, then, and, with the cantus firmus placed as the foundation, try to build counterpoint above it in the soprano clef, in the manner explained thus far.", "sources": [ { "pdf_page": 4, "printed_page": 46 } ], "reading_order": 28, "lesson": 1, "exercise": 1 }, { "id": "46-6", "type": "paragraph", "latin": "Joseph. Faciam, ut possum.", "english": "Joseph. I shall do what I can.", "sources": [ { "pdf_page": 4, "printed_page": 46 } ], "reading_order": 29, "lesson": 1, "exercise": 1 }, { "id": "47-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 5, "printed_page": 47 } ], "asset_refs": [ "47-a" ], "playback_status": "ready", "labels": [ { "latin": "Contra-punctum.", "english": "Counterpoint." }, { "latin": "Cantus firmus.", "english": "Cantus firmus." } ], "annotation_note": "The crop retains note numbers 1–11, the interval figures, clefs, and all original notation.", "reading_order": 30, "lesson": 1, "exercise": 1, "music_asset_refs": [ "47-a" ] }, { "id": "47-1", "type": "paragraph", "latin": "Aloys. Rem acu tetigisti. Miror, & perspicacitatem, & attentionem tuam: sed quem in finem numeros apposuisti, & super Cantum, & super Altum?", "english": "Aloysius. You have hit the mark exactly. I admire both your insight and your attentiveness. But for what purpose have you placed numbers both above the soprano and above the alto?", "sources": [ { "pdf_page": 5, "printed_page": 47 } ], "reading_order": 31, "lesson": 1, "exercise": 1 }, { "id": "47-2", "type": "paragraph", "latin": "Joseph. Numeris super Altum positis Consonantias, quas adhibui, designare volui, ut habitis ante oculos de una Consonantia ad alteram motibus minùs a recta progrediendi ratione deflecterem. Positi autem super Cantum. E. G. 1. 2. 3. 4. 5. 6. 7. &c. nil aliud indicant, quàm Notarum numerationem, ut tibi, venerande Magister, monstrarem, si rem tetigi, non casu, sed ratione id accidisse. Jussisti principium fieri à Consonantia perfecta, quod feci, positâ Quintâ. De prima Nota ad secundam, id est: de Quinta ad Tertiam, sive de perfecta ad imperfectam progressus sum motu obliquo, licèt id fieri posset per omnes tres motus. De secunda nota ad tertiam, nempe de Tertia ad Tertiam, sive de imperfecta ad imperfectam adhibui motum rectum, secundùm Regulam, quæ dicit: de imperfecta ad imperfectam per omnes tres motus. De tertia Nota ad quartam, sive de Tertia imperfecta Consonantia ad Quintam perfectam, incessi per motum contrarium, juxta regulam dicentem: de imperfecta ad perfectam per motum contrarium. De quarta Nota ad quintam, seu de perfecta ad imperfectam progressus sum regulâ permittente per motum rectum. De quinta ad sextam Notam, id est de imperfecta ad perfectam, regulâ ita jubente adhibui motum contrarium. De sexta Nota ad septimam itum est per motum obliquum nulli errori subjectum. De Septima ad Octavam, sive de imperfecta ad imperfectam, ut regula permittit, motu recto perrexi. De octava Nota ad nonam, utpote de imperfecta ad imperfectam, motu quocunque. De nona ad decimam Notam eadem rectitudinis est ratio, ubi decima Nota, id est penultima, ut jussisti, sextam majorem efficit, quia Cantus firmus in inferiori est parte. De decima Nota ad undecimam viam tenui secundùm regulam, quæ præcipit, ut, si quis de imperfecta ad perfectam pergere velit, id motu contrario fiat. Undecima Nota, utpote finalis, sicut præcepisti, perfectâ Consonantiâ est.", "english": "Joseph. With the numbers placed above the alto I wished to identify the consonances I used, so that, keeping before my eyes the motions from one consonance to another, I would stray less from the correct manner of proceeding. Those placed above the soprano—for example, 1, 2, 3, 4, 5, 6, 7, and so on—indicate only the numbering of the notes, so that I could show you, revered Master, that if I hit the mark, it happened through reason and not by chance. You instructed me to begin with a perfect consonance, which I did by placing a fifth. From the first note to the second, that is, from a fifth to a third, or from a perfect to an imperfect consonance, I proceeded by oblique motion, although it could have been done by any of the three motions. From the second note to the third, namely from a third to a third, or from an imperfect to an imperfect consonance, I used similar motion, according to the rule which says: from an imperfect to an imperfect consonance by any of the three motions. From the third note to the fourth, or from the third, an imperfect consonance, to the fifth, a perfect one, I proceeded by contrary motion, according to the rule which says: from an imperfect to a perfect consonance by contrary motion. From the fourth note to the fifth, or from a perfect to an imperfect consonance, I proceeded by similar motion, as the rule permits. From the fifth to the sixth note, that is, from an imperfect to a perfect consonance, I used contrary motion, as the rule commands. From the sixth note to the seventh I went by oblique motion, which is not liable to error. From the seventh to the eighth, or from an imperfect to an imperfect consonance, I continued by similar motion, as the rule permits. From the eighth note to the ninth, being from an imperfect to an imperfect consonance, any motion is possible. From the ninth to the tenth note the same principle of correctness applies; here the tenth note, that is, the penultimate one, forms a major sixth, as you instructed, because the cantus firmus is in the lower part. From the tenth note to the eleventh I followed the rule which prescribes that, if one wishes to proceed from an imperfect to a perfect consonance, it should be done by contrary motion. The eleventh note, being the final one, has a perfect consonance, as you instructed.", "sources": [ { "pdf_page": 5, "printed_page": 47 }, { "pdf_page": 6, "printed_page": 48, "region": "opening paragraph continuation only; ends “perfectâ Consonantiâ est.”" } ], "reading_order": 32, "lesson": 1, "exercise": 1 }, { "id": "48-1", "type": "paragraph", "latin": "Aloys. Optimum in hac re ratiocinatorem egisti. Quapropter te sperare jubeo; si triplices illos motus, differentesque quatuor regulas ità memoriæ infixas habueris, ut etiam levi ad eas reflexione factâ, non aberrare tibi contingat, facilem jam ad ulteriores progressus viam tibi stratam esse. Jam perge, relicto Cantu firmo, ut est in Alto, infra pone Tenorem pro parte Contrapuncti, eâ tamen differentiâ, ut sicut priori in exemplo Consonantiarum rationem de Cantu firmo ascendendo dimensus es, ita nunc eam de ipso Cantu firmo descendendo ad fundamentum dimetiaris.", "english": "Aloysius. You have reasoned excellently in this matter. I therefore bid you hope that, if you have fixed those three motions and the four distinct rules so firmly in your memory that even a slight reflection on them keeps you from going astray, an easy path to further progress has now been laid for you. Now proceed: leaving the cantus firmus as it is in the alto, place a tenor below it as the counterpoint part, with this difference, however: just as in the preceding example you measured the consonances upward from the cantus firmus, now measure them downward from that same cantus firmus to the foundation.", "sources": [ { "pdf_page": 6, "printed_page": 48 } ], "reading_order": 33, "lesson": 1, "exercise": 1 }, { "id": "48-2", "type": "paragraph", "latin": "Joseph. Hoc difficiliùs factu mihi videtur.", "english": "Joseph. This seems harder for me to do.", "sources": [ { "pdf_page": 6, "printed_page": 48 } ], "reading_order": 34, "lesson": 1, "exercise": 1 }, { "id": "48-3", "type": "paragraph", "latin": "Aloys. Apparet. Quam difficultatem aliis etiam in Scholaribus me observâsse recordor: sed non tanti est, si, ut dixi, animadverteris rationem Consonantiarum, de Cantu firmo ad fundamentum numerando, inquirendam esse.", "english": "Aloysius. So it appears. I recall observing this difficulty in other pupils too. But it is not so great if, as I said, you attend to the fact that the consonances must be determined by counting from the cantus firmus down to the foundation.", "sources": [ { "pdf_page": 6, "printed_page": 48 } ], "reading_order": 35, "lesson": 1, "exercise": 1 }, { "id": "48-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 6, "printed_page": 48 } ], "asset_refs": [ "48-a" ], "playback_status": "ready", "labels": [ { "latin": "Cantus firmus.", "english": "Cantus firmus." }, { "latin": "Contra-punctum.", "english": "Counterpoint." } ], "annotation_note": "Retains the original wrong notes, corrections, interval figures, numbering 1–11, and accidental signs.", "reading_order": 36, "lesson": 1, "exercise": 1, "music_asset_refs": [ "48-a" ] }, { "id": "48-4", "type": "paragraph", "latin": "Joseph. Quare, Magister venerande, primam, & secundam Notam signo erroris notâsti? Nonne in Quinta, Consonantiâ perfectâ incepi? de illa quidem in secundam Notam, nempe Tertiam, motu recto perrexi, sed regulâ permittente, quæ dicit: de perfecta ad imperfectam, motu quocunque; libera me, te quæso, confestim hoc meo, quo premor angore, totus namque erubesco.", "english": "Joseph. Why, revered Master, have you marked the first and second notes with the sign of an error? Did I not begin with a fifth, a perfect consonance? From it I indeed proceeded to the second note, namely a third, by similar motion, but as permitted by the rule which says: from a perfect to an imperfect consonance by any motion. Free me at once, I beg you, from this distress of mine that weighs upon me, for I am blushing all over.", "sources": [ { "pdf_page": 6, "printed_page": 48 } ], "reading_order": 37, "lesson": 1, "exercise": 1 }, { "id": "48-5", "type": "paragraph", "latin": "Aloys. Mitte angorem care fili; primus enim error non tuâ culpâ accidit, quia nondum Præceptum habuisti, quod Contrapunctum eidem tono, quo Cantus firmus est, sit accommodandum, quod tibi modò dictum volo. Cùm enim præcedentis exempli Cantus firmus existentiam suam habeat in D, la, sol, re; ut principium, & finis monstrat, tu autem in G, sol, re, ut, inceperis, extra tonum te initium duxisse, clarum est; ideo in correctione loco Quintæ Octavam posui, quæ est cum cantu firmo ejusdem toni.", "english": "Aloysius. Put aside your distress, dear son. The first error did not occur through your fault, for you had not yet been given the precept that the counterpoint must be fitted to the same mode as the cantus firmus, which I now wish to make known to you. Since the cantus firmus of the preceding example is in D, la, sol, re, as its beginning and end show, whereas you began in G, sol, re, ut, it is clear that you made your beginning outside the mode. Therefore, in the correction I placed an octave instead of the fifth; it is in the same mode as the cantus firmus.", "sources": [ { "pdf_page": 6, "printed_page": 48 }, { "pdf_page": 7, "printed_page": 49 } ], "reading_order": 38, "lesson": 1, "exercise": 1 }, { "id": "49-1", "type": "paragraph", "latin": "Joseph. Gaudeo, hunc errorem, quem jam memoriâ teneo, inscitiâ, non incuriâ meâ accidisse; sed quæ ratio est secundi erroris in secunda Nota signati?", "english": "Joseph. I am glad that this error, which I now keep in mind, arose from my ignorance rather than my carelessness. But what is the reason for the second error marked at the second note?", "sources": [ { "pdf_page": 7, "printed_page": 49 } ], "reading_order": 39, "lesson": 1, "exercise": 1 }, { "id": "49-2", "type": "paragraph", "latin": "Aloys. Non est error secundæ Notæ respectu primæ, sed secundæ Notæ respectu tertiæ: progressus enim es de Tertia ad Quintam motu recto, contra regulam, quæ dicit: de imperfecta ad perfectam, per motum contrarium; qui error facilis est correctionis, Notâ secundâ per motum obliquum in D, la, sol, re, inferiùs permanente, & Decimam efficiente, quo casu de secunda Nota ad tertiam, nempe de Decima ad Quintam, sive de imperfecta ad perfectam, ut regula præcipit, per motum contrarium progredi contingit. Nec te affligi volo parvum ob hunc errorem; vix enim possibile est incipienti, tantæ esse attentionis, ut nullum prorsùs in errorem incidat. Usus est rerum magister. Interim contentum esse te jubeo, quod reliquum rectè feceris; maximè, quod penultimæ Notæ, Cantu firmo in parte superiori existente, ut paulò antè monui, Tertiam minorem dederis.", "english": "Aloysius. The error is not in the second note in relation to the first, but in the second note in relation to the third: you proceeded from a third to a fifth by similar motion, contrary to the rule which says: from an imperfect to a perfect consonance by contrary motion. This error is easily corrected by having the second note remain below on D, la, sol, re by oblique motion, forming a tenth. In that case, the progression from the second note to the third, namely from a tenth to a fifth, or from an imperfect to a perfect consonance, takes place by contrary motion, as the rule prescribes. Nor do I wish you to be distressed over this small error; it is scarcely possible for a beginner to be so attentive as to fall into no error at all. Practice is the teacher of things. Meanwhile, I bid you be content that you have done the rest correctly, especially that, with the cantus firmus in the upper part, you gave the penultimate note a minor third, as I advised a little earlier.", "sources": [ { "pdf_page": 7, "printed_page": 49 } ], "reading_order": 40, "lesson": 1, "exercise": 1 }, { "id": "49-3", "type": "paragraph", "latin": "Joseph. Ut deinceps majori attentione huic regulæ incumbam, eamque firmiùs memoriæ mandem, non displiceat tibi rationem explanare, cur ab imperfecta Consonantia in perfectam ire, per motum rectum non liceat? non enim videtur res tanti momenti.", "english": "Joseph. So that henceforth I may attend to this rule more carefully and commit it more firmly to memory, please explain why it is not permitted to go from an imperfect consonance to a perfect one by similar motion. It does not seem a matter of such importance.", "sources": [ { "pdf_page": 7, "printed_page": 49 } ], "reading_order": 41, "lesson": 1, "exercise": 1 }, { "id": "49-4", "type": "paragraph", "latin": "Aloys. Dicam. Quia eo casu duæ Quintæ continenter se sequuntur, quarum una expressa, seu aperta est, altera verò cooperta, seu abscondita est, quam ultimam per diminutionem palàm fieri, nunc monstrabo in exemplo.", "english": "Aloysius. I shall explain. Because in that case two fifths follow one another in succession, one of which is expressed, or open, while the other is covered, or hidden. I shall now show in an example how the latter becomes manifest through diminution.", "sources": [ { "pdf_page": 7, "printed_page": 49 } ], "reading_order": 42, "lesson": 1, "exercise": 1 }, { "id": "49-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 7, "printed_page": 49 } ], "asset_refs": [ "49-a" ], "playback_status": "ready", "labels": [ { "latin": "Diminutio.", "english": "Diminution." } ], "annotation_note": "The combined crop preserves both the initial interval example and its diminished version, caption, and interval figures.", "reading_order": 43, "lesson": 1, "exercise": 1, "music_asset_refs": [ "49-a" ] }, { "id": "49-5", "type": "paragraph", "latin": "Quæ diminutionem faciendi facultas perito Cantori adimi non potest, maximè voce solâ cantanti; quod idem intelligendum est de progressu Octavæ ad Quintam per motum rectum, quo casu ob eandem rationem duas Quintas immediatè se sequi contingeret, ut sequens exemplum monstrat.", "english": "This freedom to make a diminution cannot be taken away from a skilled singer, especially one singing alone. The same must be understood of the progression from an octave to a fifth by similar motion, in which case, for the same reason, two fifths would follow one another immediately, as the following example shows.", "sources": [ { "pdf_page": 7, "printed_page": 49 }, { "pdf_page": 8, "printed_page": 50, "region": "first two body lines; joined from page 49" } ], "reading_order": 44, "lesson": 1, "exercise": 1 }, { "id": "50-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 8, "printed_page": 50 } ], "asset_refs": [ "50-a" ], "playback_status": "ready", "annotation_note": "Two staff examples retain the diminution notes and interval figures 8 and 5, exposing consecutive fifths.", "reading_order": 45, "lesson": 1, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "50-a" ] }, { "id": "50-1", "type": "paragraph", "latin": "Vides ergo, quomodo diminuendo Quintæ saltum, duæ Quintæ, quarum una antè per diminutionem abscondita erat, patefiant. Ex quo colligi potest, à Legislatoribus cujuscunque Facultatis nihil frustrà, nihil, quod ratione non fundatum sit, institutum fuisse.", "english": "You see, then, how, by filling in the leap of a fifth through diminution, two fifths become apparent, one of which had previously been hidden in the diminution. From this it can be inferred that the lawgivers of any discipline have established nothing in vain, nothing that is not founded on reason.", "sources": [ { "pdf_page": 8, "printed_page": 50 } ], "reading_order": 46, "lesson": 1, "exercise": 1 }, { "id": "50-2", "type": "paragraph", "latin": "Joseph. Video, & miror.", "english": "Joseph. I see, and I marvel.", "sources": [ { "pdf_page": 8, "printed_page": 50 } ], "reading_order": 47, "lesson": 1, "exercise": 1 }, { "id": "50-3", "type": "paragraph", "latin": "Aloys. Nunc perge, & eandem lectionem faciendo, percurre omnes tonos intrà hanc Octavam contentos, & naturali ordine gradatim sequentes. In D. incepisti; sequuntur modò: E. F. G. A. C.", "english": "Aloysius. Now proceed, and, working through the same lesson, go through all the modes contained within this octave, following step by step in their natural order. You began on D; next come E, F, G, A, C.", "sources": [ { "pdf_page": 8, "printed_page": 50 } ], "reading_order": 48, "lesson": 1, "exercise": 1 }, { "id": "50-4", "type": "paragraph", "latin": "Joseph. Quare B. omisisti, situm inter A. & C.?", "english": "Joseph. Why did you omit B, which lies between A and C?", "sources": [ { "pdf_page": 8, "printed_page": 50 } ], "reading_order": 49, "lesson": 1, "exercise": 1 }, { "id": "50-5", "type": "paragraph", "latin": "Aloys. Quia quintam Consonantiam non habet, nec adeò tonum constituere potest, ut suo loco fusiùs dicemus; videamus exemplum.", "english": "Aloysius. Because it does not have the consonance of a fifth, and therefore cannot constitute a mode, as we shall explain more fully in its proper place. Let us look at an example.", "sources": [ { "pdf_page": 8, "printed_page": 50 } ], "reading_order": 50, "lesson": 1, "exercise": 1 }, { "id": "50-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 8, "printed_page": 50 } ], "asset_refs": [ "50-b" ], "playback_status": "ready", "annotation_note": "Original isolated interval illustrating the false fifth.", "reading_order": 51, "lesson": 1, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "50-b" ] }, { "id": "50-6", "type": "paragraph", "latin": "Quæ utpote duobus tantùm tonis, & tot semitoniis constans, Quinta falsa, & dissonans est; cùm Quinta vera, sive consonans constare debeat tribus tonis, & semitonio, ut Libro primo dictum est.", "english": "Since it consists of only two whole tones and as many semitones, this is a false and dissonant fifth; whereas a true, or consonant, fifth must consist of three whole tones and a semitone, as was stated in Book One.", "sources": [ { "pdf_page": 8, "printed_page": 50 } ], "reading_order": 52, "lesson": 1, "exercise": 1 }, { "id": "50-7", "type": "paragraph", "latin": "Joseph. Non potest ex ista Quinta falsa effici Quinta consonans, adjungendo vel Notæ inferiori ♭, vel superiori Diesin ♯, ut in hoc exemplo?", "english": "Joseph. Can this false fifth not be made into a consonant fifth by adding either a flat to the lower note or a sharp to the upper one, as in this example?", "sources": [ { "pdf_page": 8, "printed_page": 50 } ], "asset_refs": [ "50-signs" ], "reading_order": 53, "lesson": 1, "exercise": 1, "music_asset_refs": [ "50-signs" ], "playback_status": "playback not yet available" }, { "id": "50-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 8, "printed_page": 50 } ], "asset_refs": [ "50-c" ], "playback_status": "ready", "annotation_note": "Original alternatives with accidental signs; historical sharp glyph retained unchanged in crop.", "reading_order": 54, "lesson": 1, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "50-c" ] }, { "id": "50-8", "type": "paragraph", "latin": "Aloys. Potest, sed hoc casu, utpote Quintâ hâc extra genus Diatonicum existente, non ampliùs tonus naturalis, de quibus solùm nunc tractandum est, sed tonus transpositus esset, de quibus suo loco.", "english": "Aloysius. It can, but in this case, since this fifth lies outside the diatonic genus, it would no longer be a natural mode—the only modes to be treated now—but a transposed mode; these will be discussed in their proper place.", "sources": [ { "pdf_page": 8, "printed_page": 50 }, { "pdf_page": 9, "printed_page": 51, "region": "opening paragraph continuation" } ], "reading_order": 55, "lesson": 1, "exercise": 1 }, { "id": "51-1", "type": "paragraph", "latin": "Joseph. Estne quædam disparitas inter hos tonos?", "english": "Joseph. Is there some difference between these modes?", "sources": [ { "pdf_page": 9, "printed_page": 51 } ], "reading_order": 56, "lesson": 1, "exercise": 1 }, { "id": "51-2", "type": "paragraph", "latin": "Aloys. Est vel maximè. Etenim propter varium situm semitoniorum cujusvis Octavæ dispar etiam oritur modulandi ratio, sed quæ nunc ad te non attinet. Age ergo, tuumque exercitium resumendo, construito Contrapunctum super Cantum firmum, quem tibi modò in E. præscripturus sum.", "english": "Aloysius. A very great difference indeed. For the varying position of the semitones in each octave also gives rise to a different manner of melodic composition, but that does not concern you now. Come, then, resume your exercise and construct counterpoint above the cantus firmus which I am now about to prescribe for you on E.", "sources": [ { "pdf_page": 9, "printed_page": 51 } ], "reading_order": 57, "lesson": 1, "exercise": 1 }, { "id": "51-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 9, "printed_page": 51 } ], "asset_refs": [ "51-a" ], "playback_status": "ready", "labels": [ { "latin": "Contra-punctum.", "english": "Counterpoint." }, { "latin": "Cantus firmus.", "english": "Cantus firmus." } ], "annotation_note": "Both parts and the complete interval-figure row are retained.", "reading_order": 58, "lesson": 1, "exercise": 1, "music_asset_refs": [ "51-a" ] }, { "id": "51-3", "type": "paragraph", "latin": "Ad amussim fecisti. Nunc posito Cantu firmo in parte superiori, infrà in Tenore confice Contrapunctum.", "english": "You have done it exactly right. Now, with the cantus firmus placed in the upper part, compose the counterpoint below in the tenor.", "sources": [ { "pdf_page": 9, "printed_page": 51 } ], "reading_order": 59, "lesson": 1, "exercise": 1 }, { "id": "51-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 9, "printed_page": 51 } ], "asset_refs": [ "51-b" ], "playback_status": "ready", "labels": [ { "latin": "Cantus firmus.", "english": "Cantus firmus." }, { "latin": "Contra-punctum.", "english": "Counterpoint." } ], "annotation_note": "Retains both parts, interval figures, note numbers 1–10, the curved analytical mark joining notes 6 and 7, the cross above it, and the original correction at note 7.", "reading_order": 60, "lesson": 1, "exercise": 1, "music_asset_refs": [ "51-b" ] }, { "id": "51-4", "type": "paragraph", "latin": "Joseph. Ergo denuò in errorem incidi? Si hoc in Bicinio, inque Specie simplicissimâ mihi contingit, quid fiet in Triciniis, Quatriciniis, & plurium vocum Compositionibus? Quæso dic mihi, qualem errorem indicet virgula ducta de sexta ad septimam Notam cum cruce suprà positâ?", "english": "Joseph. Have I fallen into error again, then? If this happens to me in a two-voice composition, and in the simplest species, what will happen in compositions for three voices, four voices, and still more voices? Please tell me what kind of error is indicated by the little line drawn from the sixth to the seventh note, with a cross placed above it.", "sources": [ { "pdf_page": 9, "printed_page": 51 } ], "reading_order": 61, "lesson": 1, "exercise": 1 }, { "id": "51-5", "type": "paragraph", "latin": "Aloys. Noli molestè ferre errorem, quem, quia nondum admonitus fuisti, evitare non poteras: nec anticipatò cruciari velis timore de plurium vocum compositione; quia usus paulatim multò te circumspectiorem, facilioremque reddet. Non dubito, quin sæpiùs audiveris tritum illud sermone proverbium: mi contra fa, est diabolus in Musica, quod fecisti procedendo de sexta Nota fa, ad septimam mi per saltum Quartæ majoris, sive Tritoni, quem cantu difficilem, atque malè sonantem in Contrapuncto adhibere nefas est. Fac bono animo sis, & de tono E. procede ad tonum F.", "english": "Aloysius. Do not take badly an error which you could not avoid because you had not yet been warned about it; nor should you torment yourself in advance with fear of composition for more voices, for practice will gradually make you much more circumspect and fluent. I do not doubt that you have often heard that familiar saying: “mi against fa is the devil in music.” This is what you did by proceeding from the sixth note, fa, to the seventh, mi, by the leap of a major fourth, or tritone, an interval difficult to sing and unpleasant to hear, which must never be used in counterpoint. Be of good cheer, and proceed from the mode on E to the mode on F.", "sources": [ { "pdf_page": 9, "printed_page": 51 }, { "pdf_page": 10, "printed_page": 52, "region": "opening continuation" } ], "reading_order": 62, "lesson": 1, "exercise": 1 }, { "id": "52-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 10, "printed_page": 52 } ], "lesson": 1, "asset_refs": [ "52-a" ], "playback_status": "ready", "labels": [], "reading_order": 63, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "52-a" ] }, { "id": "52-1", "type": "paragraph", "latin": "De principio usque ad finem bene.", "english": "Good, from beginning to end.", "sources": [ { "pdf_page": 10, "printed_page": 52 } ], "lesson": 1, "reading_order": 64, "exercise": 1 }, { "id": "52-2", "type": "paragraph", "latin": "Joseph. Hac vice Cantum firmum in Tenore mihi præscripsisti, interestne aliquid?", "english": "Joseph. This time you have prescribed the cantus firmus for me in the tenor. Does that make any difference?", "sources": [ { "pdf_page": 10, "printed_page": 52 } ], "lesson": 1, "reading_order": 65, "exercise": 1 }, { "id": "52-3", "type": "paragraph", "latin": "Aloys. Nihil quidem aliud, quàm ut differentes claves semper tibi familiariùs innotescant. Ubi tamen animadvertendum est, proximas claves semper conjungendas esse, ut ratio Consonantiarum simplicium à compositis faciliùs discerni possit. Nunc posito Basso infrà Cantum firmum, in eo formetur Contrapunctum.", "english": "Aloysius. Nothing else, indeed, except that the different clefs should become ever more familiar to you. Here, however, note that neighboring clefs should always be joined, so that simple consonances may more easily be distinguished from compound ones. Now place a bass below the cantus firmus, and form the counterpoint in it.", "sources": [ { "pdf_page": 10, "printed_page": 52 } ], "lesson": 1, "reading_order": 66, "exercise": 1 }, { "id": "52-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 10, "printed_page": 52 } ], "lesson": 1, "asset_refs": [ "52-b" ], "playback_status": "ready", "labels": [], "reading_order": 67, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "52-b" ] }, { "id": "52-4", "type": "paragraph", "latin": "Bene quidem; sed quâ ratione de quarta Nota usque ad septimam inclusivè Cantum firmum Contrapuncto transcendisti?", "english": "Good, indeed; but why did you cross above the cantus firmus with the counterpoint from the fourth note through the seventh, inclusive?", "sources": [ { "pdf_page": 10, "printed_page": 52 } ], "lesson": 1, "reading_order": 68, "exercise": 1 }, { "id": "52-5", "type": "paragraph", "latin": "Joseph. Quia aliàs illuc usque semper per motum rectum eundum mihi fuisset cum cantandi ratione minùs concinnâ.", "english": "Joseph. Because otherwise I would have had to proceed continually by similar motion up to that point, with a less graceful melodic line.", "sources": [ { "pdf_page": 10, "printed_page": 52 } ], "lesson": 1, "reading_order": 69, "exercise": 1 }, { "id": "52-6", "type": "paragraph", "latin": "Aloys. Optimâ observantiâ id fecisti: maximè quod Cantum firmum hoc casu tanquam partem inferiorem pro fundamento statuens, super eo rationem Consonantiarum dimensus fueris. Pergamus ad tonum G.", "english": "Aloysius. You did this with excellent attention to the rules, especially in treating the cantus firmus in this case as the lower part and foundation, and measuring the consonances above it. Let us proceed to the mode on G.", "sources": [ { "pdf_page": 10, "printed_page": 52 } ], "lesson": 1, "reading_order": 70, "exercise": 1 }, { "id": "53-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 11, "printed_page": 53 } ], "lesson": 1, "asset_refs": [ "53-a" ], "playback_status": "ready", "labels": [], "reading_order": 71, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "53-a" ] }, { "id": "53-1", "type": "paragraph", "latin": "Joseph. Maximâ, quâ potui attentione Contrapunctum hoc perfeci, nihilominùs de novo duo signa, errorum indices conspicio, nempe de Nota nona ad decimam, & de decima ad undecimam.", "english": "Joseph. I completed this counterpoint with the greatest care I could, yet once again I see two signs indicating errors: from the ninth note to the tenth, and from the tenth to the eleventh.", "sources": [ { "pdf_page": 11, "printed_page": 53 } ], "lesson": 1, "reading_order": 72, "exercise": 1 }, { "id": "53-2", "type": "paragraph", "latin": "Aloys. Impatiens mihi videris; summoperè tamen delector hoc tuo à regulis non declinandi ardore. Quomodo autem evitare cupis illas minutias, de quibus præceptum nondum habuisti? De Nota nona ad decimam adhibuisti saltum Sextæ majoris, qui in Contrapuncto, in quo Compositionis genere omnia cantu facillima esse debent, prohibitus est. Deinde de decima Nota ad undecimam progressus es de Decima in Octavam conjunctis partibus, id est, parte inferiori ascendendo, & parte superiori descendendo gradatim se movente, quæ Octava ab Italis Octava Battuta, à Græcis Thesis nuncupata, quia in principio tactûs venit, prohibetur. Verùm ego hujus rei causâ diu multumque scrutatus, neque vitii rationem, neque disparitatem reperire potui, cur hujus", "english": "Aloysius. You seem impatient to me; nevertheless, I am greatly pleased by your eagerness not to depart from the rules. But how do you expect to avoid those small matters about which you have not yet received a precept? From the ninth note to the tenth you used the leap of a major sixth, which is forbidden in counterpoint, a kind of composition in which everything must be very easy to sing. Then, from the tenth note to the eleventh, you proceeded from a tenth to an octave with the parts converging—that is, with the lower part ascending and the upper part descending by step. This octave, called an Octava Battuta by the Italians and Thesis by the Greeks, is forbidden because it falls at the beginning of the beat. Yet, having investigated this matter long and thoroughly, I have been unable to discover either the reason for the fault or the distinction explaining why the octave of this", "sources": [ { "pdf_page": 11, "printed_page": 53 } ], "lesson": 1, "reading_order": 73, "connected_reading_group": "53-2", "exercise": 1 }, { "id": "53-3", "type": "caption", "latin": "exempli Octava approbanda,", "english": "example should be approved,", "sources": [ { "pdf_page": 11, "printed_page": 53 } ], "lesson": 1, "reading_order": 74, "connected_reading_group": "53-2", "exercise": 1 }, { "id": "53-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 11, "printed_page": 53 } ], "lesson": 1, "asset_refs": [ "53-b" ], "playback_status": "ready", "labels": [], "reading_order": 75, "connected_reading_group": "53-2", "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "53-b" ] }, { "id": "53-4", "type": "caption", "latin": "sequentis autem reprobanda sit:", "english": "while that of the following should be rejected:", "sources": [ { "pdf_page": 11, "printed_page": 53 } ], "lesson": 1, "reading_order": 76, "connected_reading_group": "53-2", "exercise": 1 }, { "id": "53-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 11, "printed_page": 53 } ], "lesson": 1, "asset_refs": [ "53-c" ], "playback_status": "ready", "labels": [], "reading_order": 77, "connected_reading_group": "53-2", "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "53-c" ] }, { "id": "53-5", "type": "paragraph", "latin": "cùm utriusque paradigmatis Octava motu contrario perficiatur. Alia ratio habenda est Unisoni, eodem modo producti,", "english": "since the octave in both examples is reached by contrary motion. A different view must be taken of a unison produced in the same way,", "sources": [ { "pdf_page": 11, "printed_page": 53 } ], "lesson": 1, "reading_order": 78, "connected_reading_group": "53-2", "exercise": 1 }, { "id": "53-6", "type": "caption", "latin": "nempe de Tertia in Unisonum, E. G.", "english": "namely from a third to a unison, for example:", "sources": [ { "pdf_page": 11, "printed_page": 53 } ], "lesson": 1, "reading_order": 79, "connected_reading_group": "53-2", "exercise": 1 }, { "id": "53-d", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 11, "printed_page": 53 } ], "lesson": 1, "asset_refs": [ "53-d" ], "playback_status": "ready", "labels": [], "reading_order": 80, "connected_reading_group": "53-2", "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "53-d" ] }, { "id": "53-7", "type": "paragraph", "latin": "quo casu Unisonus, utpote in proportione æqualitatis consistens, admodum parùm auditur; & quasi absorptus & perditus videtur; ob quam rationem in hac specie Contrapuncti excepto principio, & fine nunquam ponendus est.", "english": "in which case the unison, consisting as it does in a ratio of equality, is heard very little, and seems almost swallowed up and lost. For this reason, in this species of counterpoint, except at the beginning and the end, it must never be used.", "sources": [ { "pdf_page": 11, "printed_page": 53 }, { "pdf_page": 12, "printed_page": 54, "region": "opening continuation" } ], "lesson": 1, "reading_order": 81, "connected_reading_group": "53-2", "exercise": 1 }, { "id": "54-1", "type": "paragraph", "latin": "Ut autem revertar ad Octavam superiùs allatam, quæ battuta dicitur, liberum arbitrium vel evitandi vel adhibendi tibi relinquo; parùm enim interest. Quod si autem de remotiore quadam Consonantiâ per saltum lapsus conjunctim in Octavam fiat, nec in Compositione plurium vocum tolerandum puto. E. G.", "english": "To return, however, to the octave mentioned above, which is called battuta, I leave you free either to avoid it or to use it, for it matters little. But if the parts converge by a leap from some more distant consonance into an octave, I think this should not be tolerated even in composition for several voices. For example:", "sources": [ { "pdf_page": 12, "printed_page": 54 } ], "lesson": 1, "reading_order": 82, "exercise": 1 }, { "id": "54-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 12, "printed_page": 54 } ], "lesson": 1, "asset_refs": [ "54-a" ], "playback_status": "ready", "labels": [ { "latin": "malè. malè.", "english": "bad. bad." } ], "reading_order": 83, "exercise": 1, "music_asset_refs": [ "54-a" ] }, { "id": "54-2", "type": "paragraph", "latin": "Quod à potiore de unisono quoque intelligendum esse cupio. E. G.", "english": "I wish this to be understood with still greater force of the unison as well. For example:", "sources": [ { "pdf_page": 12, "printed_page": 54 } ], "lesson": 1, "reading_order": 84, "exercise": 1 }, { "id": "54-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 12, "printed_page": 54 } ], "lesson": 1, "asset_refs": [ "54-b" ], "playback_status": "ready", "labels": [ { "latin": "malè. malè.", "english": "bad. bad." } ], "reading_order": 85, "exercise": 1, "music_asset_refs": [ "54-b" ] }, { "id": "54-3", "type": "paragraph", "latin": "In Compositione octo vocum similes saltus maximè in Bassis, inque partibus, quæ eorum vices funguntur, vix evitari poterunt, ut suo loco dicetur. Restat adhuc ultimi exempli Contrapunctum in parte inferiori ponendum.", "english": "In composition for eight voices, similar leaps will scarcely be avoidable, especially in the basses and in the parts that take their place, as will be explained in its proper place. It still remains to place the counterpoint of the last example in the lower part.", "sources": [ { "pdf_page": 12, "printed_page": 54 } ], "lesson": 1, "reading_order": 86, "exercise": 1 }, { "id": "54-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 12, "printed_page": 54 } ], "lesson": 1, "asset_refs": [ "54-c" ], "playback_status": "ready", "labels": [], "reading_order": 87, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "54-c" ] }, { "id": "54-4", "type": "paragraph", "latin": "Joseph. Quid sibi vult illud in prima Contrapuncti Nota positum NB.?", "english": "Joseph. What does the NB placed at the first note of the counterpoint mean?", "sources": [ { "pdf_page": 12, "printed_page": 54 } ], "lesson": 1, "reading_order": 88, "exercise": 1 }, { "id": "54-5", "type": "paragraph", "latin": "Aloys. Indicat, quod aliàs malè fiat motus de Unisono ad aliam Consonantiam per saltum, neque in Unisonum eodem modo, ut paulò antè dictum est. Verùm cùm ille saltus ex parte Cantûs firmi sit, qui immutari non potest, ideo hîc loci tolerandus est. Alia ratio esset, si nulla Cantûs choralis obligatione obstricto, liberum arbitrium faciendi, quid velis, tibi foret. Sed quare in undecima Nota apposuisti Diesin? utpote quæ in genere Diatonico adhiberi non admodum solita est.", "english": "Aloysius. It indicates that otherwise a leap from a unison to another consonance is bad, as is a leap into a unison in the same way, as was said a little earlier. But since that leap occurs in the cantus firmus, which cannot be altered, it must therefore be tolerated here. It would be a different matter if you were bound by no obligation to a chant melody and were free to do as you wished. But why did you put a sharp on the eleventh note, seeing that it is not very usual to use one in the diatonic genus?", "sources": [ { "pdf_page": 12, "printed_page": 54 }, { "pdf_page": 13, "printed_page": 55, "region": "opening continuation" } ], "lesson": 1, "reading_order": 89, "exercise": 1 }, { "id": "55-1", "type": "paragraph", "latin": "Joseph. Sextam eo loco ponere mihi visum est. Ego autem audivi, cùm artem canendi addiscerem, quod fa ad descensum, mi verò ad ascensum inclinet; cùm autem de illa Sexta in Tertiam ascendendo fiat progressus, ideo Diesin adjunxi, ut illa ascendendi ratio magis autentica efficiatur. Accedit, quod illud F. undecimæ Notæ absque Diesi positum, cum F. decimæ tertiæ Notæ Diesi adjunctâ nonnihil adversam relationem efficeret.", "english": "Joseph. I thought it appropriate to place a sixth there. When I was learning the art of singing, I heard that fa tends downward, whereas mi tends upward. Since the progression from that sixth to the third takes place by ascent, I therefore added a sharp to make that ascent more firmly established. Moreover, the F of the eleventh note, if placed without a sharp, would create a somewhat adverse relation with the F of the thirteenth note with its added sharp.", "sources": [ { "pdf_page": 13, "printed_page": 55 } ], "lesson": 1, "reading_order": 90, "exercise": 1 }, { "id": "55-2", "type": "paragraph", "latin": "Aloys. Optimam adhibuisti observationem. Nunc omnem offensionis lapidem sublatum esse arbitror. Perge ergo ad A. & C. duos superstites Tonos.", "english": "Aloysius. You have made an excellent observation. I now think that every stumbling block has been removed. Proceed, then, to the two remaining modes, A and C.", "sources": [ { "pdf_page": 13, "printed_page": 55 } ], "lesson": 1, "reading_order": 91, "exercise": 1 }, { "id": "55-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 13, "printed_page": 55 } ], "lesson": 1, "asset_refs": [ "55-a" ], "playback_status": "ready", "labels": [], "reading_order": 92, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "55-a" ] }, { "id": "55-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 13, "printed_page": 55 } ], "lesson": 1, "asset_refs": [ "55-b" ], "playback_status": "ready", "labels": [], "reading_order": 93, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "55-b" ] }, { "id": "55-3", "type": "paragraph", "latin": "Ex duobus ultimis exemplis apparet, omnia scitu ad hanc speciem necessaria tibi jam nota esse. Nunc secunda species persequenda est.", "english": "From the last two examples it is apparent that you now know everything necessary to know for this species. We must now pursue the second species.", "sources": [ { "pdf_page": 13, "printed_page": 55 } ], "lesson": 1, "reading_order": 94, "exercise": 1 }, { "id": "56-h1", "type": "heading", "latin": "EXERCITII I.", "english": "EXERCISE I.", "sources": [ { "pdf_page": 14, "printed_page": 56 } ], "lesson": 2, "reading_order": 95, "exercise": 1 }, { "id": "56-h2", "type": "heading", "latin": "LECTIO SECUNDA,", "english": "SECOND LESSON,", "sources": [ { "pdf_page": 14, "printed_page": 56 } ], "lesson": 2, "reading_order": 96, "exercise": 1 }, { "id": "56-h3", "type": "heading", "latin": "Sive secunda Contrapuncti Species.", "english": "Or the second species of counterpoint.", "sources": [ { "pdf_page": 14, "printed_page": 56 } ], "lesson": 2, "reading_order": 97, "exercise": 1 }, { "id": "56-1", "type": "paragraph", "latin": "Antequam hanc secundam Contrapuncti Speciem explicandam aggrediar, præsciendum est, nos in præsentiarum in Tempore binario versari, cujus tactus sive mensura duabus partibus æqualibus constat, quarum una in depressione, altera in elevatione manûs consistit. Depressio manûs græcè Thesis, elevatio autem Arshis appellatur, quibus duobus vocabulis pro majori commoditate hoc in Exercitio deinceps nobis utendum duxi. Species ista secunda fit, quando duæ minimæ contra unam semibrevem ponuntur, quarum una in Thesi veniens, semper consonans sit, necesse est, altera verò in Arshi, si de Nota præcedenti in sequentem gradatim moveatur, etiam dissonans esse poterit; si autem per saltum labatur, necessariò Consonans esse debet. Potest autem hac in Contrapuncti Specie dissonantia non aliter habere locum, quàm per diminutionem, id est, implendo illud spatium intermedium, quod intercedit duas Notas per saltum Tertiæ distantes. E. G.", "english": "Before I undertake to explain this second species of counterpoint, it must first be understood that we are at present working in duple time, whose beat or measure consists of two equal parts: one in the lowering of the hand, the other in its raising. The lowering of the hand is called Thesis in Greek, and its raising Arshis; for greater convenience I have decided to use these two words henceforth in this exercise. This second species is made by placing two minims against one semibreve. One of them, falling on the thesis, must always be consonant; the other, on the arsis, may also be dissonant if it moves by step from the preceding note to the following one. But if it proceeds by leap, it must necessarily be consonant. In this species of counterpoint a dissonance can occur only through diminution, that is, by filling the intervening space between two notes a third apart. For example:", "sources": [ { "pdf_page": 14, "printed_page": 56 } ], "lesson": 2, "reading_order": 98, "exercise": 1 }, { "id": "56-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 14, "printed_page": 56 } ], "lesson": 2, "asset_refs": [ "56-a" ], "playback_status": "ready", "labels": [ { "latin": "Diminutio. Diminut.", "english": "Diminution. Diminution." } ], "reading_order": 99, "exercise": 1, "music_asset_refs": [ "56-a" ] }, { "id": "56-2", "type": "paragraph", "latin": "Nec ratio habenda est illius Notæ diminutæ, an consonans, vel dissonans sit, sufficit implere illud spatium vacuum inter duas Notas relictum per saltum Tertiæ distantes.", "english": "Nor need one consider whether that inserted note of diminution is consonant or dissonant; it is enough that it fills the empty space left between the two notes a third apart.", "sources": [ { "pdf_page": 14, "printed_page": 56 } ], "lesson": 2, "reading_order": 100, "exercise": 1 }, { "id": "56-3", "type": "paragraph", "latin": "Joseph. Suntne prætereà illa, quæ de prima Contrapuncti Specie ratione motûs, & progressuum præcepta sunt, etiam hâc observanda?", "english": "Joseph. Must the precepts about motion and progressions given for the first species of counterpoint also be observed here?", "sources": [ { "pdf_page": 14, "printed_page": 56 } ], "lesson": 2, "reading_order": 101, "exercise": 1 }, { "id": "56-4", "type": "paragraph", "latin": "Aloys. Vel maximè; præter penultimum tactum, cujus in hac Specie Nota prima Quintam, secunda Sextam majorem habere debet, si Cantus firmus, sive Choralis in parte inferiori existat: si verò Cantus firmus in parte superiori fuerit, prima Nota penultimi tactûs Quintam, secunda verò Tertiam minorem habeat. Exemplum rem claram exhibebit.", "english": "Aloysius. Most certainly, except for the penultimate measure. In this species its first note must have a fifth and its second a major sixth if the cantus firmus, or chant melody, is in the lower part. But if the cantus firmus is in the upper part, the first note of the penultimate measure should have a fifth, and the second a minor third. An example will make the matter clear.", "sources": [ { "pdf_page": 14, "printed_page": 56 }, { "pdf_page": 15, "printed_page": 57, "region": "opening continuation" } ], "lesson": 2, "reading_order": 102, "exercise": 1 }, { "id": "57-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 15, "printed_page": 57 } ], "lesson": 2, "asset_refs": [ "57-a" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 103, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "57-a" ] }, { "id": "57-1", "type": "paragraph", "latin": "Pro majori facilitate juvabit habere rationem finis, antequam scribere incipias. Nunc ad opus progrediamur de manu ad manum, superiores Cantus firmos adhibendo.", "english": "For greater ease, it will help to consider the ending before you begin to write. Now let us proceed to the work step by step, using the cantus firmi given above.", "sources": [ { "pdf_page": 15, "printed_page": 57 } ], "lesson": 2, "reading_order": 104, "exercise": 1 }, { "id": "57-2", "type": "paragraph", "latin": "Joseph. Faciam. Sed patientiam tuam imploro, si in errores incidere mihi contingat; non enim habeo hujus rei, nisi valde confusam cognitionem.", "english": "Joseph. I shall do so. But I beg your patience if I should happen to fall into errors, for my understanding of this matter is still very confused.", "sources": [ { "pdf_page": 15, "printed_page": 57 } ], "lesson": 2, "reading_order": 105, "exercise": 1 }, { "id": "57-3", "type": "paragraph", "latin": "Aloys. Fac ut poteris; nihil molestè feram; correctio obscuritatis tenebras facilè dissipabit.", "english": "Aloysius. Do as well as you can; I shall take nothing amiss. Correction will easily dispel the darkness of uncertainty.", "sources": [ { "pdf_page": 15, "printed_page": 57 } ], "lesson": 2, "reading_order": 106, "exercise": 1 }, { "id": "57-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 15, "printed_page": 57 } ], "lesson": 2, "asset_refs": [ "57-b" ], "playback_status": "ready", "labels": [], "reading_order": 107, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "57-b" ] }, { "id": "57-4", "type": "paragraph", "latin": "Joseph. Haud inanis fuit hic meus errandi timor; duo enim conspicio reprehensionis signa: primum in prima tactûs noni figura, secundum in decimi tactûs prima Nota, quorum neutrum intelligo; utrobique enim de Consonantia imperfecta ad imperfectam motu contrario progressus sum.", "english": "Joseph. My fear of error was not groundless, for I see two marks of censure: the first on the first note of the ninth measure, the second on the first note of the tenth measure. I understand neither, for in both places I proceeded from an imperfect to an imperfect consonance by contrary motion.", "sources": [ { "pdf_page": 15, "printed_page": 57 } ], "lesson": 2, "reading_order": 108, "exercise": 1 }, { "id": "57-5", "type": "paragraph", "latin": "Aloys. Rectè ratiocinaris, sunt enim duo errores, quorum una, & eadem est ratio, quam ignorare te, nondum scilicet edoctum, haud miror. Notandum ergo est, quod saltus Tertiæ neque duas Quintas, neque duas Octavas salvare possit; quia nota illa intermedia in Arshi veniens, quasi pro non adjecta habetur, eò quod ob exiguitatem valoris, parvitatemque spatii sonum ità temperare non valeat, quin duarum Quintarum, vel Octavarum ratio auribus percipiatur. Videamus priora exempla à tactu octavo incipiendo.", "english": "Aloysius. You reason correctly, for there are two errors with one and the same explanation. I am not surprised that you do not know it, since you have not yet been taught it. Note, then, that a leap of a third cannot make either two fifths or two octaves permissible, because the intervening note on the arsis is treated almost as though it had not been added. Owing to its short value and the smallness of the interval, it cannot modify the sound enough to prevent the relation of two fifths or octaves from being perceived by the ear. Let us examine the preceding examples, beginning at the eighth measure.", "sources": [ { "pdf_page": 15, "printed_page": 57 }, { "pdf_page": 16, "printed_page": 58, "region": "opening continuation" } ], "lesson": 2, "reading_order": 109, "exercise": 1 }, { "id": "58-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 16, "printed_page": 58 } ], "lesson": 2, "asset_refs": [ "58-a" ], "playback_status": "ready", "labels": [], "reading_order": 110, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "58-a" ] }, { "id": "58-1", "type": "paragraph", "latin": "Etenim si Nota illa intermedia, vel in Arshi existens, pro non adjecta habetur, Hypotheses illas apertè sic se habere perspicuum est.", "english": "For if that intervening note, or the note on the arsis, is treated as not having been added, it is clear that those cases plainly take the following form.", "sources": [ { "pdf_page": 16, "printed_page": 58 } ], "lesson": 2, "reading_order": 111, "exercise": 1 }, { "id": "58-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 16, "printed_page": 58 } ], "lesson": 2, "asset_refs": [ "58-b" ], "playback_status": "ready", "labels": [], "reading_order": 112, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "58-b" ] }, { "id": "58-2", "type": "paragraph", "latin": "Idem Judicium ferendum est de Octavis.", "english": "The same judgment must be made concerning octaves.", "sources": [ { "pdf_page": 16, "printed_page": 58 } ], "lesson": 2, "reading_order": 113, "exercise": 1 }, { "id": "58-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 16, "printed_page": 58 } ], "lesson": 2, "asset_refs": [ "58-c" ], "playback_status": "ready", "labels": [ { "latin": "idem.", "english": "the same." } ], "reading_order": 114, "exercise": 1, "music_asset_refs": [ "58-c" ] }, { "id": "58-3", "type": "paragraph", "latin": "Alia ratio habenda est saltûs majori spatio constantis. E. G. Quartæ, Quintæ, Sextæ: quo casu distantia de prima Nota ad secundam quasi oblivionem auribus afferre videtur soni Notæ primæ in Thesi, ad Notam secundam pari modo in Thesi existentem. Videamus superiùs exemplum de Octavis, quarum consecutio saltu Quartæ intervenientis salvatur.", "english": "A different view must be taken of a leap spanning a larger interval—for example, a fourth, fifth, or sixth. In this case the distance from the first note to the second seems to make the ear forget, as it were, the sound of the first note on the thesis in relation to the second note likewise on the thesis. Let us examine the preceding example of octaves, whose succession is made permissible by the intervening leap of a fourth.", "sources": [ { "pdf_page": 16, "printed_page": 58 } ], "lesson": 2, "reading_order": 115, "exercise": 1 }, { "id": "58-d", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 16, "printed_page": 58 } ], "lesson": 2, "asset_refs": [ "58-d" ], "playback_status": "ready", "labels": [ { "latin": "bene.", "english": "good." } ], "reading_order": 116, "exercise": 1, "music_asset_refs": [ "58-d" ] }, { "id": "59-1", "type": "paragraph", "latin": "Qui saltus Quartæ pari ratione causa est, cur præcedentis Lectionis tuæ tertium tactum ad quartum nullâ erroris notâ signaverim; quia non habitâ ratione illius Notæ intermediæ Hypothesis sic se haberet.", "english": "For the same reason, that leap of a fourth is why I did not mark the progression from the third measure to the fourth in your preceding exercise as an error; for if the intervening note were disregarded, the case would take this form.", "sources": [ { "pdf_page": 17, "printed_page": 59 } ], "lesson": 2, "reading_order": 117, "exercise": 1 }, { "id": "59-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 17, "printed_page": 59 } ], "lesson": 2, "asset_refs": [ "59-a" ], "playback_status": "ready", "labels": [], "reading_order": 118, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "59-a" ] }, { "id": "59-2", "type": "paragraph", "latin": "Qui progressus contra regulam est, quæ dicit: de imperfecta ad perfectam per motum contrarium; quem errorem aufert saltus Quartæ hac ratione:", "english": "This progression is contrary to the rule which says: from an imperfect to a perfect consonance by contrary motion. The leap of a fourth removes this error in the following way:", "sources": [ { "pdf_page": 17, "printed_page": 59 } ], "lesson": 2, "reading_order": 119, "exercise": 1 }, { "id": "59-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 17, "printed_page": 59 } ], "lesson": 2, "asset_refs": [ "59-b" ], "playback_status": "ready", "labels": [ { "latin": "malè.", "english": "bad." } ], "reading_order": 120, "exercise": 1, "music_asset_refs": [ "59-b" ] }, { "id": "59-3", "type": "paragraph", "latin": "Corrigatur modò præcedens tua Lectio.", "english": "Let your preceding exercise now be corrected.", "sources": [ { "pdf_page": 17, "printed_page": 59 } ], "lesson": 2, "reading_order": 121, "exercise": 1 }, { "id": "59-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 17, "printed_page": 59 } ], "lesson": 2, "asset_refs": [ "59-c" ], "playback_status": "ready", "labels": [], "reading_order": 122, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "59-c" ] }, { "id": "59-4", "type": "paragraph", "latin": "Jam video, hucusque dicta satis memoriâ te tenere. Antequam autem hanc ipsam Lectionem cum Contrapuncto in inferiori parte componendam aggrediaris, quædam animadvertenda pro majori facilitate, scitu perquàm utilia tibi proponam. Primum est, quod loco primæ Notæ pausa medii tactûs valoris poni possit. Secundum, si ambas partes ita vicinè, itaque conjunctim reperiri contingat, ut vix sciatur, quorsum eundum, nec facultas tibi sit, per motum contrarium progrediendi, id effici posse per saltum Sextæ minoris, (qui licitus est) vel Octavæ, ut in exemplis sequentibus:", "english": "I now see that you retain well enough what has been said thus far. Before you undertake this same exercise with the counterpoint in the lower part, however, I shall set before you certain observations that will make the task easier and are very useful to know. The first is that a rest of half a measure may be placed instead of the first note. The second is that if the two parts happen to be so close and so tightly joined that one scarcely knows where to go, and you have no opportunity by contrary motion to proceed, this can be achieved by the leap of a minor sixth—which is permitted—or of an octave, as in the following examples:", "sources": [ { "pdf_page": 17, "printed_page": 59 }, { "pdf_page": 18, "printed_page": 60, "region": "opening continuation" } ], "lesson": 2, "reading_order": 123, "exercise": 1 }, { "id": "60-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 18, "printed_page": 60 } ], "lesson": 2, "asset_refs": [ "60-a" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 124, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "60-a" ] }, { "id": "60-1", "type": "paragraph", "latin": "Jam perge, & præcedentis Lectionis Contrapunctum in parte inferiori construe.", "english": "Now proceed and construct the counterpoint of the preceding exercise in the lower part.", "sources": [ { "pdf_page": 18, "printed_page": 60 } ], "lesson": 2, "reading_order": 125, "exercise": 1 }, { "id": "60-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 18, "printed_page": 60 } ], "lesson": 2, "asset_refs": [ "60-b" ], "playback_status": "ready", "labels": [], "reading_order": 126, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "60-b" ] }, { "id": "60-2", "type": "paragraph", "latin": "Nunc resumendo omnes Cantus firmos in prima Contrapuncti Specie præscriptos, percurre reliquos quinque tonos, superiùs, inferiùsque Contrapunctum fabricando.", "english": "Now take up again all the cantus firmi prescribed in the first species of counterpoint, and go through the remaining five modes, constructing the counterpoint both above and below.", "sources": [ { "pdf_page": 18, "printed_page": 60 } ], "lesson": 2, "reading_order": 127, "exercise": 1 }, { "id": "60-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 18, "printed_page": 60 } ], "lesson": 2, "asset_refs": [ "60-c" ], "playback_status": "ready", "labels": [], "reading_order": 128, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "60-c" ] }, { "id": "60-d", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 18, "printed_page": 60 } ], "lesson": 2, "asset_refs": [ "60-d" ], "playback_status": "ready", "labels": [], "reading_order": 129, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "60-d" ] }, { "id": "60-3", "type": "paragraph", "latin": "Joseph. Memini te paulò ante præcepisse, hujus Speciei Contrapuncto in inferiori parte existente, penultimi tactûs primæ Notæ Quintam dari oportere: verùm patet, in illa hujus toni Hypothesi Quintæ, utpote dissonantiæ locum non esse, ob rationem mi contra fa; quapropter loco Quintæ Sextam adhibendam esse judicavi.", "english": "Joseph. I remember that you instructed me a little earlier that, when the counterpoint in this species is in the lower part, the first note of the penultimate measure must be given a fifth. But it is clear that in this instance of this mode there is no place for the fifth, since it is dissonant, on account of mi against fa. I therefore judged that a sixth should be used instead of the fifth.", "sources": [ { "pdf_page": 18, "printed_page": 60 }, { "pdf_page": 19, "printed_page": 61, "region": "opening continuation" } ], "lesson": 2, "reading_order": 130, "exercise": 1 }, { "id": "61-1", "type": "paragraph", "latin": "Aloys. Summopere mihi placet hæc tua observatio. Perge nunc, reliquosque quatuor tonos pari exercitio prosequere.", "english": "Aloysius. I am extremely pleased by this observation of yours. Proceed now, and pursue the remaining four modes with the same exercise.", "sources": [ { "pdf_page": 19, "printed_page": 61 } ], "lesson": 2, "reading_order": 131, "exercise": 1 }, { "id": "61-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 19, "printed_page": 61 } ], "lesson": 2, "asset_refs": [ "61-a" ], "playback_status": "ready", "labels": [], "reading_order": 132, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "61-a" ] }, { "id": "61-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 19, "printed_page": 61 } ], "lesson": 2, "asset_refs": [ "61-b" ], "playback_status": "ready", "labels": [], "reading_order": 133, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "61-b" ] }, { "id": "61-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 19, "printed_page": 61 } ], "lesson": 2, "asset_refs": [ "61-c" ], "playback_status": "ready", "labels": [], "reading_order": 134, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "61-c" ] }, { "id": "61-d", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 19, "printed_page": 61 } ], "lesson": 2, "asset_refs": [ "61-d" ], "playback_status": "ready", "labels": [], "reading_order": 135, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "61-d" ] }, { "id": "62-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 20, "printed_page": 62 } ], "lesson": 2, "asset_refs": [ "62-a" ], "playback_status": "ready", "labels": [], "reading_order": 136, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "62-a" ] }, { "id": "62-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 20, "printed_page": 62 } ], "lesson": 2, "asset_refs": [ "62-b" ], "playback_status": "ready", "labels": [], "reading_order": 137, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "62-b" ] }, { "id": "62-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 20, "printed_page": 62 } ], "lesson": 2, "asset_refs": [ "62-c" ], "playback_status": "ready", "labels": [], "reading_order": 138, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "62-c" ] }, { "id": "62-d", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 20, "printed_page": 62 } ], "lesson": 2, "asset_refs": [ "62-d" ], "playback_status": "ready", "labels": [], "reading_order": 139, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "62-d" ] }, { "id": "62-1", "type": "paragraph", "latin": "Satis commodè rem instituisti. Sic Dii laboribus omnia vendunt; oportet te etiam memorem esse illius: Gutta cavat lapidem, non vi, sed sæpè cadendo: quo docemur, indefessum Studii laborem ad Scientiarum adeptionem requiri, ita ut nullum diem sine linea (ut dicitur) præterlabi sinamus. Prætereà te hoc loco admonendum etiam duxi, ut non solùm illius tactûs, in quo laboras, rationem habeas, verùm etiam & sequentium.", "english": "You have managed the task quite well. Thus the gods sell everything for toil. You should also remember the saying: “A drop hollows a stone, not by force, but by falling often.” By this we are taught that tireless work in study is required to acquire knowledge, so that we should let no day pass without a line, as the saying goes. Furthermore, I thought it right to advise you here to take account not only of that measure on which you are working, but also of those that follow.", "sources": [ { "pdf_page": 20, "printed_page": 62 }, { "pdf_page": 21, "printed_page": 63, "region": "opening continuation" } ], "lesson": 2, "reading_order": 140, "exercise": 1 }, { "id": "63-1", "type": "paragraph", "latin": "Joseph. Ità sanè est venerande Magister. Etenim in componendis præcedentibus Contrapuncti exercitationibus vix scivissem, quid faciendum, nisi, antequam scribere decreverim, unum, vel alterum tactum considerando, quid ibi quadraret, anticipavissem.", "english": "Joseph. Indeed it is so, revered Master. For in composing the preceding counterpoint exercises I should scarcely have known what to do unless, before deciding to write, I had looked ahead one or two measures and considered what would fit there.", "sources": [ { "pdf_page": 21, "printed_page": 63 } ], "lesson": 2, "reading_order": 141, "exercise": 1 }, { "id": "63-2", "type": "paragraph", "latin": "Aloys. Mirum in modum lætor, qui te tam sagacem videam, teque etiam, atque etiam hortor, ut incepto, & attentionis, & constantiæ studio difficultatis gravitatem superare nitaris, neque te oneris asperitate opprimi, neque blanditiis, velut jam multa calleas, ab assiduitate Studii abstrahi patiare. Quo facto paulatim in tenebris lumen exoriri, & aliqua ex parte caliginis velum tibi sublatum iri senties, ac gaudebis. Hîc quoque dicendum esset de Tempore Ternario, ubi tres Notæ contra unam ponuntur. Quia autem ob rei facilitatem parvi est momenti res, operæ pretium non arbitror, peculiarem eâ causâ Lectionem statuere. Pauca exempla ad hujus rei intelligentiam sufficere modò compertum erit.", "english": "Aloysius. I am wonderfully glad to see you so perceptive, and I urge you again and again to strive, with the care and perseverance you have begun to show, to overcome the weight of the difficulty. Do not allow yourself either to be overwhelmed by the harshness of the burden or to be drawn away from diligent study by flattering thoughts that you already know much. By doing this you will gradually perceive, with joy, a light arising in the darkness and the veil of obscurity being partly lifted for you. Here we should also speak of triple time, in which three notes are placed against one. But because the matter is easy and therefore of little difficulty, I do not think it worthwhile to establish a separate lesson for it. It will soon be evident that a few examples suffice for understanding it.", "sources": [ { "pdf_page": 21, "printed_page": 63 } ], "lesson": 2, "reading_order": 142, "exercise": 1 }, { "id": "63-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 21, "printed_page": 63 } ], "lesson": 2, "asset_refs": [ "63-a" ], "playback_status": "ready", "labels": [], "reading_order": 143, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "63-a" ] }, { "id": "63-3", "type": "paragraph", "latin": "Ubi Nota intermedia, quia omnes tres gradatim moventur, dissonantia esse potest; secùs esset, si una vel altera saltaret ex his tribus, quo casu omnes tres consonantes esse oportere, ex jam dictis, constat.", "english": "Here the middle note may be dissonant because all three move by step. It would be otherwise if one or another of these three leapt, in which case it is clear from what has already been said that all three must be consonant.", "sources": [ { "pdf_page": 21, "printed_page": 63 } ], "lesson": 2, "reading_order": 144, "exercise": 1 }, { "id": "63-h1", "type": "heading", "latin": "EXERCITII I.", "english": "EXERCISE I.", "sources": [ { "pdf_page": 21, "printed_page": 63 } ], "lesson": 3, "reading_order": 145, "exercise": 1 }, { "id": "63-h2", "type": "heading", "latin": "LECTIO TERTIA,", "english": "THIRD LESSON,", "sources": [ { "pdf_page": 21, "printed_page": 63 } ], "lesson": 3, "reading_order": 146, "exercise": 1 }, { "id": "63-h3", "type": "heading", "latin": "De tertia Contrapuncti Specie.", "english": "On the third species of counterpoint.", "sources": [ { "pdf_page": 21, "printed_page": 63 } ], "lesson": 3, "reading_order": 147, "exercise": 1 }, { "id": "63-4", "type": "paragraph", "latin": "Tertia Contrapuncti Species est quatuor semiminimarum contra unam semibrevem Compositio. Ubi principiò animadvertendum est, quod, si quinque semiminimas vel ascendendo, vel descendendo continuò gradatim se sequi contingat, prima Consonans esse debeat, secunda dissonans esse possit. Tertia denuò Consonans sit, necesse est. Quarta dissonans esse poterit, si quinta Consonantia fuerit; ut in exemplis:", "english": "The third species of counterpoint is a composition of four semiminims against one semibreve. First, note that if five semiminims follow one another continuously by step, either ascending or descending, the first must be consonant, and the second may be dissonant. The third must again be consonant. The fourth may be dissonant if the fifth is consonant, as in the examples:", "sources": [ { "pdf_page": 21, "printed_page": 63 }, { "pdf_page": 22, "printed_page": 64, "region": "opening continuation" } ], "lesson": 3, "reading_order": 148, "exercise": 1 }, { "id": "64-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 22, "printed_page": 64 } ], "lesson": 3, "asset_refs": [ "64-a" ], "playback_status": "ready", "labels": [], "reading_order": 149, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "64-a" ] }, { "id": "64-1", "type": "paragraph", "latin": "Fallit autem primò in Hypothesi, ubi secundam & quartam Notam Consonantias esse contingit, quo in casu tertia Nota dissonantia esse poterit; ut in sequentibus exemplis:", "english": "There is, however, a first exception in the case where the second and fourth notes happen to be consonances; in that case the third note may be a dissonance, as in the following examples:", "sources": [ { "pdf_page": 22, "printed_page": 64 } ], "lesson": 3, "reading_order": 150, "exercise": 1 }, { "id": "64-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 22, "printed_page": 64 } ], "lesson": 3, "asset_refs": [ "64-b" ], "playback_status": "ready", "labels": [], "reading_order": 151, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "64-b" ] }, { "id": "64-2", "type": "paragraph", "latin": "Ubi omnium Paradigmatum tertia Nota Consonans est, & diminutio saltûs tertiæ vocatur. Ut autem hujus rei veritas patefiat, exempla hæc ad substantiam revocanda sunt, hac ratione:", "english": "Here the third note of all the examples is consonant, and this is called diminution of the leap of a third. To make the truth of this matter clear, these examples must be reduced to their substance in the following way:", "sources": [ { "pdf_page": 22, "printed_page": 64 } ], "lesson": 3, "reading_order": 152, "exercise": 1 }, { "id": "64-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 22, "printed_page": 64 } ], "lesson": 3, "asset_refs": [ "64-c" ], "playback_status": "ready", "labels": [], "reading_order": 153, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "64-c" ] }, { "id": "64-3", "type": "paragraph", "latin": "Ex quibus clarè videtur, tertiam illam Notam, nempe dissonantiam aliud non esse, quàm diminutionem saltûs tertiæ, quâ impletur spatium intermedium de Nota secunda ad tertiam repertum, quod spatium nunquam diminutionem, sive impleri Notâ intermediâ recusat.", "english": "From these it is clearly seen that the third note, namely the dissonance, is nothing other than a diminution of the leap of a third, by which the intervening space between the second note and the third is filled. Such a space never refuses diminution, or being filled by an intervening note.", "sources": [ { "pdf_page": 22, "printed_page": 64 } ], "lesson": 3, "reading_order": 154, "exercise": 1 }, { "id": "64-4", "type": "paragraph", "latin": "Secunda Hypothesis est, ubi à communi regula deflectitur, Nota cambita, ab Italis Cambiata nuncupata, ubi de Nota secunda dissonante per saltum fit progressus in Consonantiam, ut in sequentibus exemplis videndum est.", "english": "A second case in which the common rule is departed from is the changed note, called Cambiata by the Italians, where from the second, dissonant note the progression is made by leap into a consonance, as may be seen in the following examples.", "sources": [ { "pdf_page": 22, "printed_page": 64 }, { "pdf_page": 23, "printed_page": 65, "region": "opening continuation" } ], "lesson": 3, "reading_order": 155, "exercise": 1 }, { "id": "65-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 23, "printed_page": 65 } ], "lesson": 3, "asset_refs": [ "65-a" ], "playback_status": "ready", "labels": [], "reading_order": 156, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "65-a" ] }, { "id": "65-1", "type": "paragraph", "latin": "Saltus ille tertiæ de secunda Nota in tertiam esse deberet de rigore de prima Nota ad secundam; in quo casu secunda Nota sextam Consonantiam efficeret, hac ratione:", "english": "Strictly speaking, that leap of a third from the second note to the third ought to occur from the first note to the second; in that case the second note would form the consonance of a sixth, in this way:", "sources": [ { "pdf_page": 23, "printed_page": 65 } ], "lesson": 3, "reading_order": 157, "exercise": 1 }, { "id": "65-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 23, "printed_page": 65 } ], "lesson": 3, "asset_refs": [ "65-b" ], "playback_status": "ready", "labels": [], "reading_order": 158, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "65-b" ] }, { "id": "65-2", "type": "paragraph", "latin": "In qua Hypothesi, si de prima Nota ad secundam diminutio fieret, res ità se haberet:", "english": "In that case, if diminution were made from the first note to the second, the result would be as follows:", "sources": [ { "pdf_page": 23, "printed_page": 65 } ], "lesson": 3, "reading_order": 159, "exercise": 1 }, { "id": "65-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 23, "printed_page": 65 } ], "lesson": 3, "asset_refs": [ "65-c" ], "playback_status": "ready", "labels": [], "reading_order": 160, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "65-c" ] }, { "id": "65-3", "type": "paragraph", "latin": "Cùm autem hac in Contrapuncti Specie Fusis locus non sit, ideo placuit gravibus authoritate Viris primum exemplum, ubi secunda Nota septimam habet, fortassis propter majorem Cantûs concinnitatem ratum habere.", "english": "But since there is no place for fusae in this species of counterpoint, men of weighty authority have chosen to accept the first example, in which the second note has a seventh, perhaps because of the greater grace of the melody.", "sources": [ { "pdf_page": 23, "printed_page": 65 } ], "lesson": 3, "reading_order": 161, "exercise": 1 }, { "id": "65-4", "type": "paragraph", "latin": "Ultimum restat monstrare, quomodo penultimus tactus, qui, ut plurimùm cæteris plus difficultatis habet, conficiendus sit; qui, si Cantus firmus in inferiori sit parte, hac ratione constitutus esse debet.", "english": "It remains finally to show how the penultimate measure, which usually presents more difficulty than the others, is to be constructed. If the cantus firmus is in the lower part, it must be arranged in the following way.", "sources": [ { "pdf_page": 23, "printed_page": 65 } ], "lesson": 3, "reading_order": 162, "exercise": 1 }, { "id": "66-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 24, "printed_page": 66 } ], "lesson": 3, "asset_refs": [ "66-a" ], "playback_status": "ready", "labels": [], "reading_order": 163, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "66-a" ] }, { "id": "66-1", "type": "paragraph", "latin": "Si autem Cantus firmus in superiori sit parte, sequenti modo faciendus erit.", "english": "But if the cantus firmus is in the upper part, it is to be constructed in the following way.", "sources": [ { "pdf_page": 24, "printed_page": 66 } ], "lesson": 3, "reading_order": 164, "exercise": 1 }, { "id": "66-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 24, "printed_page": 66 } ], "lesson": 3, "asset_refs": [ "66-b" ], "playback_status": "ready", "labels": [], "reading_order": 165, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "66-b" ] }, { "id": "66-2", "type": "paragraph", "latin": "His ergo cognitis, & iis, quæ de aliis Speciebus jam dicta sunt, facilem tibi futuram spero hujus Speciei Compositionem: sed iterum, atque iterum admonitum te volo, ut sequentis tactûs vel maximè rationem habeas, si nullum in progrediendo obicem offendere cupis. Ergo Opus aggrediare, omnes in prima Lectione præscriptos Cantus firmos eo ordine persequendo.", "english": "Knowing these things, then, and what has already been said about the other species, I hope that composition in this species will be easy for you. But I wish to warn you again and again to take particular account of the following measure if you wish to encounter no obstacle as you proceed. Set to work, then, taking all the cantus firmi prescribed in the first lesson in that order.", "sources": [ { "pdf_page": 24, "printed_page": 66 } ], "lesson": 3, "reading_order": 166, "exercise": 1 }, { "id": "66-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 24, "printed_page": 66 } ], "lesson": 3, "asset_refs": [ "66-c" ], "playback_status": "ready", "labels": [], "reading_order": 167, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "66-c" ] }, { "id": "67-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 25, "printed_page": 67 } ], "lesson": 3, "asset_refs": [ "67-a" ], "playback_status": "ready", "labels": [], "reading_order": 168, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "67-a" ] }, { "id": "67-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 25, "printed_page": 67 } ], "lesson": 3, "asset_refs": [ "67-b" ], "playback_status": "ready", "labels": [], "reading_order": 169, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "67-b" ] }, { "id": "67-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 25, "printed_page": 67 } ], "lesson": 3, "asset_refs": [ "67-c" ], "playback_status": "ready", "labels": [], "continues_to": { "pdf_page": 26, "printed_page": 68, "block": "68-a" }, "reading_order": 170, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "continuation_status": "resolved", "music_asset_refs": [ "67-c" ] }, { "id": "67-c-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 25, "printed_page": 67 } ], "lesson": 3, "asset_refs": [ "67-c-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 171, "exercise": 1, "music_asset_refs": [ "67-c-custos" ] }, { "id": "68-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 26, "printed_page": 68 } ], "lesson": 3, "asset_refs": [ "68-a" ], "playback_status": "ready", "labels": [], "continued_from": "67-c", "reading_order": 172, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "68-a" ] }, { "id": "68-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 26, "printed_page": 68 } ], "lesson": 3, "asset_refs": [ "68-b" ], "playback_status": "ready", "labels": [], "reading_order": 173, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "68-b" ] }, { "id": "68-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 26, "printed_page": 68 } ], "lesson": 3, "asset_refs": [ "68-c" ], "playback_status": "ready", "labels": [], "reading_order": 174, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "68-c" ] }, { "id": "68-1", "type": "paragraph", "latin": "Aloys. Quare nonnullis in locis b. mollia adhibuisti, signum in genere Diatonico, in quo versamur, haud usitatum?", "english": "Aloysius. Why did you use flats in some places, a sign not customary in the diatonic genus in which we are working?", "sources": [ { "pdf_page": 26, "printed_page": 68 } ], "lesson": 3, "reading_order": 175, "exercise": 1 }, { "id": "69-1", "type": "paragraph", "latin": "Joseph. Visum mihi est, aliàs asperam ex mi contra fa exorituram relationem. Nec obesse arbitror generi Diatonico, cùm b. mollia illa non substantialiter, sed accidentaliter ex necessitate immixta esse constet.", "english": "Joseph. It seemed to me that otherwise a harsh relation would arise from mi against fa. Nor do I think that they harm the diatonic genus, since it is clear that those flats have been introduced out of necessity, accidentally rather than substantially.", "sources": [ { "pdf_page": 27, "printed_page": 69 } ], "lesson": 3, "reading_order": 176, "exercise": 1 }, { "id": "69-2", "type": "paragraph", "latin": "Aloys. Optimè animadvertisti; ob eandem enim rationem nonnunquam etiam Dieses adhibendæ sunt: sed ubi, quando, perspicaci ponderandum est judicio. Ex præcedentibus exemplis satis memoriâ tenere videris ea, quæ ad hanc Speciem requiruntur. Reliquos tres adhuc superstites tonos: G. A. C., ne nimis prolixi simus, privato studio persequendos tibi relinquo. Sit igitur", "english": "Aloysius. You have observed very well; for the same reason sharps must sometimes also be used. But where and when must be weighed with discerning judgment. From the preceding examples you seem to retain sufficiently what is required for this species. To avoid being too lengthy, I leave the three remaining modes, G, A, and C, for you to pursue in private study. Let there be, then,", "sources": [ { "pdf_page": 27, "printed_page": 69 } ], "lesson": 3, "reading_order": 177, "connected_reading_group": "69-2", "exercise": 1 }, { "id": "69-h1", "type": "heading", "latin": "EXERCITII I.", "english": "EXERCISE I.", "sources": [ { "pdf_page": 27, "printed_page": 69 } ], "lesson": 4, "reading_order": 178, "connected_reading_group": "69-2", "exercise": 1 }, { "id": "69-h2", "type": "heading", "latin": "LECTIO QUARTA,", "english": "FOURTH LESSON,", "sources": [ { "pdf_page": 27, "printed_page": 69 } ], "lesson": 4, "reading_order": 179, "connected_reading_group": "69-2", "exercise": 1 }, { "id": "69-h3", "type": "heading", "latin": "De quarta Contrapuncti Specie.", "english": "On the fourth species of counterpoint.", "sources": [ { "pdf_page": 27, "printed_page": 69 } ], "lesson": 4, "reading_order": 180, "connected_reading_group": "69-2", "exercise": 1 }, { "id": "69-3", "type": "paragraph", "latin": "Species hæc constat duabus minimis contra semibrevem in uno eodemque loco positis, virgulâque curvatâ subductis, quarum prima in Arshi, secunda in Thesi veniat, necesse est. Quæ Species Ligatura, vel Sincope appellari consuevit; estque duplex, Consonantiæ, & Dissonantiæ.", "english": "This species consists of two minims against a semibreve, placed at one and the same pitch and joined by a curved line; the first must fall on the arsis and the second on the thesis. This species is customarily called Ligatura, or Syncopation, and is of two kinds: consonant and dissonant.", "sources": [ { "pdf_page": 27, "printed_page": 69 } ], "lesson": 4, "reading_order": 181, "exercise": 1 }, { "id": "69-4", "type": "paragraph", "latin": "Ligatura Consonantiæ est illa, cujus utraque minima, & in Arshi, & in Thesi Consonantia est. Exemplis res clara fiet.", "english": "A consonant ligature is one in which both minims, on the arsis and on the thesis, are consonant. Examples will make the matter clear.", "sources": [ { "pdf_page": 27, "printed_page": 69 } ], "lesson": 4, "reading_order": 182, "exercise": 1 }, { "id": "69-h4", "type": "heading", "latin": "Ligaturæ Consonantiæ.", "english": "Consonant ligatures.", "sources": [ { "pdf_page": 27, "printed_page": 69 } ], "lesson": 4, "reading_order": 183, "exercise": 1 }, { "id": "69-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 27, "printed_page": 69 } ], "lesson": 4, "asset_refs": [ "69-a" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 184, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "69-a" ] }, { "id": "69-5", "type": "paragraph", "latin": "Ligaturæ Dissonantiæ, cujus prima Nota, nempe in Arshi quidem Consonans, (quod semper esse debet) secunda verò in Thesi dissonans est, ut in sequenti exemplo videre licet.", "english": "Dissonant ligatures: the first note, namely that on the arsis, is consonant—as it always must be—while the second, on the thesis, is dissonant, as may be seen in the following example.", "sources": [ { "pdf_page": 27, "printed_page": 69 } ], "lesson": 4, "reading_order": 185, "exercise": 1 }, { "id": "70-h1", "type": "heading", "latin": "Ligaturæ Dissonantiæ.", "english": "Dissonant ligatures.", "sources": [ { "pdf_page": 28, "printed_page": 70 } ], "lesson": 4, "reading_order": 186, "exercise": 1 }, { "id": "70-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 28, "printed_page": 70 } ], "lesson": 4, "asset_refs": [ "70-a" ], "playback_status": "ready", "labels": [], "reading_order": 187, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "70-a" ] }, { "id": "70-1", "type": "paragraph", "latin": "Porrò cùm Dissonantiæ hoc loco non accidentaliter, vel per diminutionem, quemadmodum in præcedentibus Speciebus, sed substantialiter, & in Thesi veniant, neque ex se, utpote auribus inimicæ quidquam grati exhibere valeant, amœnitatemque suam à Consonantia continuò sequente, in quam resolvuntur, participare necesse sit; quapropter nunc dicendum est", "english": "Furthermore, since dissonances occur here not accidentally or through diminution, as in the preceding species, but substantially and on the thesis, and since, being displeasing to the ear, they cannot offer anything agreeable of themselves, they must derive their pleasantness from the consonance immediately following, into which they resolve. Therefore we must now speak", "sources": [ { "pdf_page": 28, "printed_page": 70 } ], "lesson": 4, "reading_order": 188, "connected_reading_group": "70-1", "exercise": 1 }, { "id": "70-h2", "type": "heading", "latin": "De Dissonantiarum Resolutione.", "english": "On the resolution of dissonances.", "sources": [ { "pdf_page": 28, "printed_page": 70 } ], "lesson": 4, "reading_order": 189, "connected_reading_group": "70-1", "exercise": 1 }, { "id": "70-2", "type": "paragraph", "latin": "Antequam dicere aggrediar, quò modo Dissonantiæ resolvendæ sint, juvat scire, Notas ligatas quasi vinculis constrictas haud aliud esse, quàm Notæ sequentis retardationem, quæ posteà tanquam servitute solutæ in libertatem exire videntur. Quam ob rem dissonantiæ semper in proximam Consonantiam gradatim descendendo se moventem resolvendæ sunt; ut in sequenti exemplo clarè videtur:", "english": "Before I undertake to explain how dissonances are to be resolved, it helps to know that tied notes, as though bound in chains, are nothing other than a delay of the following note; afterward they seem to emerge into freedom, as though released from servitude. For this reason dissonances must always be resolved into the nearest consonance by moving downward by step, as is clearly seen in the following example:", "sources": [ { "pdf_page": 28, "printed_page": 70 } ], "lesson": 4, "reading_order": 190, "exercise": 1 }, { "id": "70-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 28, "printed_page": 70 } ], "lesson": 4, "asset_refs": [ "70-b" ], "playback_status": "ready", "labels": [], "reading_order": 191, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "70-b" ] }, { "id": "70-3", "type": "paragraph", "latin": "Quod Paradigma, sublatâ retardatione sic se habet:", "english": "With the delay removed, this example takes the following form:", "sources": [ { "pdf_page": 28, "printed_page": 70 } ], "lesson": 4, "reading_order": 192, "exercise": 1 }, { "id": "70-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 28, "printed_page": 70 } ], "lesson": 4, "asset_refs": [ "70-c" ], "playback_status": "ready", "labels": [], "reading_order": 193, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "70-c" ] }, { "id": "71-1", "type": "paragraph", "latin": "Ex quo colligitur, rem scitu facilem fore, in qualem Consonantiam quælibet dissonantia resolvenda sit, videlicet in illam, quæ, sublata retardatione, immediatè in sequentis tactûs Thesi reperitur. Inde fit, quod Cantu firmo in inferiori parte existente, Secunda in Unisonum, Quarta in Tertiam, Septima in Sextam, Nona in Octavam resolvi debeant. Quæ ratio ità veritate nititur, ut hanc ob causam neque de Unisono in Secundam; neque de Octava in Nonam per Ligaturam progredi liceat; quemadmodum in sequentibus exemplis videndum est.", "english": "From this it follows that it will be easy to know into which consonance any dissonance must resolve: namely, the one found immediately on the thesis of the following measure when the delay is removed. Hence, when the cantus firmus is in the lower part, a second must resolve to a unison, a fourth to a third, a seventh to a sixth, and a ninth to an octave. This principle is so firmly grounded in truth that, for this reason, it is not permitted to proceed by ligature either from a unison to a second or from an octave to a ninth, as may be seen in the following examples.", "sources": [ { "pdf_page": 29, "printed_page": 71 } ], "lesson": 4, "reading_order": 194, "exercise": 1 }, { "id": "71-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 29, "printed_page": 71 } ], "lesson": 4, "asset_refs": [ "71-a" ], "playback_status": "ready", "labels": [ { "latin": "malè. malè.", "english": "bad. bad." } ], "reading_order": 195, "exercise": 1, "music_asset_refs": [ "71-a" ] }, { "id": "71-2", "type": "paragraph", "latin": "Quâ retardatione sublatâ immediatam duorum Unisonorum in primo exemplo, & duarum Octavarum consecutionem in secundo videbis, hac ratione:", "english": "With that delay removed, you will see an immediate succession of two unisons in the first example and two octaves in the second, in this way:", "sources": [ { "pdf_page": 29, "printed_page": 71 } ], "lesson": 4, "reading_order": 196, "exercise": 1 }, { "id": "71-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 29, "printed_page": 71 } ], "lesson": 4, "asset_refs": [ "71-b" ], "playback_status": "ready", "labels": [], "reading_order": 197, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "71-b" ] }, { "id": "71-3", "type": "paragraph", "latin": "Contra fit, si de Tertia in Secundam, & de Decima in Nonam fit progressus, hoc modo:", "english": "The contrary is the case if the progression is from a third to a second and from a tenth to a ninth, in this way:", "sources": [ { "pdf_page": 29, "printed_page": 71 } ], "lesson": 4, "reading_order": 198, "exercise": 1 }, { "id": "71-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 29, "printed_page": 71 } ], "lesson": 4, "asset_refs": [ "71-c" ], "playback_status": "playback not yet available", "labels": [ { "latin": "bene. bene.", "english": "good. good." } ], "reading_order": 199, "exercise": 1, "music_asset_refs": [ "71-c" ] }, { "id": "72-1", "type": "paragraph", "latin": "Quæ Hypotheses rectè consistunt, quia etiam retardatione, sive ligaturâ sublatâ valerent, sequenti nempe ratione:", "english": "These cases are correct, because they would remain valid even with the delay, or ligature, removed, namely in the following way:", "sources": [ { "pdf_page": 30, "printed_page": 72 } ], "lesson": 4, "reading_order": 200, "exercise": 1 }, { "id": "72-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 30, "printed_page": 72 } ], "lesson": 4, "asset_refs": [ "72-a" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 201, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "72-a" ] }, { "id": "72-2", "type": "paragraph", "latin": "Postquam monstratum est, quales dissonantiæ adhiberi possint, quòque modo resolvi debeant, si Cantus firmus in inferiori existat parte, jam dicendum restat, quibus dissonantiis locus sit, qua ratione resolvendæ, Cantu firmo in superiori parte existente.", "english": "Having shown which dissonances may be used and how they must be resolved when the cantus firmus is in the lower part, it remains to explain which dissonances have a place, and how they must be resolved, when the cantus firmus is in the upper part.", "sources": [ { "pdf_page": 30, "printed_page": 72 } ], "lesson": 4, "reading_order": 202, "exercise": 1 }, { "id": "72-3", "type": "paragraph", "latin": "Dico igitur, quod hoc loco Secunda resoluta in Tertiam; Quarta resoluta in Quintam, Nona resoluta in Decimam adhiberi possint. E. G.", "english": "I say, then, that here one may use a second resolved to a third, a fourth resolved to a fifth, and a ninth resolved to a tenth. For example:", "sources": [ { "pdf_page": 30, "printed_page": 72 } ], "lesson": 4, "reading_order": 203, "exercise": 1 }, { "id": "72-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 30, "printed_page": 72 } ], "lesson": 4, "asset_refs": [ "72-b" ], "playback_status": "ready", "labels": [], "reading_order": 204, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "72-b" ] }, { "id": "72-4", "type": "paragraph", "latin": "Joseph. Quare hoc loco omittis Septimam? ergo Cantu firmo in parte superiore existente adhiberi non potest? non molestè feras mihi dicere rationem.", "english": "Joseph. Why do you omit the seventh here? Can it therefore not be used when the cantus firmus is in the upper part? Please tell me the reason.", "sources": [ { "pdf_page": 30, "printed_page": 72 } ], "lesson": 4, "reading_order": 205, "exercise": 1 }, { "id": "72-5", "type": "paragraph", "latin": "Aloys. Septimam consultò hoc loco à me omissam esse fateor. Ratio autem vix alia afferri poterit, quàm Authorum Classicorum gravis Authoritas, cui in praxi plurimum tribuendum est, quorum vix ullus reperitur, qui Septimâ hac ratione in Octavam resolutâ usus fuerit.", "english": "Aloysius. I admit that I deliberately omitted the seventh here. Scarcely any other reason can be offered than the weighty authority of the classical masters, to which great importance must be attached in practice; scarcely any of them can be found to have used a seventh resolved in this way to an octave.", "sources": [ { "pdf_page": 30, "printed_page": 72 } ], "lesson": 4, "reading_order": 206, "exercise": 1 }, { "id": "72-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 30, "printed_page": 72 } ], "lesson": 4, "asset_refs": [ "72-c" ], "playback_status": "ready", "labels": [], "reading_order": 207, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "72-c" ] }, { "id": "73-1", "type": "paragraph", "latin": "Posset fortassè dici, ideò Septimam hac ratione resolutam non valere, quia in Consonantiam perfectam, nempe Octavam, à qua parùm admodum harmoniæ habere potest, resolvitur, nisi eosdem apud Authores Secunda, quæ Septima inversa est, in Unisonum resoluta frequenter reperiretur, à quo, tanquam Consonantiarum perfectissimo multò minùs harmoniæ, dissonans participare potest. Usui hac in parte, gravibus ab Authoribus introducto consulendum puto. Videamus exemplum Septimæ in Secundam inversæ, & in Unisonum resolutæ:", "english": "One might perhaps say that a seventh resolved in this way is not acceptable because it resolves to a perfect consonance, namely an octave, from which it can derive very little harmony—were it not that, in the same masters, the second, which is the inverted seventh, is frequently found resolving to a unison. From the unison, as the most perfect of consonances, the dissonance can derive still less harmony. In this matter I think we should defer to the usage established by authoritative masters. Let us examine an example of the seventh inverted into a second and resolved to a unison:", "sources": [ { "pdf_page": 31, "printed_page": 73 } ], "lesson": 4, "reading_order": 208, "exercise": 1 }, { "id": "73-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 31, "printed_page": 73 } ], "lesson": 4, "asset_refs": [ "73-a" ], "playback_status": "ready", "labels": [ { "latin": "bene.", "english": "good." } ], "reading_order": 209, "exercise": 1, "music_asset_refs": [ "73-a" ] }, { "id": "73-2", "type": "paragraph", "latin": "Joseph. Antequam ad Lectionem progrediar, liceat mihi pace tuâ quærere, an retardatio, sive Ligatura in Dissonantia etiam in ascendendo locum habeat? Videtur enim par ratio sequentium exemplorum:", "english": "Joseph. Before I proceed to the exercise, may I ask, with your permission, whether a delay, or ligature, in a dissonance can also occur in ascent? For the following examples seem to have an equal rationale:", "sources": [ { "pdf_page": 31, "printed_page": 73 } ], "lesson": 4, "reading_order": 210, "exercise": 1 }, { "id": "73-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 31, "printed_page": 73 } ], "lesson": 4, "asset_refs": [ "73-b" ], "playback_status": "ready", "labels": [], "reading_order": 211, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "73-b" ] }, { "id": "73-3", "type": "paragraph", "latin": "Aloys. Quæstionem moves, nodo Gordio solutu difficiliorem, quam tu etiamnum in disciplinæ hujus limite hærens capere non potes, ideo alio loco solvendam. Quamvis si retardationem sustuleris, par ratio Tertiarum videtur & ascensûs, & descensûs, quandam tamen differentiam subesse, suo loco, ut dixi, explanabitur. Interim omnes dissonantias in proximam Consonantiam descendendo resolvendas esse jure Magistri tibi dico. Cæterùm hujus Speciei penultimus tactus Septimâ in Sextam resolutâ, si Cantus firmus in inferiori sit parte, concludendus est: sin autem Cantus firmus in superiori parte existat, cum Secunda in Tertiam minorem resolutâ, inde in Unisonum procedendo finiendus erit.", "english": "Aloysius. You raise a question harder to untie than the Gordian knot, which you, still standing at the threshold of this discipline, cannot grasp, and which must therefore be resolved elsewhere. Although, if the delay is removed, the thirds seem to have an equal rationale both in ascent and in descent, it will nevertheless be explained in its proper place, as I said, that a difference lies beneath. Meanwhile, by my authority as your teacher, I tell you that all dissonances must be resolved by descending to the nearest consonance. As for the penultimate measure of this species, it must conclude with a seventh resolved to a sixth if the cantus firmus is in the lower part; but if the cantus firmus is in the upper part, it must end with a second resolved to a minor third, proceeding from there to a unison.", "sources": [ { "pdf_page": 31, "printed_page": 73 }, { "pdf_page": 32, "printed_page": 74, "region": "opening continuation" } ], "lesson": 4, "reading_order": 212, "exercise": 1 }, { "id": "74-1", "type": "paragraph", "latin": "Joseph. Eritne singulis tactibus danda sua Ligatura?", "english": "Joseph. Must each measure be given its own ligature?", "sources": [ { "pdf_page": 32, "printed_page": 74 } ], "lesson": 4, "reading_order": 213, "exercise": 1 }, { "id": "74-2", "type": "paragraph", "latin": "Aloys. Omninò, ubi esse poterit. Offendes autem nonnunquam tactum, cui Ligaturæ locus non erit, quo casu tactus ille Minimis solutis implendus erit, donec facultas faciendæ Ligaturæ se præsentet. Age, Ligaturisque incumbe.", "english": "Aloysius. Certainly, wherever it is possible. But you will sometimes encounter a measure in which there is no room for a ligature; in that case the measure must be filled with untied minims until the opportunity to make a ligature presents itself. Come, and apply yourself to ligatures.", "sources": [ { "pdf_page": 32, "printed_page": 74 } ], "lesson": 4, "reading_order": 214, "exercise": 1 }, { "id": "74-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 32, "printed_page": 74 } ], "lesson": 4, "asset_refs": [ "74-a" ], "playback_status": "ready", "labels": [], "reading_order": 215, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "74-a" ] }, { "id": "74-3", "type": "paragraph", "latin": "Rectè quidem fecisti; sed quare in quinto tactu omisisti Ligaturam? poterat enim esse, si post Tertiam illam, Quintam adhibuisses; quæ prima Ligaturæ Nota fuisset, & manendo in eadem linea, in sequentis tactûs Thesi, nempe Sextâ alteram Ligaturam habuisses. Dixi enim, nullam occasionem prætereundam esse.", "english": "You have done well, indeed; but why did you omit the ligature in the fifth measure? It could have been made if, after that third, you had used a fifth. That would have been the first note of the ligature, and, remaining on the same staff line, you would have had another ligature on the thesis of the following measure, namely a sixth. For I said that no opportunity should be passed over.", "sources": [ { "pdf_page": 32, "printed_page": 74 } ], "lesson": 4, "reading_order": 216, "exercise": 1 }, { "id": "74-4", "type": "paragraph", "latin": "Joseph. Poteram certè; sed consultò omisi, ne in odiosam inciderem repetitionem, continuò enim antè in tertio & quarto tactu easdem posui Ligaturas.", "english": "Joseph. I certainly could have, but I deliberately omitted it to avoid an irritating repetition, for immediately before, in the third and fourth measures, I had placed the same ligatures.", "sources": [ { "pdf_page": 32, "printed_page": 74 } ], "lesson": 4, "reading_order": 217, "exercise": 1 }, { "id": "74-5", "type": "paragraph", "latin": "Aloys. Satis providâ usus es observatione, quia & canendi rationi, & progressûs concinnitati haud parùm concedendum est. Perge.", "english": "Aloysius. You have exercised quite prudent judgment, for no little allowance must be made both for the melodic line and for the grace of the progression. Continue.", "sources": [ { "pdf_page": 32, "printed_page": 74 } ], "lesson": 4, "reading_order": 218, "exercise": 1 }, { "id": "74-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 32, "printed_page": 74 } ], "lesson": 4, "asset_refs": [ "74-b" ], "playback_status": "ready", "labels": [], "reading_order": 219, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "74-b" ] }, { "id": "75-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 33, "printed_page": 75 } ], "lesson": 4, "asset_refs": [ "75-a" ], "playback_status": "ready", "labels": [], "reading_order": 220, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "75-a" ] }, { "id": "75-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 33, "printed_page": 75 } ], "lesson": 4, "asset_refs": [ "75-b" ], "playback_status": "ready", "labels": [], "reading_order": 221, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "75-b" ] }, { "id": "75-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 33, "printed_page": 75 } ], "lesson": 4, "asset_refs": [ "75-c" ], "playback_status": "ready", "labels": [], "reading_order": 222, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "75-c" ] }, { "id": "75-d", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 33, "printed_page": 75 } ], "lesson": 4, "asset_refs": [ "75-d" ], "playback_status": "ready", "labels": [], "reading_order": 223, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "75-d" ] }, { "id": "75-1", "type": "paragraph", "latin": "Aloys. Hæc exempla pro nunc sufficiant. Cùm autem Ligaturis haud mediocre condimentum Musicali Concentui accedat, ideò non solùm reliquorum trium tonorum Cantus firmos hac ratione persequendos tibi commendo, verùm etiam, ut repertis aliis in hac Specie plurimùm te exerceas, nec unquam satis exercebis.", "english": "Aloysius. Let these examples suffice for now. Since ligatures add no small seasoning to musical harmony, I recommend not only that you work through the cantus firmi of the remaining three modes in this way, but also that you find others and practice extensively in this species; you will never practice it enough.", "sources": [ { "pdf_page": 33, "printed_page": 75 }, { "pdf_page": 34, "printed_page": 76, "region": "opening continuation" } ], "lesson": 4, "reading_order": 224, "exercise": 1 }, { "id": "76-1", "type": "paragraph", "latin": "Pro concinnitate sequentis Speciei hîc præmitto, Ligaturas hucusque dictas etiam alio modo fieri posse, quæ quidem substantiam minimè evertunt, afferunt tamen concentui celerioris motûs rationem. E. G.", "english": "With a view to the grace of the next species, I state here in advance that the ligatures discussed thus far can also be made in another way. These forms do not overturn their substance at all, but they give the harmony a swifter motion. For example:", "sources": [ { "pdf_page": 34, "printed_page": 76 } ], "lesson": 4, "reading_order": 225, "exercise": 1 }, { "id": "76-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 34, "printed_page": 76 } ], "lesson": 4, "asset_refs": [ "76-a" ], "playback_status": "ready", "labels": [ { "latin": "Substantia. idem. Substantia. idem.", "english": "Substance. The same. Substance. The same." } ], "reading_order": 226, "exercise": 1, "music_asset_refs": [ "76-a" ] }, { "id": "76-2", "type": "paragraph", "latin": "Ex quibus clarè colligitur, primam & tertiam Hypothesin esse substantiam; sequentes, ubi idem adjunctum est, esse variationes, vel cantûs, vel motûs gratiâ adhibitas. Rumpi etiam solet Ligatura modo sequenti:", "english": "From these it is clearly understood that the first and third cases are the substance; those following, where “the same” is added, are variations used for the sake of either the melody or the motion. A ligature is also customarily broken in the following way:", "sources": [ { "pdf_page": 34, "printed_page": 76 } ], "lesson": 4, "reading_order": 227, "exercise": 1 }, { "id": "76-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 34, "printed_page": 76 } ], "lesson": 4, "asset_refs": [ "76-b" ], "playback_status": "ready", "labels": [], "reading_order": 228, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "76-b" ] }, { "id": "76-3", "type": "paragraph", "latin": "Prætereà nonnunquam duæ Fusæ sequenti Speciei immisceri possunt; quæ quidem in secunda, & quarta tactûs parte, nunquam verò in prima & tertia ponendæ sunt.", "english": "Furthermore, two fusae may sometimes be mixed into the following species. They must be placed in the second and fourth parts of the measure, however, and never in the first and third.", "sources": [ { "pdf_page": 34, "printed_page": 76 } ], "lesson": 4, "reading_order": 229, "exercise": 1 }, { "id": "76-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 34, "printed_page": 76 } ], "lesson": 4, "asset_refs": [ "76-c" ], "playback_status": "ready", "labels": [ { "latin": "bene. bene. malè.", "english": "good. good. bad." } ], "reading_order": 230, "exercise": 1, "music_asset_refs": [ "76-c" ] }, { "id": "76-4", "type": "paragraph", "latin": "His intellectis sit", "english": "With these things understood, let there be", "sources": [ { "pdf_page": 34, "printed_page": 76 } ], "lesson": 4, "reading_order": 231, "connected_reading_group": "76-4", "exercise": 1 }, { "id": "76-h1", "type": "heading", "latin": "EXERCITII I.", "english": "EXERCISE I.", "sources": [ { "pdf_page": 34, "printed_page": 76 } ], "lesson": 5, "reading_order": 232, "connected_reading_group": "76-4", "exercise": 1 }, { "id": "76-h2", "type": "heading", "latin": "LECTIO QUINTA,", "english": "FIFTH LESSON,", "sources": [ { "pdf_page": 34, "printed_page": 76 } ], "lesson": 5, "reading_order": 233, "connected_reading_group": "76-4", "exercise": 1 }, { "id": "76-h3", "type": "heading", "latin": "De quinta Specie Contrapuncti.", "english": "On the fifth species of counterpoint.", "sources": [ { "pdf_page": 34, "printed_page": 76 } ], "lesson": 5, "reading_order": 234, "connected_reading_group": "76-4", "exercise": 1 }, { "id": "76-5", "type": "paragraph", "latin": "Species ista Contrapunctum floridum appellatur, sic dictum, quia omnis generis ornatu, canendi gratiâ, flexibili motuum facilitate, concinnâ figurarum varietate, ut hortus flosculis florere debet. Quemadmodum enim omnibus reliquis Arithmeticæ vulgaris Speciebus, ut Numeratione, Additione, Subtractione, & Multiplicatione in Divisione utimur, ità Species hæc nihil aliud est, quàm præcedentium Contrapuncti Specierum Congeries & Compositio, nec quidquam novi hîc monendum occurrit, præter Cantûs concinnitatem, cui plurimùm curæ, atque operæ dandum esse, nunquam è memoria tibi excidat, hortor, atque obsecro.", "english": "This species is called florid counterpoint, so named because it should bloom like a garden with little flowers, with ornament of every kind, grace of melody, supple ease of motion, and a pleasing variety of note forms. For just as we use all the other operations of ordinary arithmetic—numeration, addition, subtraction, and multiplication—in division, so this species is nothing other than an assemblage and combination of the preceding species of counterpoint. There is nothing new to advise here except grace of melody. I urge and implore you never to forget that the greatest care and effort must be devoted to it.", "sources": [ { "pdf_page": 34, "printed_page": 76 }, { "pdf_page": 35, "printed_page": 77, "region": "opening continuation" } ], "lesson": 5, "reading_order": 235, "exercise": 1 }, { "id": "77-1", "type": "paragraph", "latin": "Joseph. Dabo operam pro viribus meis, sed vix mihi fido, nullo exemplo ante oculos habito, calamum prehendere.", "english": "Joseph. I shall do my utmost, but I scarcely trust myself to take up the pen without an example before my eyes.", "sources": [ { "pdf_page": 35, "printed_page": 77 } ], "lesson": 5, "reading_order": 236, "exercise": 1 }, { "id": "77-2", "type": "paragraph", "latin": "Aloys. Alacri animo sis, formabo tibi primum exemplum.", "english": "Aloysius. Be of good cheer; I shall construct the first example for you.", "sources": [ { "pdf_page": 35, "printed_page": 77 } ], "lesson": 5, "reading_order": 237, "exercise": 1 }, { "id": "77-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 35, "printed_page": 77 } ], "lesson": 5, "asset_refs": [ "77-a" ], "playback_status": "ready", "labels": [], "reading_order": 238, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "77-a" ] }, { "id": "77-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 35, "printed_page": 77 } ], "lesson": 5, "asset_refs": [ "77-b" ], "playback_status": "ready", "labels": [], "reading_order": 239, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "77-b" ] }, { "id": "78-1", "type": "paragraph", "latin": "Huic igitur formulæ reliquorum Cantuum firmorum Contrapuncta tibi accommodanda restant.", "english": "It remains, then, for you to adapt the counterpoints of the remaining cantus firmi to this model.", "sources": [ { "pdf_page": 36, "printed_page": 78 } ], "lesson": 5, "reading_order": 240, "exercise": 1 }, { "id": "78-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 36, "printed_page": 78 } ], "lesson": 5, "asset_refs": [ "78-a" ], "playback_status": "ready", "labels": [], "reading_order": 241, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "78-a" ] }, { "id": "78-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 36, "printed_page": 78 } ], "lesson": 5, "asset_refs": [ "78-b" ], "playback_status": "ready", "labels": [], "reading_order": 242, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "78-b" ] }, { "id": "78-2", "type": "paragraph", "latin": "Aloys. Satis industriosè operatus es; & quod mihi non mediocriter placet, est, te non parùm attentionis canendi rationi tribuisse, quodque in introitu in Thesin plerumque motum obliquum, vel Syncopen adhibueris, quam industriam, quia plurimùm Contrapuncto affert gratiæ, ulteriùs tibi commendatam volo.", "english": "Aloysius. You have worked quite diligently. What pleases me no little is that you have devoted considerable attention to the melodic line and that, on entering the thesis, you have generally used oblique motion or syncopation. I wish to commend this practice to you further, because it adds very great grace to counterpoint.", "sources": [ { "pdf_page": 36, "printed_page": 78 }, { "pdf_page": 37, "printed_page": 79, "region": "opening continuation" } ], "lesson": 5, "reading_order": 243, "exercise": 1 }, { "id": "79-1", "type": "paragraph", "latin": "Joseph. Incredibili afficior lætitiâ, quod intelligam, non in totum tibi displicere & studii, & conatûs mei rationem, quo blandimento animatus, non mediocrem fructum brevi tempore facturus mihi videor. In præsentia tua, vel privato studio restantes tres toni mihi persequendi sunt?", "english": "Joseph. I am filled with incredible joy to understand that the manner of my study and effort is not wholly displeasing to you. Encouraged by this kindness, I think I shall make considerable progress in a short time. Should I pursue the remaining three modes in your presence or in private study?", "sources": [ { "pdf_page": 37, "printed_page": 79 } ], "lesson": 5, "reading_order": 244, "exercise": 1 }, { "id": "79-2", "type": "paragraph", "latin": "Aloys. Cùm Species hæc tantæ sit utilitatis, ut vix dicere queam, ideo absolves tu quidem prædictos tres tonos me præsente; verùm te admonitum volo, ut hoc in genere Compositionis semper magis magisque te exercere nunquam desistas.", "english": "Aloysius. Since this species is of such great usefulness that I can scarcely express it, you will complete the three modes just mentioned in my presence. But I wish to admonish you never to cease practicing this kind of composition ever more and more.", "sources": [ { "pdf_page": 37, "printed_page": 79 } ], "lesson": 5, "reading_order": 245, "exercise": 1 }, { "id": "79-3", "type": "paragraph", "latin": "Joseph. Consilium tuum semper ut Legem observabo.", "english": "Joseph. I shall always observe your advice as a law.", "sources": [ { "pdf_page": 37, "printed_page": 79 } ], "lesson": 5, "reading_order": 246, "exercise": 1 }, { "id": "79-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 37, "printed_page": 79 } ], "lesson": 5, "asset_refs": [ "79-a" ], "playback_status": "ready", "labels": [], "reading_order": 247, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "79-a" ] }, { "id": "79-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 37, "printed_page": 79 } ], "lesson": 5, "asset_refs": [ "79-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 248, "exercise": 1, "music_asset_refs": [ "79-custos" ] }, { "id": "80-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 38, "printed_page": 80 } ], "lesson": 5, "asset_refs": [ "80-a" ], "playback_status": "ready", "labels": [], "reading_order": 249, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "80-a" ] }, { "id": "80-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 38, "printed_page": 80 } ], "lesson": 5, "asset_refs": [ "80-b" ], "playback_status": "ready", "labels": [], "reading_order": 250, "label_policy": "Original labels and figures remain inside the crop; not separately re-encoded.", "exercise": 1, "music_asset_refs": [ "80-b" ] }, { "id": "80-1", "type": "paragraph", "latin": "Joseph. Quid indicat illud nota bene NB. in quinto tactu ultimi exempli in Cantu positum?", "english": "Joseph. What does the nota bene, NB, placed in the soprano in the fifth measure of the last example indicate?", "sources": [ { "pdf_page": 38, "printed_page": 80 } ], "lesson": 5, "reading_order": 251, "exercise": 1 }, { "id": "80-2", "type": "paragraph", "latin": "Aloys. Ne te affixeris. Nihil enim de hoc ex me adhuc intellexisti; nunc tibi non quidem Præcepti, sed Consilii causâ dico, quod positis duabus Semiminimis in principio tactûs, absque Ligatura continuò sequente, ratio cantandi claudicare videatur. Quapropter consultius erit, si duas tantùm Semiminimas in principio tactûs adhibere lubet, eas cum sequenti Ligatura stringere, vel cum duabus adhuc aliis Semiminimis cursum facilitare; ut in sequenti exemplo:", "english": "Aloysius. Do not distress yourself, for you have not yet learned anything about this from me. I now tell you, not as a precept but as advice, that when two semiminims are placed at the beginning of a measure without a ligature immediately following, the melodic line seems to limp. Therefore, if you wish to use only two semiminims at the beginning of a measure, it will be more advisable to bind them to a following ligature, or to ease the flow with two further semiminims, as in the following example:", "sources": [ { "pdf_page": 38, "printed_page": 80 }, { "pdf_page": 39, "printed_page": 81, "region": "opening continuation" } ], "lesson": 5, "reading_order": 252, "exercise": 1 }, { "id": "81-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 39, "printed_page": 81 } ], "lesson": 5, "asset_refs": [ "81-a" ], "playback_status": "ready", "labels": [ { "latin": "NB. meliùs.", "english": "NB. Better." } ], "reading_order": 253, "exercise": 1, "music_asset_refs": [ "81-a" ] }, { "id": "81-1", "type": "paragraph", "latin": "Jam Bicinium, omnes quinque Species percurrendo, supposito Cantu firmo, Deo sint Laudes, absolvimus. Nunc redeundum est ad principium, nempe Notam contra Notam in Tricinio, videndumque, quid in quâvis Specie observandum, quâque ratione trium partium Compositio institui debeat.", "english": "We have now completed two-voice composition, going through all five species with a cantus firmus as the foundation—praise be to God. Now we must return to the beginning, namely note against note in three-voice composition, and see what must be observed in each species and how composition for three parts should be undertaken.", "sources": [ { "pdf_page": 39, "printed_page": 81 } ], "lesson": 5, "reading_order": 254, "exercise": 1 }, { "id": "e2-p81-0", "type": "heading", "latin": "EXERCITII II. LECTIO PRIMA. De Nota contra Notam in Tricinio.", "english": "SECOND EXERCISE. FIRST LESSON. Note against note in three voices.", "sources": [ { "printed_page": 81, "pdf_page": 39, "reused_original_pdf_page": 6 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p81-0" ], "reading_order": 255 }, { "id": "e2-p81-1", "type": "paragraph", "latin": "Tricinii Compositionem omnium perfectissimam esse, vel ex eo constat, quòd in illa sine adjumento alterius partis perfecta harmoniæ Trias haberi possit, cùm tertiæ, sive plurium partium accessio nil aliud quasi sit, quàm cujusdam partis in Triade harmonica jam existentis repetitio; unde quasi in Proverbium abivit, cui Tricinii rectè efficiendi potestas esset, ei viam ad plurium partium Compositionem, quàm latissimè patere.", "english": "That composition in three voices is the most complete of all is evident even from this: in it, a complete harmonic triad can be obtained without the help of another part, whereas the addition of a third part, or of further parts, is virtually nothing but the repetition of a part already present in the harmonic triad. Hence it has almost become a proverb that anyone who can compose correctly in three voices has the broadest possible path open to composition in a greater number of parts.", "sources": [ { "printed_page": 81, "pdf_page": 39, "reused_original_pdf_page": 6 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p81-1" ], "reading_order": 256 }, { "id": "e2-p81-2", "type": "paragraph", "latin": "Joseph. Incredibili animus meus exardescit sciendi desiderio, qua ratione Compositio hæc conficienda sit; verùm haud modicum metuo, ne rei gravitas tenuitatem opprimens, votum meum hæsitare faciat.", "english": "Joseph. My mind burns with an extraordinary desire to learn how this kind of composition is to be made. Yet I am considerably afraid that the difficulty of the subject may overwhelm my limited ability and leave my wish unfulfilled.", "sources": [ { "printed_page": 81, "pdf_page": 39, "reused_original_pdf_page": 6 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p81-2" ], "reading_order": 257 }, { "id": "e2-p81-3", "type": "paragraph", "latin": "Aloys. Non est, quod metuas; etenim quia in conficiendis Bicinii Speciebus non magnoperè laborâsti, spe fretus esto, intellectis primùm iis, quæ tibi dicturus sum, & sumpto principio à Specie simplicissima, Notâ nempe contra Notam, eoque ordine, quem in Bicinio observavimus, progrediendo, non adeò difficilem tibi futurum Tricinii conficiendi laborem.", "english": "Aloys. You have nothing to fear. Since you did not struggle greatly in working out the species in two voices, be confident that, once you have understood what I am about to explain, the task of composing in three voices will not prove so difficult. Begin with the simplest species, note against note, and proceed in the same order that we followed in two voices.", "sources": [ { "printed_page": 81, "pdf_page": 39, "reused_original_pdf_page": 6 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p81-3" ], "reading_order": 258 }, { "id": "e2-p81-4", "type": "paragraph", "latin": "Est igitur Species hæc trium partium simplicissima Compositio Notis æqualibus, sive tribus semibrevibus, merisque Consonantiis constans.", "english": "This simplest species in three voices is therefore a composition in equal notes—that is, in three simultaneous semibreves—and consisting entirely of consonances.", "sources": [ { "printed_page": 81, "pdf_page": 39, "reused_original_pdf_page": 6 }, { "printed_page": 82, "pdf_page": 40, "reused_original_pdf_page": 7 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p81-4", "p82-0" ], "reading_order": 259 }, { "id": "e2-p82-1", "type": "paragraph", "latin": "Ubi primùm notandum, in omni Hypothesi, sive tactu, nisi alia ratio impediat, Triadem harmonicam adhibendam esse.", "english": "First, observe that the harmonic triad should be used at every harmonic position, or measure, unless some other consideration prevents it.", "sources": [ { "printed_page": 82, "pdf_page": 40, "reused_original_pdf_page": 7 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p82-1" ], "reading_order": 260 }, { "id": "e2-p82-2", "type": "paragraph", "latin": "Joseph. Quid est Trias harmonica?", "english": "Joseph. What is a harmonic triad?", "sources": [ { "printed_page": 82, "pdf_page": 40, "reused_original_pdf_page": 7 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p82-2" ], "reading_order": 261 }, { "id": "e2-p82-3", "type": "paragraph", "latin": "Aloys. Est Sistema Tertiâ & Quintâ constans. E. G.", "english": "Aloys. It is a combination consisting of a third and a fifth. For example:", "sources": [ { "printed_page": 82, "pdf_page": 40, "reused_original_pdf_page": 7 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p82-3" ], "reading_order": 262 }, { "id": "82-a", "type": "music", "latin": "", "english": "", "sources": [ { "printed_page": 82, "pdf_page": 40, "reused_original_pdf_page": 7 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p82-4" ], "asset_refs": [ "82-a" ], "playback_status": "ready", "reading_order": 263, "music_asset_refs": [ "82-a" ] }, { "id": "e2-p82-5", "type": "paragraph", "latin": "Joseph. Sed quæ sunt illæ rationes, quæ hanc Triadem faciendi facultatem nonnunquam adimunt?", "english": "Joseph. But what are the considerations that sometimes prevent us from forming this triad?", "sources": [ { "printed_page": 82, "pdf_page": 40, "reused_original_pdf_page": 7 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p82-5" ], "reading_order": 264 }, { "id": "e2-p82-6", "type": "paragraph", "latin": "Aloys. Est subinde concinnioris Cantûs ratio, cujus gratiâ nonnunquam locò Triadis alia Consonantia, vel Sexta, vel Octava adhiberi solet: sæpiùs etiam immediatam duarum perfectarum consecutionem evitandi necessitas postulat, ut relictâ Triade, aut Sextâ locò Quintæ, aut Octavâ, aut utrâque utendum sit; quemadmodum sequenti exemplo monstrabo:", "english": "Aloys. Sometimes a more graceful melodic line calls for another consonance, either a sixth or an octave, in place of the triad. More often, the need to avoid two perfect consonances in immediate succession requires us to depart from the triad and use a sixth instead of the fifth, or an octave, or both. I shall show this in the following example:", "sources": [ { "printed_page": 82, "pdf_page": 40, "reused_original_pdf_page": 7 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p82-6" ], "reading_order": 265 }, { "id": "82-b", "type": "music", "latin": "", "english": "", "sources": [ { "printed_page": 82, "pdf_page": 40, "reused_original_pdf_page": 7 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p82-7" ], "asset_refs": [ "82-b" ], "playback_status": "ready", "reading_order": 266, "music_asset_refs": [ "82-b" ] }, { "id": "e2-p82-8", "type": "paragraph", "latin": "Joseph. Videtur mihi, pace tuâ, Magister, dixerim, in secundo tactu Triadem absque ratione prætermissam esse; poterat enim, meo quidem judicio, Tenori Quinta dari, quæ Triadem constituisset, & posteà tertio in tactu eidem Tenori Tertia tribui, relictis cæteris Hypothesibus, ut à te positæ sunt. E. G.", "english": "Joseph. With your permission, Master, I would say that the triad seems to have been omitted without reason in the second measure. In my judgment, the tenor could have been given a fifth, which would have completed the triad; and then, in the third measure, the tenor could have been given a third, leaving the other harmonic positions as you set them down. For example:", "sources": [ { "printed_page": 82, "pdf_page": 40, "reused_original_pdf_page": 7 }, { "printed_page": 83, "pdf_page": 41, "reused_original_pdf_page": 8 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p82-8", "p83-0" ], "reading_order": 267 }, { "id": "83-a", "type": "music", "latin": "", "english": "", "sources": [ { "printed_page": 83, "pdf_page": 41, "reused_original_pdf_page": 8 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p83-1" ], "asset_refs": [ "83-a" ], "playback_status": "ready", "reading_order": 268, "music_asset_refs": [ "83-a" ] }, { "id": "e2-p83-2", "type": "paragraph", "latin": "Ambitus isti neque progressuum rationi, neque concinnitati Cantûs obesse videntur.", "english": "These melodic movements seem to interfere neither with the proper progression of the parts nor with the grace of the melody.", "sources": [ { "printed_page": 83, "pdf_page": 41, "reused_original_pdf_page": 8 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p83-2" ], "reading_order": 269 }, { "id": "e2-p83-3", "type": "paragraph", "latin": "Aloys. Non parùm mihi placet hæc tua reflexio, neque reprobari potest hoc tuum Paradigma. Verùm primum, nempe meum, & naturæ, & ordini, varietatique magis consentaneum esse, quis non perspicit? Naturæ, & ordini, quia in illo pars Tenoris pulchrè gradatim absque saltu descendendo movetur usque ad tertium tactum inclusivè, in quo Sexta reperitur, quam Nota mi in parte fundamenti posita, præ aliis Consonantiis amat, ut jam alibi dictum est, & iteratò hujus rei rationem explanatiùs dicturus sum. Ponatur primò illa sexta Hypothesis:", "english": "Aloys. I am quite pleased with this observation of yours, and your example cannot be rejected. But who does not see that the first example, mine, accords better with naturalness, order, and variety? With naturalness and order, because the tenor in it moves beautifully downward by step, without a leap, as far as the third measure inclusive. A sixth occurs there, which the note mi in the bass prefers to the other consonances, as has already been said elsewhere. I shall explain the reason for this more fully once again. First, let us set out that arrangement with the sixth:", "sources": [ { "printed_page": 83, "pdf_page": 41, "reused_original_pdf_page": 8 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p83-3" ], "reading_order": 270 }, { "id": "83-b", "type": "music", "latin": "", "english": "", "sources": [ { "printed_page": 83, "pdf_page": 41, "reused_original_pdf_page": 8 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p83-4" ], "asset_refs": [ "83-b" ], "playback_status": "ready", "reading_order": 271, "music_asset_refs": [ "83-b" ] }, { "id": "e2-p83-5", "type": "paragraph", "latin": "Ubi Nota Sextam efficiens quasi de loco proprio ad improprium translata tenenda est, & in loco proprio sic se haberet:", "english": "Here the note producing the sixth should be regarded as having been transferred, as it were, from its proper position to another. In its proper position, the arrangement would be as follows:", "sources": [ { "printed_page": 83, "pdf_page": 41, "reused_original_pdf_page": 8 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p83-5" ], "reading_order": 272 }, { "id": "84-a", "type": "music", "latin": "", "english": "", "sources": [ { "printed_page": 84, "pdf_page": 42, "reused_original_pdf_page": 9 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p84-0" ], "asset_refs": [ "84-a" ], "playback_status": "ready", "reading_order": 273, "music_asset_refs": [ "84-a" ] }, { "id": "e2-p84-1", "type": "paragraph", "latin": "Illud C. ergo in loco proprio positum Triadem harmonicam constituit, quod translatum per Octavam in acutum, cæteris partibus restantibus, Sextam efficiat necesse est. Quod verò tantùm intelligendum est, quando post illud mi, fa sequitur, ut in exemplo:", "english": "That C, therefore, forms a harmonic triad when placed in its proper position. When it is moved an octave higher while the other parts remain where they are, it necessarily produces a sixth. This is to be understood only when that mi is followed by fa, as in this example:", "sources": [ { "printed_page": 84, "pdf_page": 42, "reused_original_pdf_page": 9 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p84-1" ], "reading_order": 274 }, { "id": "84-b", "type": "music", "latin": "", "english": "", "sources": [ { "printed_page": 84, "pdf_page": 42, "reused_original_pdf_page": 9 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p84-2" ], "asset_refs": [ "84-b" ], "playback_status": "ready", "reading_order": 275, "music_asset_refs": [ "84-b" ] }, { "id": "e2-p84-3", "type": "paragraph", "latin": "Si autem illud mi aliò saltare contingat, magis Quintam, quàm Sextam desiderat, ut in sequentibus exemplis:", "english": "But if that mi happens to leap elsewhere, it calls for a fifth rather than a sixth, as in the following examples:", "sources": [ { "printed_page": 84, "pdf_page": 42, "reused_original_pdf_page": 9 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p84-3" ], "reading_order": 276 }, { "id": "84-c", "type": "music", "latin": "", "english": "", "sources": [ { "printed_page": 84, "pdf_page": 42, "reused_original_pdf_page": 9 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p84-4" ], "asset_refs": [ "84-c" ], "playback_status": "ready", "reading_order": 277, "music_asset_refs": [ "84-c" ] }, { "id": "e2-p84-5", "type": "paragraph", "latin": "Nunc eò, quò nonnihil recessimus, redeundum est; nempe ad rationem, cur Paradigma meum etiam varietati accommodatius sit, quia in illo, A. in Tenoris parte tantùm semel, in tuo verò exemplo bis reperitur, ut videre licet:", "english": "We must now return to the point from which we have digressed a little: why my example is also better suited to variety. In it, A occurs only once in the tenor, whereas in your example it occurs twice, as you can see:", "sources": [ { "printed_page": 84, "pdf_page": 42, "reused_original_pdf_page": 9 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p84-5" ], "reading_order": 278 }, { "id": "84-d", "type": "music", "latin": "", "english": "", "sources": [ { "printed_page": 84, "pdf_page": 42, "reused_original_pdf_page": 9 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p84-6" ], "asset_refs": [ "84-d" ], "playback_status": "ready", "reading_order": 279, "music_asset_refs": [ "84-d" ] }, { "id": "e2-p85-0", "type": "paragraph", "latin": "Cujus varietatis magnam rationem habendam esse, pro nunc & semper tibi dictum volo.", "english": "I tell you now, and for all your future work, that considerable attention must be paid to this variety.", "sources": [ { "printed_page": 85, "pdf_page": 43, "reused_original_pdf_page": 10 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p85-0" ], "reading_order": 280 }, { "id": "e2-p85-1", "type": "paragraph", "latin": "Joseph. Ne molestè tuleris, si quæram, cur in tuo paulò ante allato Paradigmate à partibus tam longè sejunctis principium sumseris? Videtur enim mihi, alio quoque modo fieri potuisse.", "english": "Joseph. Do not be annoyed if I ask why, in the example you gave a little earlier, you began with the parts so widely separated. It seems to me that it could also have been done differently.", "sources": [ { "printed_page": 85, "pdf_page": 43, "reused_original_pdf_page": 10 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p85-1" ], "reading_order": 281 }, { "id": "e2-p85-2", "type": "paragraph", "latin": "Aloys. Minimum molestiæ, sed plurimum oblectamenti mihi affert spe plena curiositas tua. Nonne vidisti, Bassum illius exempli continuò gradatim ascendendo moveri? Quam ob rem, ut partes, motu contrario sibi obviam eundi campum habeant, partibus à parte fundamentali remotis initium fieri necesse est.", "english": "Aloys. Your hopeful curiosity gives me very little annoyance and a great deal of pleasure. Did you not notice that the bass of that example moves continuously upward by step? The other parts must therefore begin far away from the bass so that they have room to meet it by contrary motion.", "sources": [ { "printed_page": 85, "pdf_page": 43, "reused_original_pdf_page": 10 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p85-2" ], "reading_order": 282 }, { "id": "e2-p85-3", "type": "paragraph", "latin": "Sed quibus exemplis Paradigma illud alio modo fieri potuisse demonstras?", "english": "But with what examples will you show that the passage could have been made in another way?", "sources": [ { "printed_page": 85, "pdf_page": 43, "reused_original_pdf_page": 10 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p85-3" ], "reading_order": 283 }, { "id": "e2-p85-4", "type": "paragraph", "latin": "Joseph. Duo exempla, non demonstrandi gratiâ, sed, ut docear, adducam.", "english": "Joseph. I shall offer two examples, not to prove my point, but to be taught.", "sources": [ { "printed_page": 85, "pdf_page": 43, "reused_original_pdf_page": 10 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p85-4" ], "reading_order": 284 }, { "id": "85-a", "type": "music", "latin": "", "english": "", "sources": [ { "printed_page": 85, "pdf_page": 43, "reused_original_pdf_page": 10 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p85-5" ], "asset_refs": [ "85-a" ], "playback_status": "ready", "reading_order": 285, "music_asset_refs": [ "85-a" ] }, { "id": "e2-p85-6", "type": "paragraph", "latin": "Aloys. Non admodum improbo exempla hæc tua. Verùm vides, in primo exemplo, de primo tactu ad secundum, omnes tres partes ascendendo, partim per gradum, partim per saltum moveri, quod absque quadam inconvenientia vix contingere potest. Quod hic accidit in parte Tenoris respectu Alti de primo ad secundum tactum, qui sic se habent:", "english": "Aloys. I do not altogether disapprove of these examples of yours. But you see that in the first example, from the first measure to the second, all three parts move upward, some by step and some by leap. This can scarcely happen without some difficulty. Here it occurs between the tenor and the alto, from the first measure to the second, as follows:", "sources": [ { "printed_page": 85, "pdf_page": 43, "reused_original_pdf_page": 10 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p85-6" ], "reading_order": 286 }, { "id": "85-b", "type": "music", "latin": "", "english": "", "sources": [ { "printed_page": 85, "pdf_page": 43, "reused_original_pdf_page": 10 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p85-7" ], "asset_refs": [ "85-b" ], "playback_status": "ready", "reading_order": 287, "music_asset_refs": [ "85-b" ] }, { "id": "e2-p86-0", "type": "paragraph", "latin": "Ex quo perspicuum est, sublatâ parte fundamentali progressum illum vitiosum esse, quia non solùm de imperfecta ad perfectam sit ambitus, sic loquendo, verùm, quod pejus est, nec illa Quinta Consonans est, sed Quinta falsa. Regularum enim ratio non solùm respectu Bassi, verùm etiam aliarum partium inter se, ubi fieri potest, quamvis in plurium partium compositione non ita rigorosè observanda est: ita ut etiam in Tricinio partium respectu Bassi ponderosas ob rationes nonnunquam ab eo rigore recedere liceat, quod videndum est in prioris exempli penultimo tactu, ubi de Quinta in Octavam finalem, nempe de perfecta ad perfectam motu recto fit progressus, quia aliter fieri non potest. E. G.", "english": "From this it is clear that, when the bass is removed, this progression is faulty. Not only does it move, so to speak, from an imperfect to a perfect consonance; worse still, that fifth is not consonant at all, but diminished. The rules must be considered not only in relation to the bass, but also between the other parts themselves wherever possible, although in composition for several voices they need not be observed so rigorously. Thus, even in three voices, weighty reasons may sometimes permit a departure from this strictness in the relation of the parts to the bass. This can be seen in the penultimate measure of the first example: the fifth proceeds to the final octave, a perfect consonance to a perfect consonance, by similar motion, because it cannot be done otherwise. For example:", "sources": [ { "printed_page": 86, "pdf_page": 44, "reused_original_pdf_page": 11 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p86-0" ], "reading_order": 288 }, { "id": "86-a", "type": "music", "latin": "", "english": "", "sources": [ { "printed_page": 86, "pdf_page": 44, "reused_original_pdf_page": 11 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p86-1" ], "asset_refs": [ "86-a" ], "playback_status": "ready", "reading_order": 289, "music_asset_refs": [ "86-a" ] }, { "id": "e2-p86-2", "type": "paragraph", "latin": "Joseph. Non posset illud inconveniens positâ Decimâ locò Octavæ evitari?", "english": "Joseph. Could that difficulty not be avoided by putting a tenth in place of the octave?", "sources": [ { "printed_page": 86, "pdf_page": 44, "reused_original_pdf_page": 11 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p86-2" ], "reading_order": 290 }, { "id": "e2-p86-3", "type": "paragraph", "latin": "Aloys. Posset quidem, sed videtur per illam imperfectam non satis stabiliri ratio & perfectionis, & quietis in Nota finali requisita. Alia ratio est Quadricinii, ubi accedente Quintâ, non obstante Tertiâ illis rationibus satisfieri videtur.", "english": "Aloys. It could, certainly. But that imperfect consonance seems insufficient to establish the completeness and repose required in the final note. The situation is different in four voices: when the fifth is added, those requirements seem to be satisfied despite the presence of the third.", "sources": [ { "printed_page": 86, "pdf_page": 44, "reused_original_pdf_page": 11 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p86-3" ], "reading_order": 291 }, { "id": "e2-p86-4", "type": "paragraph", "latin": "Joseph. Sed quid dignum reprehensione reperis in secundo meo exemplo?", "english": "Joseph. But what do you find worthy of criticism in my second example?", "sources": [ { "printed_page": 86, "pdf_page": 44, "reused_original_pdf_page": 11 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p86-4" ], "reading_order": 292 }, { "id": "e2-p86-5", "type": "paragraph", "latin": "Aloys. Non quidem aliud, quàm, quod Sextæ in ascendendo in Thesi nonnihil asperitatis habeant. Sextæ in Arhsi venientes (quibus in hac Specie locus non est) utpote minùs roboris habentes tolerabiliores sunt, ut alibi latiùs dicetur.", "english": "Aloys. Nothing, except that sixths approached by ascending motion on the downbeat have a certain harshness. Sixths occurring on the upbeat—which has no place in this species—are more tolerable because they carry less weight. This will be explained more fully elsewhere.", "sources": [ { "printed_page": 86, "pdf_page": 44, "reused_original_pdf_page": 11 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p86-5" ], "reading_order": 293 }, { "id": "e2-p86-6", "type": "paragraph", "latin": "Jam ad exercitium pergamus. Ut autem intuitu cujusdam formulæ Speciei hujus confectio facilior tibi contingat, componam ego tibi primum exemplum, quod pro trium partium ratione etiam triplex erit; primò ut Cantus firmus in parte superiori: secundò in parte media: tertiò in parte fundamentali statuatur, quod & tibi deinceps observandum erit, assumendo superiùs ordine præscriptos Cantus firmos.", "english": "Let us now proceed to the exercise. To make the construction of this species easier for you by providing a model, I shall compose the first example for you. It will itself have three versions, corresponding to the three parts: first with the cantus firmus in the upper part, second in the middle part, and third in the bass part. You must also follow this procedure from now on, using the cantus firmi prescribed earlier in their given order.", "sources": [ { "printed_page": 86, "pdf_page": 44, "reused_original_pdf_page": 11 }, { "printed_page": 87, "pdf_page": 45, "reused_original_pdf_page": 12 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p86-6", "p87-0" ], "reading_order": 294 }, { "id": "87-a", "type": "music", "latin": "", "english": "", "sources": [ { "printed_page": 87, "pdf_page": 45, "reused_original_pdf_page": 12 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p87-1" ], "asset_refs": [ "87-a" ], "playback_status": "ready", "reading_order": 295, "music_asset_refs": [ "87-a" ] }, { "id": "e2-p87-2", "type": "paragraph", "latin": "In quo exemplo videri potest, in omni tactu, ubi nulla ratio alia vetuit, Triadem harmonicam adhibitam fuisse, habitâ aliàs progressuum, motuumque ratione sæpiùs jam repetitâ.", "english": "In this example you can see that the harmonic triad has been used in every measure where no other consideration prevented it, with due regard for the principles of progression and motion that have already been repeated so often.", "sources": [ { "printed_page": 87, "pdf_page": 45, "reused_original_pdf_page": 12 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p87-2" ], "reading_order": 296 }, { "id": "e2-p87-3", "type": "paragraph", "latin": "Joseph. Videtur tamen de septimo tactu in octavum in parte Alti respectu Bassi te non observâsse regulam, quæ dicit: de imperfecta ad perfectam per motum contrarium. Tu autem per rectum progressus es.", "english": "Joseph. Yet from the seventh measure to the eighth, in the alto in relation to the bass, you seem not to have observed the rule that says: from an imperfect consonance to a perfect consonance by contrary motion. You have proceeded by similar motion instead.", "sources": [ { "printed_page": 87, "pdf_page": 45, "reused_original_pdf_page": 12 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p87-3" ], "reading_order": 297 }, { "id": "e2-p87-4", "type": "paragraph", "latin": "Aloys. Rectè observas quidem; sed meminisse oportet, paulò ante me dixisse, quod ad evitandum majus inconveniens in Tricinio, ubi aliter fieri non posset, nonnunquam de eo rigore recedere liceat.", "english": "Aloys. Your observation is correct. But you must remember what I said a little earlier: in three voices, when there is no other way to avoid a greater difficulty, we may sometimes depart from that strictness.", "sources": [ { "printed_page": 87, "pdf_page": 45, "reused_original_pdf_page": 12 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p87-4" ], "reading_order": 298 }, { "id": "e2-p87-5", "type": "paragraph", "latin": "Joseph. Memini quidem; sed videtur mihi, etiam observatâ illâ regulâ rectè fieri potuisse, si de F. in Basso in C. acutum, per motum contrarium progressus institutus fuisset, hac ratione:", "english": "Joseph. I do remember. But it seems to me that it could have been done correctly while still observing the rule, if the bass had proceeded by contrary motion from F to the higher C, in this way:", "sources": [ { "printed_page": 87, "pdf_page": 45, "reused_original_pdf_page": 12 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p87-5" ], "reading_order": 299 }, { "id": "87-b", "type": "music", "latin": "", "english": "", "sources": [ { "printed_page": 87, "pdf_page": 45, "reused_original_pdf_page": 12 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p87-6" ], "asset_refs": [ "87-b" ], "playback_status": "ready", "reading_order": 300, "music_asset_refs": [ "87-b" ] }, { "id": "e2-p88-0", "type": "paragraph", "latin": "Aloys. Esset quidem provisum illi inconvenienti per motum contrarium; verùm non vides tali ratione duas similes transgressiones immediatè secuturas esse? de nona Nota in decimam, & de decima in ultimam? Deinde in nono tactu pars Tenoris cum Basso, ut vides, faceret unisonum, qui minùs confert harmoniæ, quàm Octava, præterquàm quòd in hoc genere Compositionis absque gravi necessitate non liceat transcendere limites quinque linearum.", "english": "Aloys. That difficulty would indeed have been met by contrary motion. But do you not see that two similar violations would immediately follow—from the ninth note to the tenth, and from the tenth to the last? Moreover, in the ninth measure the tenor and bass would form a unison, as you see. That contributes less to the harmony than an octave. Besides, in this kind of composition we should not go beyond the limits of the five staff lines without a serious need.", "sources": [ { "printed_page": 88, "pdf_page": 46, "reused_original_pdf_page": 13 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p88-0" ], "reading_order": 301 }, { "id": "e2-p88-1", "type": "paragraph", "latin": "Joseph. In totum convictus sum rationibus adductis, sed fortassis sic fieri posset?", "english": "Joseph. The reasons you have given convince me completely. But perhaps it could be done this way?", "sources": [ { "printed_page": 88, "pdf_page": 46, "reused_original_pdf_page": 13 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p88-1" ], "reading_order": 302 }, { "id": "88-a", "type": "music", "latin": "", "english": "", "sources": [ { "printed_page": 88, "pdf_page": 46, "reused_original_pdf_page": 13 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p88-2" ], "asset_refs": [ "88-a" ], "playback_status": "ready", "reading_order": 303, "music_asset_refs": [ "88-a" ] }, { "id": "e2-p88-3", "type": "paragraph", "latin": "Aloys. Minùs. Nonne meministi, saltum Sextæ majoris prohibitum esse? Quid judicandum de saltu Septimæ? quia naturali cantûs facilitati consulendum est. Jam Cantu firmo in media parte posito exemplum faciam.", "english": "Aloys. Still less so. Do you not remember that a leap of a major sixth is forbidden? What, then, should we think of a leap of a seventh? We must take account of the natural ease of singing. I shall now make an example with the cantus firmus in the middle part.", "sources": [ { "printed_page": 88, "pdf_page": 46, "reused_original_pdf_page": 13 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p88-3" ], "reading_order": 304 }, { "id": "88-b", "type": "music", "latin": "", "english": "", "sources": [ { "printed_page": 88, "pdf_page": 46, "reused_original_pdf_page": 13 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p88-4" ], "asset_refs": [ "88-b" ], "playback_status": "ready", "reading_order": 305, "music_asset_refs": [ "88-b" ] }, { "id": "e2-p88-5", "type": "paragraph", "latin": "Joseph. Quare in nono tactu Octavam adhibuisti? mihi enim videtur absque impedimento, Quintæ, sive Triadi harmonicæ locum ibi fuisse.", "english": "Joseph. Why did you use an octave in the ninth measure? It seems to me that there was room there for a fifth, and thus for the harmonic triad, without any obstacle.", "sources": [ { "printed_page": 88, "pdf_page": 46, "reused_original_pdf_page": 13 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p88-5" ], "reading_order": 306 }, { "id": "e2-p89-0", "type": "paragraph", "latin": "Aloys. Ità est, potuisset. Verùm paulò accuratiùs inspiciens, comperies Octavam meliùs inservire Cantûs rationi, cui, ut jam sæpè dixi, & sæpiùs dicendum erit, multum tribuendum est. Restat adhuc exemplum perficiendum, in quo Cantus firmus in parte fundamentali existat.", "english": "Aloys. That is so; it could have been used. But if you look a little more closely, you will find that the octave serves the melodic line better. As I have often said, and shall have to say still more often, great weight must be given to the melody. One example remains to be completed, with the cantus firmus in the bass.", "sources": [ { "printed_page": 89, "pdf_page": 47, "reused_original_pdf_page": 14 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p89-0" ], "reading_order": 307 }, { "id": "89-a", "type": "music", "latin": "", "english": "", "sources": [ { "printed_page": 89, "pdf_page": 47, "reused_original_pdf_page": 14 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p89-1" ], "asset_refs": [ "89-a" ], "playback_status": "ready", "reading_order": 308, "music_asset_refs": [ "89-a" ] }, { "id": "e2-p89-2", "type": "paragraph", "latin": "Joseph. Nihil dubii hoc in Paradigmate reperio, præter tactum finalem; videtur enim, positâ locò Quintæ Tertiâ plus harmoniæ Hypothesi illi accessurum fuisse.", "english": "Joseph. I find nothing doubtful in this example except the final measure. It seems that placing a third there instead of the fifth would have added more harmony to that position.", "sources": [ { "printed_page": 89, "pdf_page": 47, "reused_original_pdf_page": 14 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p89-2" ], "reading_order": 309 }, { "id": "e2-p89-3", "type": "paragraph", "latin": "Aloys. Rectè quidem judicas. Sed qualem Tertiam ponendam fuisse putas, majorem, vel minorem? Si minorem, nonne sentis, ad concludendum finem non valere? Si majorem, æquè nihil ad rem: cùm enim tonus iste consistentiam suam habeat cum Tertia minore, nempe F. absque Diesi, quâ modulatione per totum Cantûs firmi cursum aures assvetæ, nescio quid offensionis ex auditu Diesis in fine percipiant. Ideò consultius erit Tertiam omnino omittere.", "english": "Aloys. Your judgment is sound. But what kind of third do you think should have been placed there: major or minor? If minor, do you not feel that it is ineffective for bringing the piece to a close? If major, that is equally beside the point. This mode is established with a minor third, namely F without a sharp. Since the ears have become accustomed to that course of melody throughout the cantus firmus, hearing the sharp at the end would cause a certain offence. It will therefore be wiser to omit the third altogether.", "sources": [ { "printed_page": 89, "pdf_page": 47, "reused_original_pdf_page": 14 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p89-3" ], "reading_order": 310 }, { "id": "e2-p89-4", "type": "paragraph", "latin": "Nunc ad reliqua quinque superstitum tonorum exempla componenda progredere, eâ ratione, ut Cantus firmus in omnibus tribus partibus, ut jam dixi, & feci, statuatur; observatis hucusque dictis.", "english": "Now proceed to compose examples in the other five remaining modes, placing the cantus firmus in each of the three parts, as I have said and done, and observing everything explained so far.", "sources": [ { "printed_page": 89, "pdf_page": 47, "reused_original_pdf_page": 14 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p89-4" ], "reading_order": 311 }, { "id": "89-b", "type": "music", "latin": "", "english": "", "sources": [ { "printed_page": 89, "pdf_page": 47, "reused_original_pdf_page": 14 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p89-5" ], "asset_refs": [ "89-b" ], "playback_status": "ready", "reading_order": 312, "music_asset_refs": [ "89-b" ] }, { "id": "e2-p90-0", "type": "paragraph", "latin": "Joseph. Non parùm laboravi in conficienda clausula finali. Cùm enim in Hypothesi penultimi tactûs clausulæ formali; E. G.", "english": "Joseph. I had considerable difficulty constructing the final cadence. In the penultimate measure there is no place for the standard cadential formula illustrated here:", "sources": [ { "printed_page": 90, "pdf_page": 48, "reused_original_pdf_page": 15 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p90-0" ], "reading_order": 313 }, { "id": "90-a", "type": "music", "latin": "", "english": "", "sources": [ { "printed_page": 90, "pdf_page": 48, "reused_original_pdf_page": 15 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p90-1" ], "asset_refs": [ "90-a" ], "playback_status": "ready", "reading_order": 314, "music_asset_refs": [ "90-a" ] }, { "id": "e2-p90-2", "type": "paragraph", "latin": "locus non sit, neque tonus hic naturali ratione Quintam perfectam loco habeat, neque Diesin admittat, cujus beneficio clausula formalis formari possit, ideò visum mihi fuit, non alio modo, quàm quo feci, finem posse concludi. Nonnihil tamen dubius hæreo propter Tertiam majorem in Nota finali positam. Etenim recordor, te suprà dixisse, in similibus tonis Tertiam omnino omittendam, ejusque loco Quintam esse ponendam.", "english": "The mode does not naturally provide a perfect fifth in that position, nor does it admit the sharp by means of which the standard cadential formula could be formed. I therefore thought that the ending could be concluded only in the way I have done it. Yet I remain somewhat doubtful about the major third placed in the final note. I remember your saying above that in modes of this kind the third should be omitted altogether and a fifth put in its place.", "sources": [ { "printed_page": 90, "pdf_page": 48, "reused_original_pdf_page": 15 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p90-2" ], "reading_order": 315 }, { "id": "e2-p90-3", "type": "paragraph", "latin": "Aloys. Valde prudenti usus es judicio de clausula finali, nempe propter peculiarem Semitonii situm clausulæ formali ibi locum non esse, ideóque peculiarem etiam clausulam formandam fuisse; neque scrupulum tibi moveat Tertia major in Nota finali posita, quod enim dixi de omittenda Tertia, intelligendum est, ubi fieri potest. Rectè ergo judicâsti, in illius exempli Nota finali absque immediata duarum Quintarum consecutione Quintam poni non potuisse, ergo Tertiam majorem ejus loco adhibendam fuisse, quia minor propter majoris imperfectionis rationem minùs apta est ad concludendum finem. Perge.", "english": "Aloys. You have exercised very prudent judgment about the final cadence. Because of the particular position of the semitone, the standard cadential formula is not possible there, and a particular form of cadence therefore had to be made. Nor should the major third in the final note trouble you. What I said about omitting the third must be understood to apply wherever that is possible. You therefore judged correctly that a fifth could not be put in the final note of that example without two fifths in immediate succession. A major third had consequently to be used in its place, since the minor third, owing to its greater imperfection, is less suited to concluding the ending. Continue.", "sources": [ { "printed_page": 90, "pdf_page": 48, "reused_original_pdf_page": 15 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p90-3" ], "reading_order": 316 }, { "id": "90-b", "type": "music", "latin": "", "english": "", "sources": [ { "printed_page": 90, "pdf_page": 48, "reused_original_pdf_page": 15 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p90-4" ], "asset_refs": [ "90-b" ], "playback_status": "ready", "reading_order": 317, "music_asset_refs": [ "90-b" ] }, { "id": "91-a", "type": "music", "latin": "", "english": "", "sources": [ { "printed_page": 91, "pdf_page": 49, "reused_original_pdf_page": 16 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p91-0" ], "asset_refs": [ "91-a" ], "playback_status": "ready", "reading_order": 318, "music_asset_refs": [ "91-a" ] }, { "id": "91-b", "type": "music", "latin": "", "english": "", "sources": [ { "printed_page": 91, "pdf_page": 49, "reused_original_pdf_page": 16 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p91-1" ], "asset_refs": [ "91-b" ], "playback_status": "playback not yet available", "reading_order": 319, "music_asset_refs": [ "91-b" ] }, { "id": "91-c", "type": "music", "latin": "", "english": "", "sources": [ { "printed_page": 91, "pdf_page": 49, "reused_original_pdf_page": 16 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p91-2" ], "asset_refs": [ "91-c" ], "playback_status": "ready", "reading_order": 320, "music_asset_refs": [ "91-c" ] }, { "id": "91-d", "type": "music", "latin": "", "english": "", "sources": [ { "printed_page": 91, "pdf_page": 49, "reused_original_pdf_page": 16 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p91-3" ], "asset_refs": [ "91-d" ], "playback_status": "ready", "reading_order": 321, "music_asset_refs": [ "91-d" ] }, { "id": "92-a", "type": "music", "latin": "", "english": "", "sources": [ { "printed_page": 92, "pdf_page": 50, "reused_original_pdf_page": 17 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p92-0" ], "asset_refs": [ "92-a" ], "playback_status": "ready", "reading_order": 322, "music_asset_refs": [ "92-a" ] }, { "id": "92-b", "type": "music", "latin": "", "english": "", "sources": [ { "printed_page": 92, "pdf_page": 50, "reused_original_pdf_page": 17 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p92-1" ], "asset_refs": [ "92-b" ], "playback_status": "ready", "reading_order": 323, "music_asset_refs": [ "92-b" ] }, { "id": "92-c", "type": "music", "latin": "", "english": "", "sources": [ { "printed_page": 92, "pdf_page": 50, "reused_original_pdf_page": 17 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p92-2" ], "asset_refs": [ "92-c" ], "playback_status": "ready", "reading_order": 324, "music_asset_refs": [ "92-c" ] }, { "id": "93-a", "type": "music", "latin": "", "english": "", "sources": [ { "printed_page": 93, "pdf_page": 51, "reused_original_pdf_page": 18 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p93-0" ], "asset_refs": [ "93-a" ], "playback_status": "ready", "reading_order": 325, "music_asset_refs": [ "93-a" ] }, { "id": "93-b", "type": "music", "latin": "", "english": "", "sources": [ { "printed_page": 93, "pdf_page": 51, "reused_original_pdf_page": 18 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p93-1" ], "asset_refs": [ "93-b" ], "playback_status": "ready", "reading_order": 326, "music_asset_refs": [ "93-b" ] }, { "id": "93-c", "type": "music", "latin": "", "english": "", "sources": [ { "printed_page": 93, "pdf_page": 51, "reused_original_pdf_page": 18 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p93-2" ], "asset_refs": [ "93-c" ], "playback_status": "ready", "reading_order": 327, "music_asset_refs": [ "93-c" ] }, { "id": "94-a", "type": "music", "latin": "", "english": "", "sources": [ { "printed_page": 94, "pdf_page": 52, "reused_original_pdf_page": 19 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p94-0" ], "asset_refs": [ "94-a" ], "playback_status": "ready", "reading_order": 328, "music_asset_refs": [ "94-a" ] }, { "id": "e2-p94-1", "type": "paragraph", "latin": "Joseph. Ecce reliqua tonorum exempla, meo quidem judicio eatenus bene facta, quatenus Cantûs firmi restrictio non impedit. Verùm nisi Cantûs firmi necessitas componendi libertatem restrinxisset, multis in locis compositionem Triade harmonicâ locupletiorem effici potuisse, existimo.", "english": "Joseph. Here are the remaining examples in the modes. In my judgment, they are well made insofar as the restrictions of the cantus firmus allow. But if the necessity of following the cantus firmus had not limited my freedom to compose, I think the composition could have been enriched with the harmonic triad in many places.", "sources": [ { "printed_page": 94, "pdf_page": 52, "reused_original_pdf_page": 19 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p94-1" ], "reading_order": 329 }, { "id": "e2-p94-2", "type": "paragraph", "latin": "Aloys. Rectè sentis, atque ità suo tempore in Compositione libera, nullâ Cantûs firmi obligatione restrictus oneraberis: sed incredibile est, quantum utilitatis hæc exercitatio, nempe super Cantum firmum ædificando hujus Disciplinæ studioso afferat, quâ solâ, & usu, & ratione instructus, ad veram artis hujus cognitionem perduci potest, quam exercitationem iterum, atque iterum, (sæpiùs enim inculcanda est,) summoperè tibi commendo.", "english": "Aloys. You are right. In due course, you will be set to work on free composition, without being bound to a cantus firmus. Yet it is incredible how much benefit this exercise—building above a cantus firmus—brings to the student of this discipline. Through this practice alone, equipped both with experience and with understanding, the student can be led to a true knowledge of the art. I therefore urge this exercise upon you again and again; it cannot be impressed on you too often.", "sources": [ { "printed_page": 94, "pdf_page": 52, "reused_original_pdf_page": 19 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p94-2" ], "reading_order": 330 }, { "id": "e2-p94-3", "type": "paragraph", "latin": "Absolutis primæ Speciei exemplis, ad secundam Speciem modò progrediendum est.", "english": "Having completed the examples of the first species, we must now proceed to the second.", "sources": [ { "printed_page": 94, "pdf_page": 52, "reused_original_pdf_page": 19 } ], "exercise": 2, "lesson": 1, "reused_from": "/Users/mayank/Developer/musicbook-product/editions/fux-tricinio/content", "reused_fragments": [ "p94-3" ], "reading_order": 331 }, { "id": "94-h1", "type": "heading", "latin": "EXERCITII II.", "english": "EXERCISE II.", "sources": [ { "pdf_page": 52, "printed_page": 94 } ], "exercise": 2, "lesson": 2, "reading_order": 332 }, { "id": "94-h2", "type": "heading", "latin": "LECTIO SECUNDA,", "english": "SECOND LESSON,", "sources": [ { "pdf_page": 52, "printed_page": 94 } ], "exercise": 2, "lesson": 2, "reading_order": 333 }, { "id": "94-h3", "type": "heading", "latin": "De Positione Minimæ contra Semibrevem in Tricinio.", "english": "On placing minims against a semibreve in three voices.", "sources": [ { "pdf_page": 52, "printed_page": 94 } ], "exercise": 2, "lesson": 2, "reading_order": 334 }, { "id": "94-1", "type": "paragraph", "latin": "Hîc loci in memoriam revocanda, observandaque sunt, quæ de hac Specie in Bicinio præcepimus, quæque ratione Triadis harmonicæ de Semibrevi contra Semibrevem in Tricinio diximus; cum hac tamen relaxatione, quod in hac Tricinii Specie in gratiam Triadis harmonicæ Minima per saltum Tertiæ nonnunquam duas Quintas salvare queat; E. G.", "english": "Here we must recall and observe the precepts given for this species in two voices, and what we said concerning the harmonic triad in semibreve against semibreve in three voices. There is this relaxation, however: in this species of three-voice composition, for the sake of the harmonic triad, a minim moving by the leap of a third can sometimes make two fifths permissible. For example:", "sources": [ { "pdf_page": 52, "printed_page": 94 } ], "exercise": 2, "lesson": 2, "reading_order": 335 }, { "id": "94-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 52, "printed_page": 94 } ], "exercise": 2, "lesson": 2, "asset_refs": [ "94-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 336, "music_asset_refs": [ "94-custos" ] }, { "id": "95-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 53, "printed_page": 95 } ], "exercise": 2, "lesson": 2, "asset_refs": [ "95-a" ], "playback_status": "ready", "labels": [], "reading_order": 337, "music_asset_refs": [ "95-a" ] }, { "id": "95-1", "type": "paragraph", "latin": "Quæ Hypothesis in Bicinio prohibita, in Tricinio in gratiam Triadis harmonicæ, ut dixi, toleratur. Pro formula tria tibi exhibeo exempla, ut reliquorum confectio facilior tibi eveniat.", "english": "This case, forbidden in two voices, is tolerated in three voices for the sake of the harmonic triad, as I said. I present three examples as a model, so that making the others may be easier for you.", "sources": [ { "pdf_page": 53, "printed_page": 95 } ], "exercise": 2, "lesson": 2, "reading_order": 338 }, { "id": "95-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 53, "printed_page": 95 } ], "exercise": 2, "lesson": 2, "asset_refs": [ "95-b" ], "playback_status": "ready", "labels": [], "reading_order": 339, "music_asset_refs": [ "95-b" ] }, { "id": "95-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 53, "printed_page": 95 } ], "exercise": 2, "lesson": 2, "asset_refs": [ "95-c" ], "playback_status": "ready", "labels": [], "reading_order": 340, "music_asset_refs": [ "95-c" ] }, { "id": "95-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 53, "printed_page": 95 } ], "exercise": 2, "lesson": 2, "asset_refs": [ "95-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 341, "music_asset_refs": [ "95-custos" ] }, { "id": "96-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 54, "printed_page": 96 } ], "exercise": 2, "lesson": 2, "asset_refs": [ "96-a" ], "playback_status": "ready", "labels": [], "reading_order": 342, "music_asset_refs": [ "96-a" ] }, { "id": "96-1", "type": "paragraph", "latin": "Joseph. Memini te superiùs dixisse, ubi de hac Specie in Bicinio præcepta tradidisti, nunquam duas Minimas in una eademque linea ponendas; proinde Ligaturæ hîc loci locum non esse: verùm in omni trium horum Paradigmatum clausula finali, non solùm Ligaturam, sed etiam ultimi exempli Notam finalem Tertiâ majore, quàm non minùs prohibitam fuisse recordor, terminatam conspicio.", "english": "Joseph. I remember that you said above, when you gave the precepts for this species in two voices, that two minims should never be placed on one and the same staff line, and that consequently a ligature has no place here. Yet in the final cadence of each of these three examples I see not only a ligature, but also that the final note of the last example ends with a major third, which I remember was no less forbidden.", "sources": [ { "pdf_page": 54, "printed_page": 96 } ], "exercise": 2, "lesson": 2, "reading_order": 343 }, { "id": "96-2", "type": "paragraph", "latin": "Aloysius. Probè quidem meministi. Cùm verò nulla ferè sit sine exceptione Regula, intelligendum puto, ubi ità faciendi facultas reperitur, quod in Bicinio semper, non item in Tricinio usuvenire potest, ut in præcedentibus exemplis haud obscurè videre est, ubi in Ligaturæ Hypothesi positis duabus Minimis solutis, aut Unisonum vitiosum, aut octavam harmoniâ vacuam existere necesse esset. Tertiam majorem in tertii exempli Nota finali positam necessitas excusat, eò quod ibidem in parte Cantûs Quintæ locus non sit; quia positâ Quintâ, duæ Quintæ immediatè se se sequentes exorituræ essent.", "english": "Aloysius. You remember correctly. But since scarcely any rule is without an exception, I think it should be understood as applying where there is an opportunity to do so. This can always occur in two voices, but not equally in three, as can be seen quite clearly in the preceding examples: if two untied minims were placed at the position of the ligature, there would necessarily be either a faulty unison or an octave devoid of harmony. Necessity excuses the major third placed at the final note of the third example, because there is no room there for a fifth in the soprano part; if a fifth were placed there, two fifths would arise immediately following one another.", "sources": [ { "pdf_page": 54, "printed_page": 96 } ], "exercise": 2, "lesson": 2, "reading_order": 344 }, { "id": "96-3", "type": "paragraph", "latin": "Ex istis exemplis constat in una partium per totum Cantûs firmi cursum Minimas, in reliquis autem duabus meras Semibreves constituendas esse, ità ut Minimæ cum duabus Semibrevibus ritè semper concordent, habitâ aliàs motuum, regularumque ratione, quoad fieri potest.", "english": "From these examples it is clear that minims must be placed in one of the parts throughout the course of the cantus firmus, while the other two parts have only semibreves, so that the minims always agree properly with the two semibreves, otherwise taking account of the motions and rules as far as possible.", "sources": [ { "pdf_page": 54, "printed_page": 96 } ], "exercise": 2, "lesson": 2, "reading_order": 345 }, { "id": "96-4", "type": "paragraph", "latin": "Age nunc sis reliquorum tenorum confice exempla, observatâ triplici mutatione à me monstratâ.", "english": "Come now, please construct examples for the remaining tenors, observing the threefold change of position I have shown.", "sources": [ { "pdf_page": 54, "printed_page": 96 } ], "exercise": 2, "lesson": 2, "reading_order": 346 }, { "id": "96-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 54, "printed_page": 96 } ], "exercise": 2, "lesson": 2, "asset_refs": [ "96-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 347, "music_asset_refs": [ "96-custos" ] }, { "id": "97-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 55, "printed_page": 97 } ], "exercise": 2, "lesson": 2, "asset_refs": [ "97-a" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 348, "music_asset_refs": [ "97-a" ] }, { "id": "97-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 55, "printed_page": 97 } ], "exercise": 2, "lesson": 2, "asset_refs": [ "97-b" ], "playback_status": "ready", "labels": [], "reading_order": 349, "music_asset_refs": [ "97-b" ] }, { "id": "97-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 55, "printed_page": 97 } ], "exercise": 2, "lesson": 2, "asset_refs": [ "97-c" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 350, "music_asset_refs": [ "97-c" ] }, { "id": "98-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 56, "printed_page": 98 } ], "exercise": 2, "lesson": 2, "asset_refs": [ "98-a" ], "playback_status": "ready", "labels": [], "reading_order": 351, "music_asset_refs": [ "98-a" ] }, { "id": "98-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 56, "printed_page": 98 } ], "exercise": 2, "lesson": 2, "asset_refs": [ "98-b" ], "playback_status": "ready", "labels": [], "reading_order": 352, "music_asset_refs": [ "98-b" ] }, { "id": "98-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 56, "printed_page": 98 } ], "exercise": 2, "lesson": 2, "asset_refs": [ "98-c" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 353, "music_asset_refs": [ "98-c" ] }, { "id": "99-1", "type": "paragraph", "latin": "Aloys. Hæc exempla in præsenti sufficiant, reliquos tres tonos privato studio pari ratione persequendos tibi relinquo.", "english": "Aloysius. Let these examples suffice for the present; I leave the remaining three modes for you to pursue in the same manner in private study.", "sources": [ { "pdf_page": 57, "printed_page": 99 } ], "exercise": 2, "lesson": 2, "reading_order": 354 }, { "id": "99-2", "type": "paragraph", "latin": "Joseph. Plenum difficultatis hoc Studium reperio, ità ut nonnunquam ferè impossibilis mihi videatur progressio de uno tactu ad alterum.", "english": "Joseph. I find this study full of difficulty, so much so that at times progression from one measure to another seems almost impossible to me.", "sources": [ { "pdf_page": 57, "printed_page": 99 } ], "exercise": 2, "lesson": 2, "reading_order": 355 }, { "id": "99-3", "type": "paragraph", "latin": "Aloys. Fateor, non adeò facilem fore harum Specierum confectionem, in quibus necesse est, duas minimas cum Semibrevibus in duabus partibus positis, observatisque observandis ritè consonare; quod factu difficile, vixque possibile est, nisi unum vel alterum tactum sequentem, antequam scribere decreverim, anticipatò jam mente conceperim, quemadmodum jam sæpiùs dixi: sed vix exprimi verbis potest, quantam utilitatem, quantamque scribendi facilitatem Studiosis afferat hæc exercitatio, in qua bene versati sublato postmodum Cantûs firmi rigore, tanquam vinculis laxati, liberiores Compositiones quasi ludibundi conficere se posse exultantes comperient.", "english": "Aloysius. I admit that working out these species is not so easy. In them, the two minims must agree properly with the semibreves placed in the other two parts, with all that must be observed duly observed. This is difficult and scarcely possible unless, before deciding to write, I have already conceived in my mind one or two following measures, as I have often said. But words can scarcely express the usefulness and ease in writing that this exercise brings to students. Those well practiced in it, once the strict constraint of the cantus firmus is removed, will joyfully discover that, as though released from bonds, they can produce freer compositions almost at play.", "sources": [ { "pdf_page": 57, "printed_page": 99 } ], "exercise": 2, "lesson": 2, "reading_order": 356 }, { "id": "99-h1", "type": "heading", "latin": "EXERCITII II.", "english": "EXERCISE II.", "sources": [ { "pdf_page": 57, "printed_page": 99 } ], "exercise": 2, "lesson": 3, "reading_order": 357 }, { "id": "99-h2", "type": "heading", "latin": "LECTIO TERTIA.", "english": "THIRD LESSON.", "sources": [ { "pdf_page": 57, "printed_page": 99 } ], "exercise": 2, "lesson": 3, "reading_order": 358 }, { "id": "99-4", "type": "paragraph", "latin": "Cùm idem progrediendi ordo in hac Tricinii Compositione nobis propositus sit, quo in dandis Bicinii Lectionibus usi sumus, per se patet, hanc Lectionem esse Compositionem, quatuor Semiminimis contra Semibrevem positis constantem; cum hac tamen differentiali observatione, ut quemadmodum Semiminimæ in Bicinii compositione cum unius duntaxat partis Semibrevi, ità in hac Tricinii compositione cum duarum partium Semibrevibus consonare debeant: observatis cæterùm iis, non solùm quæ de Specie in Bicinii Lectione dicta, verùm etiam iis, quæ de Tricinii Speciebus hucusque præcepta sunt.", "english": "Since in this composition for three voices we propose the same order of proceeding that we used in giving the lessons for two voices, it is evident that this lesson concerns a composition consisting of four semiminims placed against a semibreve. There is this distinguishing observation, however: just as in two-voice composition the semiminims must agree with the semibreve of only one other part, so in this three-voice composition they must agree with the semibreves of two parts. In other respects, not only what was said about the species in the lesson for two voices, but also the precepts given thus far for the species in three voices, must be observed.", "sources": [ { "pdf_page": 57, "printed_page": 99 } ], "exercise": 2, "lesson": 3, "reading_order": 359 }, { "id": "99-5", "type": "paragraph", "latin": "Joseph. Nihilne aliud hîc loci observandum occurrit?", "english": "Joseph. Is there nothing else to observe here?", "sources": [ { "pdf_page": 57, "printed_page": 99 } ], "exercise": 2, "lesson": 3, "reading_order": 360 }, { "id": "99-6", "type": "paragraph", "latin": "Aloys. Nihil, nisi quod sicut in omnibus Contrapuncti Speciebus, ità etiam in hac, maxima ratio habenda sit illarum Notarum, quæ in Thesi consistunt.", "english": "Aloysius. Nothing, except that, as in all species of counterpoint, here too the greatest attention must be given to the notes that fall on the thesis.", "sources": [ { "pdf_page": 57, "printed_page": 99 } ], "exercise": 2, "lesson": 3, "reading_order": 361 }, { "id": "99-7", "type": "paragraph", "latin": "Joseph. Tentabo ergo, an absque proposito exemplo hanc Speciem conficiendi facultas sit.", "english": "Joseph. I shall therefore try whether I can work out this species without an example set before me.", "sources": [ { "pdf_page": 57, "printed_page": 99 } ], "exercise": 2, "lesson": 3, "reading_order": 362 }, { "id": "99-8", "type": "paragraph", "latin": "Aloys. Placet. Sed attende, ut si primâ Arhsis Semiminimâ Triadem harmonicam constituere non possis, id secundâ vel tertiâ efficere procures.", "english": "Aloysius. Very well. But take care that if with the first semiminim of the arsis you cannot form the harmonic triad, you endeavor to do so with the second or third.", "sources": [ { "pdf_page": 57, "printed_page": 99 }, { "pdf_page": 58, "printed_page": 100, "region": "opening continuation" } ], "exercise": 2, "lesson": 3, "reading_order": 363 }, { "id": "100-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 58, "printed_page": 100 } ], "exercise": 2, "lesson": 3, "asset_refs": [ "100-a" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 364, "music_asset_refs": [ "100-a" ] }, { "id": "100-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 58, "printed_page": 100 } ], "exercise": 2, "lesson": 3, "asset_refs": [ "100-b" ], "playback_status": "ready", "labels": [], "reading_order": 365, "music_asset_refs": [ "100-b" ] }, { "id": "101-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 59, "printed_page": 101 } ], "exercise": 2, "lesson": 3, "asset_refs": [ "101-a" ], "playback_status": "ready", "labels": [], "reading_order": 366, "music_asset_refs": [ "101-a" ] }, { "id": "101-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 59, "printed_page": 101 } ], "exercise": 2, "lesson": 3, "asset_refs": [ "101-b" ], "playback_status": "ready", "labels": [], "reading_order": 367, "music_asset_refs": [ "101-b" ] }, { "id": "102-1", "type": "paragraph", "latin": "Aloys. Ex his haud malè factis exemplis intelligo, te jam haud mediocri quadam cognitione imbutum esse. Unde cæterorum tonorum Cantuumque firmorum exempla privato studio domi tuæ persolvenda tibi commendo. Quibus peractis si lubet, omnes sex tonorum Cantus firmi denuò resumi, atque perfici poterunt, ità ut in una partium Semiminimæ, in altera Minimæ, tertiâ Semibreves ponantur ad sequentis exempli tenorem.", "english": "Aloysius. From these examples, which are by no means badly made, I understand that you have already acquired a considerable degree of knowledge. I therefore recommend that you complete the examples of the other modes and cantus firmi in private study at home. When these are finished, if you wish, the cantus firmi of all six modes may be taken up again and worked through, with semiminims placed in one part, minims in another, and semibreves in the third, according to the following example.", "sources": [ { "pdf_page": 60, "printed_page": 102 } ], "exercise": 2, "lesson": 3, "reading_order": 368 }, { "id": "102-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 60, "printed_page": 102 } ], "exercise": 2, "lesson": 3, "asset_refs": [ "102-a" ], "playback_status": "ready", "labels": [], "reading_order": 369, "music_asset_refs": [ "102-a" ] }, { "id": "102-2", "type": "paragraph", "latin": "Quantum ornamenti, præstantiæque triplex hæc figurarum distinctio Compositioni Musicæ afferat, vix dici potest. Quapropter hanc exercitationem cum ea triplici, vel quadruplici mutatione, quâ hucusque usi sumus, maximæ tibi curæ esse, magnopere cuperem.", "english": "It can scarcely be said how much ornament and excellence this threefold distinction of note forms brings to musical composition. I would therefore very much wish you to devote the greatest care to this exercise, with the threefold or fourfold change of position that we have used thus far.", "sources": [ { "pdf_page": 60, "printed_page": 102 } ], "exercise": 2, "lesson": 3, "reading_order": 370 }, { "id": "102-3", "type": "paragraph", "latin": "Joseph. Faciam, maximâ quâ potero virium contentione. Consilium enim tuum semper pro lege mihi tenendum est.", "english": "Joseph. I shall do so with the greatest exertion of which I am capable, for I must always hold your advice as a law.", "sources": [ { "pdf_page": 60, "printed_page": 102 } ], "exercise": 2, "lesson": 3, "reading_order": 371 }, { "id": "102-4", "type": "paragraph", "latin": "Aloys. Nunc persolvenda nobis restat", "english": "Aloysius. It now remains for us to work through", "sources": [ { "pdf_page": 60, "printed_page": 102 } ], "exercise": 2, "lesson": 3, "reading_order": 372 }, { "id": "103-h1", "type": "heading", "latin": "EXERCITII II.", "english": "EXERCISE II.", "sources": [ { "pdf_page": 61, "printed_page": 103 } ], "exercise": 2, "lesson": 4, "reading_order": 373 }, { "id": "103-h2", "type": "heading", "latin": "LECTIO QUARTA,", "english": "FOURTH LESSON,", "sources": [ { "pdf_page": 61, "printed_page": 103 } ], "exercise": 2, "lesson": 4, "reading_order": 374 }, { "id": "103-h3", "type": "heading", "latin": "De Ligatura.", "english": "On ligature.", "sources": [ { "pdf_page": 61, "printed_page": 103 } ], "exercise": 2, "lesson": 4, "reading_order": 375 }, { "id": "103-1", "type": "paragraph", "latin": "Hîc in mentem revocanda sunt, quæ de Ligaturis in Bicinio dicta sunt, quarum efficiendi ratio in Tricinio minimè mutanda, sed ad amussim observanda est. Ad rem pertinebit modò docere, quemadmodum accedente parte tertiâ socialis illius concordantia instituenda sit. Refert quoque hîc meminisse, quod suprà dictum est; Ligaturam nempe aliud non esse, quàm retardationem Notæ sequentis. Unde Paradoxum sit: eandem tertiæ parti tribui oportere concordantiam, quæ omissâ Ligaturâ adhibenda fuisset; quam veritatem sequentia Paradigmata perspicuam reddent.", "english": "Here we must recall what was said about ligatures in two voices. Their manner of construction is not to be changed at all in three voices, but must be observed exactly. We need now only explain how the accompanying concordance is to be arranged when the third part is added. It is also important to remember what was said above: a ligature is nothing other than a delay of the following note. Hence this paradox: the same concordance must be assigned to the third part as would have been used if the ligature were omitted. The following examples will make this truth clear.", "sources": [ { "pdf_page": 61, "printed_page": 103 } ], "exercise": 2, "lesson": 4, "reading_order": 376 }, { "id": "103-h4", "type": "heading", "latin": "Sinè Ligatura.", "english": "Without ligature.", "sources": [ { "pdf_page": 61, "printed_page": 103 } ], "exercise": 2, "lesson": 4, "reading_order": 377 }, { "id": "103-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 61, "printed_page": 103 } ], "exercise": 2, "lesson": 4, "asset_refs": [ "103-a" ], "playback_status": "ready", "labels": [], "reading_order": 378, "music_asset_refs": [ "103-a" ] }, { "id": "103-h5", "type": "heading", "latin": "Cum Ligatura.", "english": "With ligature.", "sources": [ { "pdf_page": 61, "printed_page": 103 } ], "exercise": 2, "lesson": 4, "reading_order": 379 }, { "id": "103-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 61, "printed_page": 103 } ], "exercise": 2, "lesson": 4, "asset_refs": [ "103-b" ], "playback_status": "ready", "labels": [], "reading_order": 380, "music_asset_refs": [ "103-b" ] }, { "id": "104-1", "type": "paragraph", "latin": "Ubi clarè videtur, utroque in exemplo eandem tertiæ partis esse concordantiam nihil impediente ligaturâ; quod idem intelligendum puto de Ligaturis in parte gravi, sive fundamentali collocatis. E. G.", "english": "Here it is clearly seen that in both examples the third part has the same concordance, the ligature presenting no obstacle. I think the same must be understood of ligatures placed in the low, or foundational, part. For example:", "sources": [ { "pdf_page": 62, "printed_page": 104 } ], "exercise": 2, "lesson": 4, "reading_order": 381 }, { "id": "104-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 62, "printed_page": 104 } ], "exercise": 2, "lesson": 4, "asset_refs": [ "104-a" ], "playback_status": "ready", "labels": [], "reading_order": 382, "music_asset_refs": [ "104-a" ] }, { "id": "104-2", "type": "paragraph", "latin": "Hæ Hypotheses, sublatis Ligaturis, ob Triadis harmonicæ rationem, nisi alia ratio, nempe immediata plurium Quintarum consecutio impediret, sic se haberet:", "english": "With the ligatures removed, these cases would take the following form on account of the harmonic triad, were it not prevented by another consideration, namely the immediate succession of several fifths:", "sources": [ { "pdf_page": 62, "printed_page": 104 } ], "exercise": 2, "lesson": 4, "reading_order": 383 }, { "id": "104-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 62, "printed_page": 104 } ], "exercise": 2, "lesson": 4, "asset_refs": [ "104-b" ], "playback_status": "ready", "labels": [], "reading_order": 384, "music_asset_refs": [ "104-b" ] }, { "id": "104-3", "type": "paragraph", "latin": "Quod vitiosum exemplum, non alium in finem oculis, Josephe, subjeci, quàm ut in cognitionem venires, concordantiarum rationem à Ligaturis minimè immutari; sed prorsus eandem permanere.", "english": "Joseph, I have placed this faulty example before your eyes for no other purpose than to bring you to understand that the disposition of the concordances is not changed at all by ligatures, but remains exactly the same.", "sources": [ { "pdf_page": 62, "printed_page": 104 } ], "exercise": 2, "lesson": 4, "reading_order": 385 }, { "id": "104-4", "type": "paragraph", "latin": "Joseph. Ex hac tua assertione Magister, scrupulus mihi oritur, quem, ni molestè fers, aperiam.", "english": "Joseph. From this assertion of yours, Master, a doubt arises in me, which, if you do not mind, I shall disclose.", "sources": [ { "pdf_page": 62, "printed_page": 104 } ], "exercise": 2, "lesson": 4, "reading_order": 386 }, { "id": "104-5", "type": "paragraph", "latin": "Aloys. Edic audacter. Longum etenim tuum hucusque silentium vix non in dubitationem me induxit, an, quæ nihil interpellatus dixi, intelligeres, nec ne?", "english": "Aloysius. Speak boldly. Your long silence thus far has almost made me doubt whether you understood what I said without interruption or not.", "sources": [ { "pdf_page": 62, "printed_page": 104 } ], "exercise": 2, "lesson": 4, "reading_order": 387 }, { "id": "104-6", "type": "paragraph", "latin": "Joseph. Si Ligaturæ, ut dictum est, nihil immutant, æquè primum Ligaturis constans exemplum paulò ante allatum, quàm secundum vitiosum erit. Proinde, sicut in secundo semotis Ligaturis exemplo immediata apparet plurium Quintarum consecutio; ob eandem rationem, si Ligaturæ pro non adjectis habentur, nec primum Ligaturis instructum exemplum eodem vitio vacabit.", "english": "Joseph. If ligatures change nothing, as was said, the first example with ligatures given a little earlier will be just as faulty as the second. Therefore, just as in the second example, with the ligatures removed, an immediate succession of several fifths appears, so for the same reason, if the ligatures are treated as not having been added, the first example furnished with ligatures will not be free of the same fault.", "sources": [ { "pdf_page": 62, "printed_page": 104 }, { "pdf_page": 63, "printed_page": 105, "region": "opening continuation" } ], "exercise": 2, "lesson": 4, "reading_order": 388 }, { "id": "105-1", "type": "paragraph", "latin": "Aloys. Valde mihi placet hoc tuum sagax argumentum, magnæ attentionis tuæ indicium. Verùm, præterquam, quod Clarorum in arte peritorum authoritati permultum tribuendum sit, qui primum exemplum approbant, secundum improbant, scire te oportet, dum dicerem, Ligaturas nihil immutare, duntaxat de concordantiarum naturâ & essentiâ, quæ in utroque exemplo æqualis est, intelligendum esse. Cæterùm maximam Ligaturis esse vim, potestatemque salvandi, & immutandi quis ambigere potest?", "english": "Aloysius. I am very pleased by this shrewd argument of yours, a sign of your great attentiveness. But, besides the great weight that must be given to the authority of distinguished masters of the art, who approve the first example and disapprove the second, you must know that when I said ligatures change nothing, this was to be understood only of the nature and essence of the concordances, which is the same in both examples. Otherwise, who can doubt that ligatures have the greatest force and power to make things permissible and to change them?", "sources": [ { "pdf_page": 63, "printed_page": 105 } ], "exercise": 2, "lesson": 4, "reading_order": 389 }, { "id": "105-2", "type": "paragraph", "latin": "Joseph. Solutum esset hac tuâ distinctione argumentum meum, nisi obstaret Ligaturæ exemplum suprà in Bicinio adductum, quod ut impotens salvandi duas Octavas, ideo tanquam vitiosum rejecisti. E. G.", "english": "Joseph. My argument would be resolved by this distinction of yours, were it not opposed by the example of ligature given above in two voices, which you rejected as faulty because it was unable to make two octaves permissible. For example:", "sources": [ { "pdf_page": 63, "printed_page": 105 } ], "exercise": 2, "lesson": 4, "reading_order": 390 }, { "id": "105-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 63, "printed_page": 105 } ], "exercise": 2, "lesson": 4, "asset_refs": [ "105-a" ], "playback_status": "ready", "labels": [], "reading_order": 391, "music_asset_refs": [ "105-a" ] }, { "id": "105-3", "type": "paragraph", "latin": "Sicut Ligatura in hoc exemplo non valet efficere, quò minùs duæ vitiosæ Octavæ eveniant; ità eadem prorsus ratione in sequenti non valebit salvare duas Quintas:", "english": "Just as the ligature in this example cannot prevent two faulty octaves from occurring, so, for exactly the same reason, in the following example it will not be able to make two fifths permissible:", "sources": [ { "pdf_page": 63, "printed_page": 105 } ], "exercise": 2, "lesson": 4, "reading_order": 392 }, { "id": "105-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 63, "printed_page": 105 } ], "exercise": 2, "lesson": 4, "asset_refs": [ "105-b" ], "playback_status": "ready", "labels": [], "reading_order": 393, "music_asset_refs": [ "105-b" ] }, { "id": "105-4", "type": "paragraph", "latin": "Aloys. Ad hanc tuam haud exilem objectionem solvendam non ignorare expedit, multa in parte acuta, quia perceptibiliore, magisque auribus perviâ prohiberi, quæ in parte gravi, per gravitatem non nihil offuscata, nec admodum auditum ferientia, tolerantur. Acumen enim distinguit; gravitas supprimit. Deinde ut ad fundamentaliorem perveniamus rationem, disparitatemque, in memoriam revocentur, quæ alibi de Consonantiarum perfectione diximus: Quintam nempe perfectam; Octavam perfectiorem; Unisonum perfectissimam esse Consonantiam; & quò perfectiores, eò minùs Harmoniæ habere. Porrò compertum est, Dissonantes ex se omni Harmoniæ amœnitate, gratiâque vacuas esse; sed quidquid grati, blandique auribus exhibent, id totum beneficio sequentis Consonantiæ, in quam resolvuntur, attribuendum esse. Ex quo perspicuum est, dissonantiam in Quintam resolutam tolerabiliorem esse, quàm ea, quæ in Octavam resolvi contingit. Unde mirum non est, primum exemplum ut vitiosum à bonis Authoribus rejici, secundum verò Contrapuncti præceptis accommodatum probari. Denique quò magis Consonantia perfecta, in quam Dissonantia resolvitur, ad Consonantiæ imperfectæ accedit naturam, eò faciliore excusatione, indulgentiâque prosequenda erit resolutio. Nunc si tibi satisfactum est, ad hujus Contrapuncti Speciei exercitium te accinge.", "english": "Aloysius. To resolve this by no means slight objection of yours, it helps to know that many things are forbidden in the high part, because it is more perceptible and more readily reaches the ear, which are tolerated in the low part, being somewhat obscured by its low register and not striking the hearing very strongly. For high pitch distinguishes; low pitch suppresses. Then, to arrive at a more fundamental reason and distinction, let us recall what we said elsewhere about the perfection of consonances: namely, that the fifth is a perfect consonance, the octave more perfect, and the unison the most perfect; and that the more perfect they are, the less harmony they possess. Furthermore, it is established that dissonances in themselves lack all the pleasantness and grace of harmony. Whatever is agreeable and pleasing that they offer the ear must be attributed entirely to the benefit of the following consonance into which they resolve. From this it is clear that a dissonance resolved to a fifth is more tolerable than one that happens to resolve to an octave. It is therefore not surprising that good masters reject the first example as faulty, but approve the second as conforming to the precepts of counterpoint. Finally, the more the perfect consonance into which a dissonance resolves approaches the nature of an imperfect consonance, the more readily the resolution should be excused and allowed. Now, if you are satisfied, prepare yourself for the exercise in this species of counterpoint.", "sources": [ { "pdf_page": 63, "printed_page": 105 }, { "pdf_page": 64, "printed_page": 106, "region": "opening continuation" } ], "exercise": 2, "lesson": 4, "reading_order": 394 }, { "id": "106-1", "type": "paragraph", "latin": "Joseph. Faciam, ut jubes.", "english": "Joseph. I shall do as you command.", "sources": [ { "pdf_page": 64, "printed_page": 106 } ], "exercise": 2, "lesson": 4, "reading_order": 395 }, { "id": "106-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 64, "printed_page": 106 } ], "exercise": 2, "lesson": 4, "asset_refs": [ "106-a" ], "playback_status": "ready", "labels": [], "reading_order": 396, "music_asset_refs": [ "106-a" ] }, { "id": "106-2", "type": "paragraph", "latin": "Aloys. Cur in tertii tactûs Systemate in parte cantûs, erroris, vel potiùs dubii signum posuisti?", "english": "Aloysius. Why did you place a sign of error, or rather of doubt, in the soprano part of the third measure?", "sources": [ { "pdf_page": 64, "printed_page": 106 } ], "exercise": 2, "lesson": 4, "reading_order": 397 }, { "id": "106-3", "type": "paragraph", "latin": "Joseph. Nondum memoria mihi excidit, primam Ligaturæ partem Consonantiam esse debere: ego autem eo loco dissonantiam, nempe Quartam adhibui; partim quia ob necessitatem duarum Semibrevium ponendarum, aliter fieri posse, non reperiebam: partim quia ejusmodi exempla bonis in Authoribus me conspexisse recordor.", "english": "Joseph. I have not yet forgotten that the first part of a ligature must be a consonance. But in that place I used a dissonance, namely a fourth, partly because, owing to the necessity of placing two semibreves, I could not find another way to do it, and partly because I remember having seen examples of this kind in good masters.", "sources": [ { "pdf_page": 64, "printed_page": 106 } ], "exercise": 2, "lesson": 4, "reading_order": 398 }, { "id": "107-1", "type": "paragraph", "latin": "Aloys. Valde laudabilis est scrupulus iste tuus, quò magnæ attentionis tuæ prodis testimonium. Verùm nihil refert, quò minùs Hypothesis illa regularum rigori sit consentanea. Etenim quod dictum est, primam Ligaturæ partem Consonantiam esse debere, intelligendum est de illis Hypothesibus, in quibus pars fundamentalis singulis tactibus movetur; non de illis, quarum basis in mansione, ut dicere solemus, & in eodem situ detinetur: quo casu ligatura meris dissonantiis constans, non solùm non vitiosa est, verùm etiam elegantissimè adhibetur; quemadmodum sequenti Paradigmate demonstratur.", "english": "Aloysius. This scruple of yours is very praiseworthy, and bears witness to your great attentiveness. But it does not matter that this case is less in accord with the strictness of the rules. For the statement that the first part of a ligature must be consonant is to be understood of cases in which the foundational part moves in every measure, not of those in which the bass remains stationary, as we commonly say, and is held in the same position. In that case a ligature consisting entirely of dissonances is not only without fault but is used with the greatest elegance, as the following example demonstrates.", "sources": [ { "pdf_page": 65, "printed_page": 107 } ], "exercise": 2, "lesson": 4, "reading_order": 399 }, { "id": "107-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 65, "printed_page": 107 } ], "exercise": 2, "lesson": 4, "asset_refs": [ "107-a" ], "playback_status": "ready", "labels": [], "reading_order": 400, "music_asset_refs": [ "107-a" ] }, { "id": "107-2", "type": "paragraph", "latin": "Quid alterum dubitationis signum in sexto tactu existens indicat?", "english": "What does the other sign of doubt in the sixth measure indicate?", "sources": [ { "pdf_page": 65, "printed_page": 107 } ], "exercise": 2, "lesson": 4, "reading_order": 401 }, { "id": "107-3", "type": "paragraph", "latin": "Joseph. Non ignoro Septimam sibi Tertiam comitem postulare; ego autem ibidem propter Cantûs firmi necessitatem Octavam illi associavi.", "english": "Joseph. I know that the seventh requires a third as its companion; but there, because of the constraint of the cantus firmus, I associated an octave with it.", "sources": [ { "pdf_page": 65, "printed_page": 107 } ], "exercise": 2, "lesson": 4, "reading_order": 402 }, { "id": "107-4", "type": "paragraph", "latin": "Aloys. Meminisse te oportet, hîc loci nos in lectionibus versari, & in studio, singulis tactibus Ligaturam inserendi, non admodum rigori cæterarum concordantiarum inhærentes, de quibus alibi & diximus, & dicturi sumus. Aliud judicium ferendum est de libero componendi genere, ubi nulla necessitas impedit, quò minùs cuilibet dissonantiæ propria sua concordantia tribui possit: ideo Septima illa cum Octavâ associata tolerari debet. Nunc ad reliquas exercitationes.", "english": "Aloysius. You must remember that here we are engaged in lessons and in the study of inserting a ligature in every measure, without adhering too strictly to the requirements for the other concordances, of which we have spoken elsewhere and shall speak again. A different judgment must be made concerning free composition, where no constraint prevents each dissonance from being given its own appropriate concordance. Therefore that seventh associated with an octave must be tolerated. Now let us turn to the remaining exercises.", "sources": [ { "pdf_page": 65, "printed_page": 107 } ], "exercise": 2, "lesson": 4, "reading_order": 403 }, { "id": "107-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 65, "printed_page": 107 } ], "exercise": 2, "lesson": 4, "asset_refs": [ "107-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 404, "music_asset_refs": [ "107-custos" ] }, { "id": "108-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 66, "printed_page": 108 } ], "exercise": 2, "lesson": 4, "asset_refs": [ "108-a" ], "playback_status": "ready", "labels": [], "reading_order": 405, "music_asset_refs": [ "108-a" ] }, { "id": "108-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 66, "printed_page": 108 } ], "exercise": 2, "lesson": 4, "asset_refs": [ "108-b" ], "playback_status": "ready", "labels": [], "reading_order": 406, "music_asset_refs": [ "108-b" ] }, { "id": "108-1", "type": "paragraph", "latin": "Aloys. Quare in ultimi exempli parte fundamentali ab initio unius tactûs pausam adhibuisti?", "english": "Aloysius. Why did you use a rest of one measure at the beginning of the foundational part in the last example?", "sources": [ { "pdf_page": 66, "printed_page": 108 } ], "exercise": 2, "lesson": 4, "reading_order": 407 }, { "id": "108-2", "type": "paragraph", "latin": "Joseph. Quia Ligaturam ibidem adhiberi posse, non inveni; neque aliâ Contrapuncti Specie illud spatium implendum existimavi; ideo pausæ beneficio me juvare tentavi.", "english": "Joseph. Because I could not find a way to use a ligature there, and I did not think that space should be filled with another species of counterpoint; I therefore tried to help myself by means of a rest.", "sources": [ { "pdf_page": 66, "printed_page": 108 } ], "exercise": 2, "lesson": 4, "reading_order": 408 }, { "id": "108-3", "type": "paragraph", "latin": "Aloys. Non mihi displicet industria ista tua. Interim tamen sequenti modo fieri potuisset.", "english": "Aloysius. I am not displeased by this resourcefulness of yours. Nevertheless, it could have been done in the following way.", "sources": [ { "pdf_page": 66, "printed_page": 108 } ], "exercise": 2, "lesson": 4, "reading_order": 409 }, { "id": "108-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 66, "printed_page": 108 } ], "exercise": 2, "lesson": 4, "asset_refs": [ "108-c" ], "playback_status": "ready", "labels": [], "reading_order": 410, "music_asset_refs": [ "108-c" ] }, { "id": "109-1", "type": "paragraph", "latin": "Ubi Tenor in primo tactu basis officio fungitur: id quod non solùm Tenori, verùm etiam Alto; imò si possibile esset, Cantui usu venit; ita ut pars gravissima qualiscunque illa pro fundamento statuenda, & super eandem ædificandum sit. Jam ad duorum adhuc tenorum naturali ordine se sequentium exempla conficienda progredere.", "english": "Here the tenor performs the function of the bass in the first measure. This can happen not only to the tenor but also to the alto, and even, if it were possible, to the soprano. Thus the lowest part, whatever it may be, must be taken as the foundation, and the others built upon it. Now proceed to construct examples for the two further tenors that follow in their natural order.", "sources": [ { "pdf_page": 67, "printed_page": 109 } ], "exercise": 2, "lesson": 4, "reading_order": 411 }, { "id": "109-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 67, "printed_page": 109 } ], "exercise": 2, "lesson": 4, "asset_refs": [ "109-a" ], "playback_status": "ready", "labels": [], "reading_order": 412, "music_asset_refs": [ "109-a" ] }, { "id": "109-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 67, "printed_page": 109 } ], "exercise": 2, "lesson": 4, "asset_refs": [ "109-b" ], "playback_status": "ready", "labels": [], "reading_order": 413, "music_asset_refs": [ "109-b" ] }, { "id": "109-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 67, "printed_page": 109 } ], "exercise": 2, "lesson": 4, "asset_refs": [ "109-c" ], "playback_status": "ready", "labels": [], "reading_order": 414, "music_asset_refs": [ "109-c" ] }, { "id": "109-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 67, "printed_page": 109 } ], "exercise": 2, "lesson": 4, "asset_refs": [ "109-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 415, "music_asset_refs": [ "109-custos" ] }, { "id": "110-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 68, "printed_page": 110 } ], "exercise": 2, "lesson": 4, "asset_refs": [ "110-a" ], "playback_status": "ready", "labels": [], "reading_order": 416, "music_asset_refs": [ "110-a" ] }, { "id": "110-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 68, "printed_page": 110 } ], "exercise": 2, "lesson": 4, "asset_refs": [ "110-b" ], "playback_status": "ready", "labels": [], "reading_order": 417, "music_asset_refs": [ "110-b" ] }, { "id": "110-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 68, "printed_page": 110 } ], "exercise": 2, "lesson": 4, "asset_refs": [ "110-c" ], "playback_status": "ready", "labels": [], "reading_order": 418, "music_asset_refs": [ "110-c" ] }, { "id": "110-1", "type": "paragraph", "latin": "Aloys. In tantum exercitia hæc ad Harmoniæ rationem elaborata sunt, quantum ligaturæ cum duabus semibrevibus in omnibus tactibus positæ permittunt: neque enim hujus speciei restrictio Harmoniam admittit, omnibus numeris absolutam. Præterquam, quod hîc potior ratio ligaturarum, ut jam sæpius diximus, habeatur, quæ tot diversis modis hoc in exercitio resultantes perfectam sui conficiendi cognitionem exhibent. Quapropter exercitium hoc præcipuum Compositionis ornamentum, summopere tibi commendo. Id, quod meliùs fieri potuisset, est primus exercitii tactus, qui sic se habet:", "english": "Aloysius. These exercises have been worked out with regard to harmony as far as ligatures placed with two semibreves in every measure permit; for the restriction of this species does not allow harmony complete in every respect. Moreover, as we have often said, greater consideration is given here to ligatures, which, appearing in so many different ways in this exercise, provide a complete understanding of how to construct them. I therefore most strongly commend this exercise to you as a principal ornament of composition. What could have been done better is the first measure of the exercise, which is as follows:", "sources": [ { "pdf_page": 68, "printed_page": 110 }, { "pdf_page": 69, "printed_page": 111, "region": "opening continuation" } ], "exercise": 2, "lesson": 4, "reading_order": 419 }, { "id": "111-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 69, "printed_page": 111 } ], "exercise": 2, "lesson": 4, "asset_refs": [ "111-a" ], "playback_status": "ready", "labels": [], "reading_order": 420, "music_asset_refs": [ "111-a" ] }, { "id": "111-1", "type": "paragraph", "latin": "Ubi inter Altum, & Cantum occulta duarum Quintarum oritur consecutio, quæ facilis auribus perceptu in Tricinio evitari debet, quod fiet unius pausæ positione in Alto, hoc modo:", "english": "Here a hidden succession of two fifths arises between the alto and soprano, which, being readily perceived by the ear, must be avoided in three voices. This can be done by placing a rest in the alto, in this way:", "sources": [ { "pdf_page": 69, "printed_page": 111 } ], "exercise": 2, "lesson": 4, "reading_order": 421 }, { "id": "111-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 69, "printed_page": 111 } ], "exercise": 2, "lesson": 4, "asset_refs": [ "111-b" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 422, "music_asset_refs": [ "111-b" ] }, { "id": "111-2", "type": "paragraph", "latin": "Joseph. Simili juvamine sum usus in ejusdem exercitii Bassi sexto tactu; ubi secùs ulteriùs per ligaturarum seriem progrediendi potestatem non inveni.", "english": "Joseph. I used a similar aid in the sixth measure of the bass in the same exercise, where otherwise I could find no means of proceeding further through the series of ligatures.", "sources": [ { "pdf_page": 69, "printed_page": 111 } ], "exercise": 2, "lesson": 4, "reading_order": 423 }, { "id": "111-3", "type": "paragraph", "latin": "Aloys. Industriosè factum est. Præceptum enim de ligaturis in omnibus tactibus faciendis, intelligi non aliter debet; quàm ubi facultas adest. Reliquos tres tonos pari exercitio percurres.", "english": "Aloysius. That was resourcefully done. For the precept about making ligatures in every measure must be understood only as applying where the opportunity exists. You will go through the remaining three modes with the same exercise.", "sources": [ { "pdf_page": 69, "printed_page": 111 } ], "exercise": 2, "lesson": 4, "reading_order": 424 }, { "id": "111-h1", "type": "heading", "latin": "EXERCITII II.", "english": "EXERCISE II.", "sources": [ { "pdf_page": 69, "printed_page": 111 } ], "exercise": 2, "lesson": 5, "reading_order": 425 }, { "id": "111-h2", "type": "heading", "latin": "LECTIO QUINTA,", "english": "FIFTH LESSON,", "sources": [ { "pdf_page": 69, "printed_page": 111 } ], "exercise": 2, "lesson": 5, "reading_order": 426 }, { "id": "111-h3", "type": "heading", "latin": "De Contrapuncto florido.", "english": "On florid counterpoint.", "sources": [ { "pdf_page": 69, "printed_page": 111 } ], "exercise": 2, "lesson": 5, "reading_order": 427 }, { "id": "111-4", "type": "paragraph", "latin": "Aloys. Quid, & qualis hæc species sit, ex iis, quæ de ea in Bicinio diximus, constare tibi suppono: esse nempe Compositionem omnium quinque specierum, pulchrâ concinnaque canendi ratione ordinatam. Quomodo autem reliquarum duarum partium semibrevibus constantium, instituendæ sint concordantiæ, ex Tricinii exercitationibus hucusque ventilatis tibi jam innotescere minimè dubito: adeò ut his ulteriùs explicandis hîc immorari supervacaneum existimem. Unde sine mora ad exempla procedamus.", "english": "Aloysius. I suppose that what this species is, and its nature, are clear to you from what we said about it in two voices: namely that it is a combination of all five species, arranged in a beautiful and graceful melodic manner. I do not doubt in the least that, from the exercises in three voices discussed thus far, you now understand how the concordances of the other two parts, consisting of semibreves, must be arranged. Thus I think it superfluous to dwell here on explaining them further. Let us therefore proceed without delay to the examples.", "sources": [ { "pdf_page": 69, "printed_page": 111 }, { "pdf_page": 70, "printed_page": 112, "region": "opening continuation" } ], "exercise": 2, "lesson": 5, "reading_order": 428 }, { "id": "112-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 70, "printed_page": 112 } ], "exercise": 2, "lesson": 5, "asset_refs": [ "112-a" ], "playback_status": "ready", "labels": [], "reading_order": 429, "music_asset_refs": [ "112-a" ] }, { "id": "112-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 70, "printed_page": 112 } ], "exercise": 2, "lesson": 5, "asset_refs": [ "112-b" ], "playback_status": "ready", "labels": [], "continues_to": { "printed_page": 113, "pdf_page": 71, "block": "113-a" }, "reading_order": 430, "continuation_status": "resolved", "music_asset_refs": [ "112-b" ] }, { "id": "112-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 70, "printed_page": 112 } ], "exercise": 2, "lesson": 5, "asset_refs": [ "112-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 431, "music_asset_refs": [ "112-custos" ] }, { "id": "113-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 71, "printed_page": 113 } ], "exercise": 2, "lesson": 5, "asset_refs": [ "113-a" ], "playback_status": "ready", "labels": [], "continued_from": "112-b", "reading_order": 432, "music_asset_refs": [ "113-a" ] }, { "id": "113-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 71, "printed_page": 113 } ], "exercise": 2, "lesson": 5, "asset_refs": [ "113-b" ], "playback_status": "ready", "labels": [], "continues_to_block": "113-b-cont", "reading_order": 433, "music_asset_refs": [ "113-b" ] }, { "id": "113-b-cont", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 71, "printed_page": 113 } ], "exercise": 2, "lesson": 5, "asset_refs": [ "113-b-cont" ], "playback_status": "ready", "labels": [], "continued_from": "113-b", "reading_order": 434, "music_asset_refs": [ "113-b-cont" ] }, { "id": "113-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 71, "printed_page": 113 } ], "exercise": 2, "lesson": 5, "asset_refs": [ "113-c" ], "playback_status": "ready", "labels": [], "reading_order": 435, "music_asset_refs": [ "113-c" ] }, { "id": "113-d", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 71, "printed_page": 113 } ], "exercise": 2, "lesson": 5, "asset_refs": [ "113-d" ], "playback_status": "ready", "labels": [], "reading_order": 436, "music_asset_refs": [ "113-d" ] }, { "id": "114-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 72, "printed_page": 114 } ], "exercise": 2, "lesson": 5, "asset_refs": [ "114-a" ], "playback_status": "ready", "labels": [], "reading_order": 437, "music_asset_refs": [ "114-a" ] }, { "id": "114-1", "type": "paragraph", "latin": "Aloys. Sufficiant pro nunc hæc exempla: si reliquorum quatuor tonorum exercitationes privato studio, & pari diligentiâ prosequéris, perfectam hujus speciei conficiendæ cognitionem facili ratione adipisceris. Ubi animadvertendum, motum obliquum ut plurimùm in quovis tactu magnam labori huic addere facilitatem. Nunc ad Quatricinium.", "english": "Aloysius. Let these examples suffice for now. If you pursue the exercises in the remaining four modes in private study and with equal diligence, you will readily acquire a complete understanding of how to construct this species. Note that oblique motion, used for the most part in each measure, makes this work much easier. Now let us turn to four-voice composition.", "sources": [ { "pdf_page": 72, "printed_page": 114 } ], "exercise": 2, "lesson": 5, "reading_order": 438 }, { "id": "114-h1", "type": "heading", "latin": "EXERCITII III.", "english": "EXERCISE III.", "sources": [ { "pdf_page": 72, "printed_page": 114 } ], "exercise": 3, "lesson": 1, "reading_order": 439 }, { "id": "114-h2", "type": "heading", "latin": "LECTIO PRIMA.", "english": "FIRST LESSON.", "sources": [ { "pdf_page": 72, "printed_page": 114 } ], "exercise": 3, "lesson": 1, "reading_order": 440 }, { "id": "114-h3", "type": "heading", "latin": "De Quatricinio, Sive Quatuor partium Compositione.", "english": "On four-voice composition, or composition for four parts.", "sources": [ { "pdf_page": 72, "printed_page": 114 } ], "exercise": 3, "lesson": 1, "reading_order": 441 }, { "id": "114-2", "type": "paragraph", "latin": "Perfectam Triadis harmonicæ rationem Tricinio, sive trium partium Compositione contineri jam suprà dictum est. Inde patet, accedenti parti quartæ locum aliter non esse, nisi per duplicationem cujusdam Consonantiæ in Tricinio jam positæ, exceptis quibusdam dissonantiarum Hypothesibus, alio loco demonstrandis. Tametsi ratione intervalli, sitûsque inter Unisonum, & Octavam maxima sit disparitas; respectu tamen vulgaris denominationis omnino nulla est: æquè enim Unisonus, quàm Octava v. g. C. appellari, & Octava seu Unisonus repetitus æstimari consuevit.", "english": "It has already been said above that the complete constitution of the harmonic triad is contained in three-voice composition, or composition for three parts. Hence it is clear that there is no place for an added fourth part except through the doubling of some consonance already placed in the three-voice composition, apart from certain cases involving dissonances, which will be demonstrated elsewhere. Although there is the greatest difference between unison and octave in interval and position, there is none at all in their common naming: a unison is just as customarily called, for example, C as an octave is, and the octave is regarded as a repeated unison.", "sources": [ { "pdf_page": 72, "printed_page": 114 } ], "exercise": 3, "lesson": 1, "reading_order": 442 }, { "id": "114-3", "type": "paragraph", "latin": "Itaque Quatricinii sistema præcipuè Tertiâ, Quintâ, atque Octavâ constabit. Ubi propter vitiosas progressiones (quod crebrìus contingit) Octava haberi non poterit, illius loco Tertia frequentiùs, Sexta rariùs duplicanda erit. Cæterùm progressionum, motuumque Regulæ Libro primo præscriptæ, quoad fieri poterit, observentur; habito respectu non solùm partium ad fundamentum, verùm etiam partium ad partes inter se. Dixi: quoad fieri poterit, quia nonnunquam necessitas feret, aut ratio canendi, aut imitatio, aut subjecti rigor, ut Quintarum, vel Octavarum cooperta consecutio toleranda sit.", "english": "Thus the arrangement in four voices will consist chiefly of a third, fifth, and octave. Where an octave cannot be obtained because of faulty progressions—as happens quite often—a third should more frequently be doubled in its place, and a sixth more rarely. Otherwise, the rules of progression and motion prescribed in Book One should be observed as far as possible, considering not only the relation of the parts to the foundation, but also their relation to one another. I said “as far as possible” because sometimes necessity, the melodic line, imitation, or the strictness of the subject will require that a hidden succession of fifths or octaves be tolerated.", "sources": [ { "pdf_page": 72, "printed_page": 114 }, { "pdf_page": 73, "printed_page": 115, "region": "opening continuation" } ], "exercise": 3, "lesson": 1, "reading_order": 443 }, { "id": "115-1", "type": "paragraph", "latin": "Interim quò minùs à communibus regulis aberrare contigerit, eò perfectior resultabit Quatricinii Compositio.", "english": "Meanwhile, the less one happens to depart from the common rules, the more perfect the resulting four-voice composition will be.", "sources": [ { "pdf_page": 73, "printed_page": 115 } ], "exercise": 3, "lesson": 1, "reading_order": 444 }, { "id": "115-2", "type": "paragraph", "latin": "Joseph. Per caliginem hanc orationem tuam perspicere mihi videor. Unde ad rem clariùs intelligendam, uno, vel altero exemplo mihi opus est.", "english": "Joseph. I seem to discern your explanation through a mist. Therefore, to understand the matter more clearly, I need an example or two.", "sources": [ { "pdf_page": 73, "printed_page": 115 } ], "exercise": 3, "lesson": 1, "reading_order": 445 }, { "id": "115-3", "type": "paragraph", "latin": "Aloys. Sequenti Paradigmate mentis tuæ caligo facilè dissipabitur.", "english": "Aloysius. The mist in your mind will easily be dispelled by the following example.", "sources": [ { "pdf_page": 73, "printed_page": 115 } ], "exercise": 3, "lesson": 1, "reading_order": 446 }, { "id": "115-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 73, "printed_page": 115 } ], "exercise": 3, "lesson": 1, "asset_refs": [ "115-a" ], "playback_status": "ready", "labels": [], "reading_order": 447, "music_asset_refs": [ "115-a" ] }, { "id": "115-4", "type": "paragraph", "latin": "Ne mirare, Consonantias, vel intervalla composita contra morem hucusque usurpatum numeris simplicibus notata; id enim haud alium in finem faciendum putavi, quàm ut Consonantiarum duplicatio magis perspicua se oculis exhiberet. Hanc ergo formulam imitatione persequere; & si quid adhuc dubii tibi superest, indica: si nihil, hunc ipsum Cantum firmum, singulis in partibus successivè existentem solitâ mutatione pertractandum assume.", "english": "Do not be surprised that consonances, or compound intervals, have been marked with simple numbers, contrary to the practice used thus far. I thought this should be done for no other purpose than to make the doubling of consonances more clearly visible. Follow this model by imitation, then, and if any doubt remains, state it; if none remains, take up this same cantus firmus and work through it with the usual change of position, placing it successively in each part.", "sources": [ { "pdf_page": 73, "printed_page": 115 } ], "exercise": 3, "lesson": 1, "reading_order": 448 }, { "id": "115-5", "type": "paragraph", "latin": "Joseph. Interestne, quænam Consonantiarum cuilibet tribuatur parti?", "english": "Joseph. Does it matter which consonance is assigned to each part?", "sources": [ { "pdf_page": 73, "printed_page": 115 } ], "exercise": 3, "lesson": 1, "reading_order": 449 }, { "id": "115-6", "type": "paragraph", "latin": "Aloys. Interest vel maximè; quod tibi ex Tricinii exercitationibus, & dictis jam innotuisse existimo. Præterquam enim, quod ordine naturali, ubi fieri potest, quælibet Consonantia proprium sibi locum vindicet, plurimùm refert circumspicere, an à primi tactûs sistemate tali modo disposito, progressio ad secundum, tertium, vel etiam quartum tactum institui ritè possit: si minùs, mutanda erit primi tactûs structura; atque ita collocandæ erunt Consonantiæ, ut ad sequentes tactus commoda, rectaque fiat progrediendi facultas.", "english": "Aloysius. It matters very greatly, as I think you have already learned from the exercises and explanations concerning three voices. For besides the fact that, where possible, each consonance claims its proper place in the natural order, it is most important to consider whether, from the arrangement of the first measure so disposed, a correct progression can be made to the second, third, or even fourth measure. If not, the structure of the first measure must be changed, and the consonances so placed that convenient and correct progression to the following measures becomes possible.", "sources": [ { "pdf_page": 73, "printed_page": 115 }, { "pdf_page": 74, "printed_page": 116, "region": "opening continuation" } ], "exercise": 3, "lesson": 1, "reading_order": 450 }, { "id": "116-1", "type": "paragraph", "latin": "Joseph. Qualis est autem, de quo dixisti, proprius ille locus, quem Consonantiæ sibi vendicant?", "english": "Joseph. But what is that proper place you mentioned which the consonances claim for themselves?", "sources": [ { "pdf_page": 74, "printed_page": 116 } ], "exercise": 3, "lesson": 1, "reading_order": 451 }, { "id": "116-2", "type": "paragraph", "latin": "Aloys. Est ordo ex divisione Octavæ harmonicè institutâ productus. Patet ergo ex tali divisione primò generari Quintam, ex ulteriori Quintæ divisione Tertiam produci: qui ordo in Consonantiis collocandis tenendus est; nisi alia, nempe in sequentes tactus progrediendi ratio, quod frequentissimè fit, impediat. Subjicio exemplum, naturalem Consonantiarum ordinem exhibens:", "english": "Aloysius. It is the order produced by a harmonic division of the octave. It is clear that this division first generates the fifth, and that a further division of the fifth produces the third. This order must be kept in placing consonances, unless another consideration, namely progression to the following measures, prevents it, as very frequently happens. I append an example showing the natural order of the consonances:", "sources": [ { "pdf_page": 74, "printed_page": 116 } ], "exercise": 3, "lesson": 1, "reading_order": 452 }, { "id": "116-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 74, "printed_page": 116 } ], "exercise": 3, "lesson": 1, "asset_refs": [ "116-a" ], "playback_status": "ready", "labels": [], "reading_order": 453, "music_asset_refs": [ "116-a" ] }, { "id": "116-3", "type": "paragraph", "latin": "Vides primo loco Quintam positam, generatam ex Octavæ divisione: Secundò Octavam per se existentem: tertiò Tertiam, sive Decimam per Quintæ divisionem productam.", "english": "You see the fifth placed first, generated from the division of the octave; second, the octave existing in itself; third, the third, or tenth, produced by the division of the fifth.", "sources": [ { "pdf_page": 74, "printed_page": 116 } ], "exercise": 3, "lesson": 1, "reading_order": 454 }, { "id": "116-4", "type": "paragraph", "latin": "Joseph. Secundùm sistema hodiernæ nostræ Claviaturæ videtur Tertia primo loco, atque ante Quintam esse ponenda, proinde Quatricinii sistema sequenti ordine collocandum.", "english": "Joseph. According to the arrangement of our present-day keyboard, it seems that the third should be placed first and before the fifth, and consequently that the four-voice arrangement should be placed in the following order.", "sources": [ { "pdf_page": 74, "printed_page": 116 } ], "exercise": 3, "lesson": 1, "reading_order": 455 }, { "id": "116-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 74, "printed_page": 116 } ], "exercise": 3, "lesson": 1, "asset_refs": [ "116-b" ], "playback_status": "ready", "labels": [], "reading_order": 456, "music_asset_refs": [ "116-b" ] }, { "id": "116-5", "type": "paragraph", "latin": "Aloys. Videtur quidem; sed re ipsâ non est ità; Nam præterquam, quod ordinis judicium à Divisione, non à Claviaturæ dispositione sumendum sit, accedit, quod Tertia in loco gravi, proximòque parti fundamentali posita confusum, & obfuscatum edat sonum; atque quò majores fuerint termini, sive numeri intervallum aliquod constituentes, eò acutiorem ejusdem intervalli fore sonum: inde quoque acutiorem sibi vendicare locum. Porrò termini constitutivi Quintæ sunt, 2. 3. qui per Additionem uniti dant. 5. Termini verò Tertiæ sunt 4. 5. uniti faciunt. 9. Inde naturali ratione Quintam in graviori, Tertiam in acutiori loco ponendam esse constat.", "english": "Aloysius. It does seem so, but in fact it is not so. For, besides the fact that the judgment of order must be drawn from the division, not from the disposition of the keyboard, a third placed in a low position close to the foundational part produces a confused and clouded sound. Moreover, the greater the terms, or numbers, constituting an interval, the higher the sound of that interval will be; hence it also claims a higher position. Now the constituent terms of the fifth are 2 and 3, which together by addition give 5. The terms of the third are 4 and 5, which together make 9. It is therefore clear on natural grounds that the fifth should be placed in the lower position and the third in the higher.", "sources": [ { "pdf_page": 74, "printed_page": 116 } ], "exercise": 3, "lesson": 1, "reading_order": 457 }, { "id": "117-1", "type": "paragraph", "latin": "Perge nunc, si nihil dubii tibi restat, ad restantes hujus, & reliquorum tonorum lucubrationes, omnium tactuum ergastula circumspiciendo, comparandoque partes singulas singulis, ne quid regulis adversum obrepere contingat: ad quod perficiendum magnâ circumspectione opus est; ubi animadvertendum, ut non solùm partes cum Basso, sive parte fundamentali, verùm etiam partes mediæ inter se ad regularum tenorem ritè concordent.", "english": "Proceed now, if no doubt remains, to the remaining studies in this and the other modes, scrutinizing the confines of every measure and comparing each part with every other, lest anything contrary to the rules slip in. Great care is needed to accomplish this. Note that not only must the parts agree properly with the bass, or foundational part, but the middle parts must also agree with one another according to the rules.", "sources": [ { "pdf_page": 75, "printed_page": 117 } ], "exercise": 3, "lesson": 1, "reading_order": 458 }, { "id": "117-2", "type": "paragraph", "latin": "Joseph. Ex præcedenti Quatricinii exemplo comperi, inter partes medias nonnunquam Quartam evenire, quam dissonantiam esse statuisti, quamque prohibitam in Compositione meris semibrevibus constante affirmâsti; quod absque scrupulo præterire non potui.", "english": "Joseph. From the preceding example in four voices I found that a fourth sometimes occurs between the middle parts. You stated that it is a dissonance and affirmed that it is forbidden in composition consisting only of semibreves. I could not pass over this without a scruple.", "sources": [ { "pdf_page": 75, "printed_page": 117 } ], "exercise": 3, "lesson": 1, "reading_order": 459 }, { "id": "117-3", "type": "paragraph", "latin": "Aloys. Rectè quidem. Verùm recordandum est, naturam Consonantiarum, dissonatiarumque habito respectu ad partem fundamentalem metiendam esse; quidquid inter partes medias inde eveniat: modò alia absurda, ut consecutio duarum Quintarum, aut Octavarum evitetur. Cæterùm attendendum est, quò contractiores in angustum partes, eò perfectiorem resultare Harmoniam, juxta illud: Vis unita fortior. Si quid ardui tibi objicietur, ut fieri secùs haud potest; cogita ad virtutem per aspera ascendendum esse: neque Athletas absque adversario ad Olympia descendere; Indefesso studio, constantiâ, scutoque patientiæ in certamine opus esse.", "english": "Aloysius. Quite right. But remember that the nature of consonances and dissonances must be measured in relation to the foundational part, whatever may result between the middle parts, provided that other absurdities, such as a succession of two fifths or octaves, are avoided. Furthermore, note that the more closely the parts are drawn together, the more perfect the resulting harmony, according to the saying: united strength is stronger. If anything difficult confronts you, as it inevitably must, consider that one must climb through hardships to excellence, and that athletes do not enter the Olympic games without an opponent; tireless study, perseverance, and the shield of patience are needed in the contest.", "sources": [ { "pdf_page": 75, "printed_page": 117 } ], "exercise": 3, "lesson": 1, "reading_order": 460 }, { "id": "117-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 75, "printed_page": 117 } ], "exercise": 3, "lesson": 1, "asset_refs": [ "117-a" ], "playback_status": "ready", "labels": [], "reading_order": 461, "music_asset_refs": [ "117-a" ] }, { "id": "117-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 75, "printed_page": 117 } ], "exercise": 3, "lesson": 1, "asset_refs": [ "117-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 462, "music_asset_refs": [ "117-custos" ] }, { "id": "118-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 76, "printed_page": 118 } ], "exercise": 3, "lesson": 1, "asset_refs": [ "118-a" ], "playback_status": "ready", "labels": [], "reading_order": 463, "music_asset_refs": [ "118-a" ] }, { "id": "118-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 76, "printed_page": 118 } ], "exercise": 3, "lesson": 1, "asset_refs": [ "118-b" ], "playback_status": "ready", "labels": [], "reading_order": 464, "music_asset_refs": [ "118-b" ] }, { "id": "118-1", "type": "paragraph", "latin": "Joseph. Non sine hæsitatione in primis duobus exemplis partem Tenoris contra admonitionem tuam ita Basso appropinquavi, ut Tertiis in gravi consistere plerumque contingat; quod feci, quia aliter fieri posse, non inveni, propter necessitatem Cantûs firmi in omnibus quatuor partibus collocandi. Quapropter ea censuræ tuæ, correctionique submitto.", "english": "Joseph. Not without hesitation, in the first two examples I brought the tenor part so close to the bass, contrary to your admonition, that it often forms thirds in the low register. I did this because I could find no other way, owing to the requirement to place the cantus firmus in all four parts. I therefore submit them to your judgment and correction.", "sources": [ { "pdf_page": 76, "printed_page": 118 } ], "exercise": 3, "lesson": 1, "reading_order": 465 }, { "id": "118-2", "type": "paragraph", "latin": "Aloys. Verum est, stante Cantûs firmi necessitate, Paradigmata illa exercitii gratiâ tantum instituta fieri non potuisse, secùs res se habebit, ubi inventio à proprio arbitrio dependet. Quantum autem utilitatis exercitia hæc Studiosis afferant, successu temporis admirabundus comperies. Duorum adhuc tonorum exempla solitâ quadruplici Cantûs firmi mutatione perficienda restant. Perge.", "english": "Aloysius. It is true that, given the constraint of the cantus firmus, those examples, devised only for the sake of exercise, could not have been made otherwise. Matters will be different when invention depends upon your own choice. But with the passage of time you will discover with wonder how useful these exercises are to students. Examples in two more modes remain to be completed with the usual fourfold change in the position of the cantus firmus. Continue.", "sources": [ { "pdf_page": 76, "printed_page": 118 } ], "exercise": 3, "lesson": 1, "reading_order": 466 }, { "id": "119-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 77, "printed_page": 119 } ], "exercise": 3, "lesson": 1, "asset_refs": [ "119-a" ], "playback_status": "ready", "labels": [], "reading_order": 467, "music_asset_refs": [ "119-a" ] }, { "id": "119-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 77, "printed_page": 119 } ], "exercise": 3, "lesson": 1, "asset_refs": [ "119-b" ], "playback_status": "ready", "labels": [], "reading_order": 468, "music_asset_refs": [ "119-b" ] }, { "id": "119-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 77, "printed_page": 119 } ], "exercise": 3, "lesson": 1, "asset_refs": [ "119-c" ], "playback_status": "ready", "labels": [], "reading_order": 469, "music_asset_refs": [ "119-c" ] }, { "id": "120-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 78, "printed_page": 120 } ], "exercise": 3, "lesson": 1, "asset_refs": [ "120-a" ], "playback_status": "ready", "labels": [], "reading_order": 470, "music_asset_refs": [ "120-a" ] }, { "id": "120-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 78, "printed_page": 120 } ], "exercise": 3, "lesson": 1, "asset_refs": [ "120-b" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 471, "music_asset_refs": [ "120-b" ] }, { "id": "120-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 78, "printed_page": 120 } ], "exercise": 3, "lesson": 1, "asset_refs": [ "120-c" ], "playback_status": "ready", "labels": [], "reading_order": 472, "music_asset_refs": [ "120-c" ] }, { "id": "121-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 79, "printed_page": 121 } ], "exercise": 3, "lesson": 1, "asset_refs": [ "121-a" ], "playback_status": "ready", "labels": [], "reading_order": 473, "music_asset_refs": [ "121-a" ] }, { "id": "121-1", "type": "paragraph", "latin": "Hæc exempla utcunque bene facta sunt: neque immutabilis Cantûs firmi necessitas admittit, ut compositio talis ad motuum, aliarumque regularum rigorem ad amussim elaborari possit, ut facilè fit in compositione libera. Reliquorum trium tonorum exempla pari ratione quadruplicique Cantûs firmi positione perficienda sunt.", "english": "These examples are tolerably well made. Nor does the constraint of the unchangeable cantus firmus permit such a composition to be worked out exactly according to the strict rules of motion and the other rules, as can easily be done in free composition. Examples in the remaining three modes must be completed in the same manner, with the cantus firmus in each of the four positions.", "sources": [ { "pdf_page": 79, "printed_page": 121 } ], "exercise": 3, "lesson": 1, "reading_order": 474 }, { "id": "121-h1", "type": "heading", "latin": "EXERCITII III.", "english": "EXERCISE III.", "sources": [ { "pdf_page": 79, "printed_page": 121 } ], "exercise": 3, "lesson": 2, "reading_order": 475 }, { "id": "121-h2", "type": "heading", "latin": "LECTIO SECUNDA,", "english": "SECOND LESSON,", "sources": [ { "pdf_page": 79, "printed_page": 121 } ], "exercise": 3, "lesson": 2, "reading_order": 476 }, { "id": "121-h3", "type": "heading", "latin": "De Minimis contra Semibrevem.", "english": "On minims against a semibreve.", "sources": [ { "pdf_page": 79, "printed_page": 121 } ], "exercise": 3, "lesson": 2, "reading_order": 477 }, { "id": "121-2", "type": "paragraph", "latin": "Hîc in memoriam revocare necesse est, quæ suprà de hac Contrapuncti specie in Tricinio diximus; quæ omnia in hac Quatricinii compositione quoque tenenda sunt: neque alia differentia est, quàm quod ibi duæ Minimæ cum duabus semibrevibus, hîc verò cum tribus concordare debeant: observatis de cætero, quæ de Quatricinio Notæ contra Notam dicta sunt: quantum tamen restrictum hujus speciei ligamen permittet. Ad exercitium exemplorum perge.", "english": "Here it is necessary to recall what we said above about this species of counterpoint in three voices. All of it must also be observed in this four-voice composition. There is no other difference than that there the two minims had to agree with two semibreves, whereas here they must agree with three. In other respects, what was said about note-against-note composition in four voices must be observed, as far as the narrow constraint of this species permits. Proceed to the practice examples.", "sources": [ { "pdf_page": 79, "printed_page": 121 } ], "exercise": 3, "lesson": 2, "reading_order": 478 }, { "id": "122-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 80, "printed_page": 122 } ], "exercise": 3, "lesson": 2, "asset_refs": [ "122-a" ], "playback_status": "ready", "labels": [], "reading_order": 479, "music_asset_refs": [ "122-a" ] }, { "id": "122-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 80, "printed_page": 122 } ], "exercise": 3, "lesson": 2, "asset_refs": [ "122-b" ], "playback_status": "ready", "labels": [], "reading_order": 480, "music_asset_refs": [ "122-b" ] }, { "id": "122-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 80, "printed_page": 122 } ], "exercise": 3, "lesson": 2, "asset_refs": [ "122-c" ], "playback_status": "ready", "labels": [], "reading_order": 481, "music_asset_refs": [ "122-c" ] }, { "id": "123-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 81, "printed_page": 123 } ], "exercise": 3, "lesson": 2, "asset_refs": [ "123-a" ], "playback_status": "ready", "labels": [], "reading_order": 482, "music_asset_refs": [ "123-a" ] }, { "id": "123-1", "type": "paragraph", "latin": "Joseph. Difficultate plenam experior hanc Contrapuncti Speciem, nec ulla difficilior hucusque mihi visa fuit, ità ut penultimam eâ lege nullo modo prosequi potuerim.", "english": "Joseph. I find this species of counterpoint full of difficulty, and none has seemed more difficult to me thus far, so that I could not in any way carry through the penultimate measure under that rule.", "sources": [ { "pdf_page": 81, "printed_page": 123 } ], "exercise": 3, "lesson": 2, "asset_refs": [ "123-text-annotation" ], "reading_order": 483, "music_asset_refs": [ "123-text-annotation" ], "playback_status": "playback not yet available" }, { "id": "123-2", "type": "paragraph", "latin": "Aloysius. Ità est. Verùm hujus rei gravitas oritur ex obligatione ponendi duas Minimas contra tres Semibreves: non alium in finem instituta, quàm ut concordandi scientiam adipiscaris, teque cautum, circumspectum, & attentum in struendis Concordantiis reddat. Inde mirum non est, in quibusdam Hypothesibus prosequendi facultatem non reperiri: neque in ullo libero componendi genere usuveniet, ut tanta tactuum series hac lege protrahenda sit. Non enim usûs, sed exercitii gratiâ lectiones hæ adinventæ sunt: quemadmodum Syllabizatio à legere sciente non ampliùs practicatur; ità quoque Contrapuncti Species ad addiscendum solummodò præscribuntur. Cætera tonorum exempla domestico studio tuo committo.", "english": "Aloysius. That is so. But the difficulty of this matter arises from the obligation to place two minims against three semibreves, established for no other purpose than that you may acquire the knowledge of combining them and become careful, circumspect, and attentive in constructing concordances. It is therefore not surprising that in certain cases no means of proceeding can be found. Nor will it occur in any kind of free composition that so long a series of measures must be extended under this rule. For these lessons were devised for the sake of exercise, not practical use. Just as someone who knows how to read no longer practices spelling out syllables, so the species of counterpoint are prescribed only for learning. I entrust the examples in the other modes to your study at home.", "sources": [ { "pdf_page": 81, "printed_page": 123 } ], "exercise": 3, "lesson": 2, "reading_order": 484 }, { "id": "123-h1", "type": "heading", "latin": "EXERCITII III.", "english": "EXERCISE III.", "sources": [ { "pdf_page": 81, "printed_page": 123 } ], "exercise": 3, "lesson": 3, "reading_order": 485 }, { "id": "123-h2", "type": "heading", "latin": "LECTIO TERTIA,", "english": "THIRD LESSON,", "sources": [ { "pdf_page": 81, "printed_page": 123 } ], "exercise": 3, "lesson": 3, "reading_order": 486 }, { "id": "123-h3", "type": "heading", "latin": "De Semiminimis contra Semibrevem.", "english": "On semiminims against a semibreve.", "sources": [ { "pdf_page": 81, "printed_page": 123 } ], "exercise": 3, "lesson": 3, "reading_order": 487 }, { "id": "123-3", "type": "paragraph", "latin": "Quæ hujus Speciei requisita sint, ex iis, quæ de hac in compositione duarum, triumque partium, dicta sunt, petantur: adeò ut hîc nihil aliud addendum sit, præter Concordantiæ disparitatem. Quemadmodum enim in Bicinio Concordantia cum una Semibrevi, in Tricinio cum duabus instituenda est: ità in hac Quatricinii Compositione quatuor Semiminimæ cum tribus Semibrevibus juxta Harmoniæ regulas aliunde tibi notas concordandæ sunt. Exemplis res clarior apparebit.", "english": "The requirements of this species are to be sought in what has been said about it in composition for two and three parts, so that nothing needs to be added here except the difference in concordance. For just as in two voices the concordance must be arranged with one semibreve, and in three voices with two, so in this four-voice composition four semiminims must be made to agree with three semibreves according to the rules of harmony already known to you. Examples will make the matter clearer.", "sources": [ { "pdf_page": 81, "printed_page": 123 }, { "pdf_page": 82, "printed_page": 124, "region": "opening continuation" } ], "exercise": 3, "lesson": 3, "reading_order": 488 }, { "id": "124-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 82, "printed_page": 124 } ], "exercise": 3, "lesson": 3, "asset_refs": [ "124-a" ], "playback_status": "ready", "labels": [], "reading_order": 489, "music_asset_refs": [ "124-a" ] }, { "id": "124-1", "type": "paragraph", "latin": "Joseph. Quare (pace tuâ Magister interrogo) in quarto tactu Tertiam duplicâsti? Videtur enim posito, loco unius Tertiæ Unisono in parte Tenoris sequenti modo fieri potuisse.", "english": "Joseph. Why, Master, if I may ask, did you double the third in the fourth measure? For it seems that, by placing a unison instead of one of the thirds in the tenor part, it could have been done in the following way.", "sources": [ { "pdf_page": 82, "printed_page": 124 } ], "exercise": 3, "lesson": 3, "reading_order": 490 }, { "id": "124-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 82, "printed_page": 124 } ], "exercise": 3, "lesson": 3, "asset_refs": [ "124-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 491, "music_asset_refs": [ "124-custos" ] }, { "id": "125-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 83, "printed_page": 125 } ], "exercise": 3, "lesson": 3, "asset_refs": [ "125-a" ], "playback_status": "ready", "labels": [], "reading_order": 492, "music_asset_refs": [ "125-a" ] }, { "id": "125-1", "type": "paragraph", "latin": "Aloys. Respondeo, potuisse quidem ità fieri; verùm præterquam, quod Unisono in Thesi posito Compositionis plenitudini haud parùm dematur; accedit, quod Tertia, seu Decima in parte Cantûs utpote vagabunda, manca foret; quia non continuò audiretur. Quid secundum dubii signum B. indicat?", "english": "Aloysius. I answer that it certainly could have been done so. But, besides the fact that placing a unison on the thesis takes away considerably from the fullness of the composition, the third, or tenth, in the soprano part, being in motion, would be incomplete because it would not be heard continuously. What does the second sign of doubt, B, indicate?", "sources": [ { "pdf_page": 83, "printed_page": 125 } ], "exercise": 3, "lesson": 3, "reading_order": 493 }, { "id": "125-2", "type": "paragraph", "latin": "Joseph. Videtur progressio illa inter Altum, & Tenorem vitiosa; quia de perfecta ad perfectam motu recto proceditur.", "english": "Joseph. That progression between the alto and tenor seems faulty, because it proceeds from a perfect consonance to a perfect consonance by similar motion.", "sources": [ { "pdf_page": 83, "printed_page": 125 } ], "exercise": 3, "lesson": 3, "reading_order": 494 }, { "id": "125-3", "type": "paragraph", "latin": "Aloys. Dico, progressionem illam ob Semibrevium necessitatem aliter fieri non posse, ideoque tolerandam esse, quæ facilis emendationis foret, si Tenoris Semibrevis dividi sequenti modo posset.", "english": "Aloysius. I say that, owing to the requirement of semibreves, that progression cannot be made otherwise and must therefore be tolerated. It would be easily corrected if the tenor semibreve could be divided in the following way.", "sources": [ { "pdf_page": 83, "printed_page": 125 } ], "exercise": 3, "lesson": 3, "reading_order": 495 }, { "id": "125-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 83, "printed_page": 125 } ], "exercise": 3, "lesson": 3, "asset_refs": [ "125-b" ], "playback_status": "ready", "labels": [], "reading_order": 496, "music_asset_refs": [ "125-b" ] }, { "id": "125-4", "type": "paragraph", "latin": "Quod etiam de priorum Specierum exemplis intelligi volo, in quibus multa reperiuntur, quæ absque Semibrevium necessitate tanquam vitiosa rejicienda forent. Nunc ad reliqua exempla variatâ Cantûs firmi collocatione progredere.", "english": "I wish this to be understood also of the examples of the preceding species, in which many things are found that would have to be rejected as faulty without the requirement of semibreves. Now proceed to the remaining examples, varying the placement of the cantus firmus.", "sources": [ { "pdf_page": 83, "printed_page": 125 } ], "exercise": 3, "lesson": 3, "reading_order": 497 }, { "id": "125-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 83, "printed_page": 125 } ], "exercise": 3, "lesson": 3, "asset_refs": [ "125-c" ], "playback_status": "ready", "labels": [], "continues_to": { "printed_page": 126, "pdf_page": 84, "block": "126-a" }, "reading_order": 498, "continuation_status": "resolved", "music_asset_refs": [ "125-c" ] }, { "id": "126-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 84, "printed_page": 126 } ], "exercise": 3, "lesson": 3, "asset_refs": [ "126-a" ], "playback_status": "ready", "labels": [], "continued_from": "125-c", "reading_order": 499, "music_asset_refs": [ "126-a" ] }, { "id": "126-1", "type": "paragraph", "latin": "Aloys. Egregium, Josephe, hoc exemplo profectûs tui specimen dedisti: quò prodis, nihil ex his, quæ per tot Lectionum cursum dicta sunt, memoriâ tibi excidisse; quia primâ Semiminimâ ad Harmoniæ completæ rationem positâ, cum reliquis tribus hinc inde vagando planâ viâ in sequentem tactum ingressus es, cæteraque Harmoniæ, specierumque præcepta ritè observâsti: quod fit, quum Thesis, sive cujusvis tactûs principium completâ Harmoniâ, id est, Tertia, & Quintâ provisum est. Perge.", "english": "Aloysius. Joseph, in this example you have given an excellent demonstration of your progress. It shows that nothing said throughout all the lessons has slipped from your memory. For, having placed the first semiminim so as to provide complete harmony, you moved here and there with the remaining three and entered the following measure by a smooth path, duly observing the other precepts of harmony and the species. This happens when the thesis, or beginning of each measure, is supplied with complete harmony, that is, a third and fifth. Continue.", "sources": [ { "pdf_page": 84, "printed_page": 126 } ], "exercise": 3, "lesson": 3, "reading_order": 500 }, { "id": "126-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 84, "printed_page": 126 } ], "exercise": 3, "lesson": 3, "asset_refs": [ "126-b" ], "playback_status": "ready", "labels": [], "continues_to": { "printed_page": 127, "pdf_page": 85, "block": "127-a" }, "reading_order": 501, "continuation_status": "resolved", "music_asset_refs": [ "126-b" ] }, { "id": "126-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 84, "printed_page": 126 } ], "exercise": 3, "lesson": 3, "asset_refs": [ "126-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 502, "music_asset_refs": [ "126-custos" ] }, { "id": "127-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 85, "printed_page": 127 } ], "exercise": 3, "lesson": 3, "asset_refs": [ "127-a" ], "playback_status": "ready", "labels": [], "continued_from": "126-b", "reading_order": 503, "music_asset_refs": [ "127-a" ] }, { "id": "127-1", "type": "paragraph", "latin": "Aloys. Quid sibi vult illa Litera A. in cantûs secundo tactu posita?", "english": "Aloysius. What does the letter A placed in the second measure of the soprano mean?", "sources": [ { "pdf_page": 85, "printed_page": 127 } ], "exercise": 3, "lesson": 3, "reading_order": 504 }, { "id": "127-2", "type": "paragraph", "latin": "Joseph. Non nihil scrupuli mihi movet progressio illa de Consonantia perfecta ad perfectam motu recto, id est de Quinta ad Octavam: eò magis, quod partibus extremis evenire contingat.", "english": "Joseph. That progression from a perfect consonance to a perfect consonance by similar motion, that is, from a fifth to an octave, raises some scruple in me, all the more because it occurs in the outer parts.", "sources": [ { "pdf_page": 85, "printed_page": 127 } ], "exercise": 3, "lesson": 3, "reading_order": 505 }, { "id": "127-3", "type": "paragraph", "latin": "Aloys. Jam paulò ante dixi, iterumque repeto, similes progressiones subinde necessitati Semibrevium condonandas esse: quippe quum ne in libero quidem componendi genere semper evitari possint: quæ tamen in partibus mediis, quàm in extremis, ut rectè animadvertisti, tolerabiliores erunt.", "english": "Aloysius. I said a little earlier, and repeat again, that similar progressions must sometimes be excused because of the requirement of semibreves, since they cannot always be avoided even in free composition. They will nevertheless be more tolerable in the middle parts than in the outer parts, as you correctly observed.", "sources": [ { "pdf_page": 85, "printed_page": 127 } ], "exercise": 3, "lesson": 3, "reading_order": 506 }, { "id": "127-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 85, "printed_page": 127 } ], "exercise": 3, "lesson": 3, "asset_refs": [ "127-b" ], "playback_status": "ready", "labels": [], "continues_to": { "printed_page": 128, "pdf_page": 86, "block": "128-a" }, "reading_order": 507, "continuation_status": "resolved", "music_asset_refs": [ "127-b" ] }, { "id": "127-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 85, "printed_page": 127 } ], "exercise": 3, "lesson": 3, "asset_refs": [ "127-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 508, "music_asset_refs": [ "127-custos" ] }, { "id": "128-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 86, "printed_page": 128 } ], "exercise": 3, "lesson": 3, "asset_refs": [ "128-a" ], "playback_status": "ready", "labels": [], "continued_from": "127-b", "reading_order": 509, "music_asset_refs": [ "128-a" ] }, { "id": "128-1", "type": "paragraph", "latin": "Joseph. Litera A. in Tenoris parte posita denotat, ob eandem rationem antè dictam à communi regula aberratum esse; quia transitus fit de Consonantia imperfecta ad perfectam, nempe de Tertia ad Quintam motu recto, inde etiam ob ejusdem necessitatis causam tolerari posse existimo.", "english": "Joseph. The letter A placed in the tenor part indicates a departure from the common rule for the same reason stated before, because the passage is made from an imperfect consonance to a perfect one, namely from a third to a fifth by similar motion. I therefore think that it too can be tolerated because of the same necessity.", "sources": [ { "pdf_page": 86, "printed_page": 128 } ], "exercise": 3, "lesson": 3, "reading_order": 510 }, { "id": "128-2", "type": "paragraph", "latin": "Aloys. Rectè existimas. Perspicuum enim est, stante hujus Speciei rigore, meliùs fieri non potuisse: defectumque illum eò difficiliorem esse perceptu, quia in parte media existit. Nunc alterum tonum, E, la, mi, ob Quintæ defectum omnium difficillimum factu, me præsente pari ratione perficias. Cæteros domi tuæ lucubrandos tibi committo.", "english": "Aloysius. You judge correctly. For it is clear that, given the strictness of this species, it could not have been done better, and that this defect is harder to perceive because it occurs in a middle part. Now complete the other mode, E, la, mi, in the same manner in my presence; because it lacks a fifth, it is the most difficult of all to work out. I entrust the others to your study at home.", "sources": [ { "pdf_page": 86, "printed_page": 128 } ], "exercise": 3, "lesson": 3, "reading_order": 511 }, { "id": "128-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 86, "printed_page": 128 } ], "exercise": 3, "lesson": 3, "asset_refs": [ "128-b" ], "playback_status": "ready", "labels": [], "continues_to": { "printed_page": 129, "pdf_page": 87, "block": "129-a" }, "reading_order": 512, "continuation_status": "resolved", "music_asset_refs": [ "128-b" ] }, { "id": "128-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 86, "printed_page": 128 } ], "exercise": 3, "lesson": 3, "asset_refs": [ "128-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 513, "music_asset_refs": [ "128-custos" ] }, { "id": "129-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 87, "printed_page": 129 } ], "exercise": 3, "lesson": 3, "asset_refs": [ "129-a" ], "playback_status": "ready", "labels": [], "continued_from": "128-b", "reading_order": 514, "music_asset_refs": [ "129-a" ] }, { "id": "129-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 87, "printed_page": 129 } ], "exercise": 3, "lesson": 3, "asset_refs": [ "129-b" ], "playback_status": "ready", "labels": [], "reading_order": 515, "music_asset_refs": [ "129-b" ] }, { "id": "129-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 87, "printed_page": 129 } ], "exercise": 3, "lesson": 3, "asset_refs": [ "129-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 516, "music_asset_refs": [ "129-custos" ] }, { "id": "130-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 88, "printed_page": 130 } ], "exercise": 3, "lesson": 3, "asset_refs": [ "130-a" ], "playback_status": "ready", "labels": [], "reading_order": 517, "music_asset_refs": [ "130-a" ] }, { "id": "130-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 88, "printed_page": 130 } ], "exercise": 3, "lesson": 3, "asset_refs": [ "130-b" ], "playback_status": "ready", "labels": [], "continues_to": { "printed_page": 131, "pdf_page": 89, "block": "131-a" }, "reading_order": 518, "continuation_status": "resolved", "music_asset_refs": [ "130-b" ] }, { "id": "130-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 88, "printed_page": 130 } ], "exercise": 3, "lesson": 3, "asset_refs": [ "130-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 519, "music_asset_refs": [ "130-custos" ] }, { "id": "131-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 89, "printed_page": 131 } ], "exercise": 3, "lesson": 3, "asset_refs": [ "131-a" ], "playback_status": "ready", "labels": [], "continued_from": "130-b", "reading_order": 520, "music_asset_refs": [ "131-a" ] }, { "id": "131-1", "type": "paragraph", "latin": "Joseph. Inter partes Cantûs, & Violini de prima ad secundam Notam ambitus reperitur de Tertia ad Quintam, contra communem regulam, quem ob prædictas rationes emendare nolui, nec inveni.", "english": "Joseph. Between the soprano and violin parts, from the first note to the second, there is a progression from a third to a fifth contrary to the common rule. For the reasons already given I did not wish to correct it, nor could I find a way.", "sources": [ { "pdf_page": 89, "printed_page": 131 } ], "exercise": 3, "lesson": 3, "reading_order": 521 }, { "id": "131-2", "type": "paragraph", "latin": "Aloys. Hîc loci multa necessitati concedenda fore, quæ aliàs in libero componendi genere evitanda sunt, persæpe jam inculcavi: quemadmodum etiam transitus ille B. de Octava ad Quintam respectu partis infimæ motu recto, vitio notandus non est, propter hujus Speciei difficultatem. Jam reliquis tonis domi tuæ absolvendis ad aliam Speciem pergamus.", "english": "Aloysius. I have very often stressed that here many things must be conceded to necessity which should otherwise be avoided in free composition. Likewise that passage at B from an octave to a fifth by similar motion in relation to the lowest part is not to be marked as faulty, because of the difficulty of this species. Now, leaving the remaining modes to be completed at home, let us proceed to another species.", "sources": [ { "pdf_page": 89, "printed_page": 131 } ], "exercise": 3, "lesson": 3, "reading_order": 522 }, { "id": "131-h1", "type": "heading", "latin": "EXERCITII III.", "english": "EXERCISE III.", "sources": [ { "pdf_page": 89, "printed_page": 131 } ], "exercise": 3, "lesson": 4, "reading_order": 523 }, { "id": "131-h2", "type": "heading", "latin": "LECTIO QUARTA,", "english": "FOURTH LESSON,", "sources": [ { "pdf_page": 89, "printed_page": 131 } ], "exercise": 3, "lesson": 4, "reading_order": 524 }, { "id": "131-3", "type": "paragraph", "latin": "Absolutâ Semiminimarum Specie, Ligaturas sequi, e Bicinii, Triciniique Lectionibus compertum est: & quidnam eæ sint, pari ratione jam perspectum esse præsuppono. Nunc explanandum restat, quænam Concordantiarum comites in Quatricinio ligaturæ sibi adsciscant: de quo nonnihil dictum est in Tricinii compositione; eas nempe concordantias, quas sublatâ ligaturâ petunt, sibi postulare; ob rationem ibi dictam, quod ligatura nil aliud sit, quàm retardatio sequentis Notæ, quæ quoad concordantias nihil immutat. Exempla rem manifestabunt.", "english": "From the lessons in two and three voices it is known that ligatures follow the completed species of semiminims, and I likewise assume that their nature is already understood. It remains now to explain which accompanying concordances ligatures require in four voices. Something was said about this in three-voice composition: namely, that they require the concordances they would call for if the ligature were removed, for the reason stated there, that a ligature is nothing other than a delay of the following note, which changes nothing as regards concordances. Examples will make the matter plain.", "sources": [ { "pdf_page": 89, "printed_page": 131 } ], "exercise": 3, "lesson": 4, "reading_order": 525 }, { "id": "131-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 89, "printed_page": 131 } ], "exercise": 3, "lesson": 4, "asset_refs": [ "131-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 526, "music_asset_refs": [ "131-custos" ] }, { "id": "132-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 90, "printed_page": 132 } ], "exercise": 3, "lesson": 4, "asset_refs": [ "132-a" ], "playback_status": "ready", "labels": [ { "latin": "sublatâ Ligaturâ. sublatâ Ligaturâ. sublatâ Ligaturâ.", "english": "with the ligature removed. with the ligature removed. with the ligature removed." } ], "reading_order": 527, "music_asset_refs": [ "132-a" ] }, { "id": "132-1", "type": "paragraph", "latin": "Quæ Paradigmata clarè demonstrant, easdem concordantias, & Notis ligatis, & solutis esse.", "english": "These examples clearly demonstrate that the concordances are the same with tied and untied notes.", "sources": [ { "pdf_page": 90, "printed_page": 132 } ], "exercise": 3, "lesson": 4, "reading_order": 528 }, { "id": "132-2", "type": "paragraph", "latin": "Joseph. Nunquamne, venerande Magister, fallit illa Regula?", "english": "Joseph. Does that rule never admit an exception, revered Master?", "sources": [ { "pdf_page": 90, "printed_page": 132 } ], "exercise": 3, "lesson": 4, "reading_order": 529 }, { "id": "132-3", "type": "paragraph", "latin": "Aloys. Fallit in quibusdam Hypothesibus hujus Lectionis; ubi obligatio est ligaturas cum tribus Semibrevibus concordandi per integram tactûs mensuram: quod primò usuvenire non potest in Hypothesi, ubi Septimæ in ligatura Quinta associatur. E. G.", "english": "Aloysius. There are exceptions in certain cases of this lesson, where one is obliged to combine ligatures with three semibreves throughout the full measure. First, this cannot be done in the case where a fifth is associated with a seventh in ligature. For example:", "sources": [ { "pdf_page": 90, "printed_page": 132 } ], "exercise": 3, "lesson": 4, "reading_order": 530 }, { "id": "132-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 90, "printed_page": 132 } ], "exercise": 3, "lesson": 4, "asset_refs": [ "132-b" ], "playback_status": "ready", "labels": [], "reading_order": 531, "music_asset_refs": [ "132-b" ] }, { "id": "132-4", "type": "paragraph", "latin": "Ubi resolutio Ligaturæ cum Tenoris parte vitiosam dissonantiam, & quam maximè evitandam efficit.", "english": "Here the resolution of the ligature produces with the tenor part a faulty dissonance, which must above all be avoided.", "sources": [ { "pdf_page": 90, "printed_page": 132 } ], "exercise": 3, "lesson": 4, "reading_order": 532 }, { "id": "132-5", "type": "paragraph", "latin": "Joseph. Quid remedii hoc in casu?", "english": "Joseph. What remedy is there in this case?", "sources": [ { "pdf_page": 90, "printed_page": 132 } ], "exercise": 3, "lesson": 4, "reading_order": 533 }, { "id": "132-6", "type": "paragraph", "latin": "Aloys. Semibrevis in parte Tenoris dividenda est hoc modo.", "english": "Aloysius. The semibreve in the tenor part must be divided in this way.", "sources": [ { "pdf_page": 90, "printed_page": 132 } ], "exercise": 3, "lesson": 4, "reading_order": 534 }, { "id": "132-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 90, "printed_page": 132 } ], "exercise": 3, "lesson": 4, "asset_refs": [ "132-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 535, "music_asset_refs": [ "132-custos" ] }, { "id": "133-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 91, "printed_page": 133 } ], "exercise": 3, "lesson": 4, "asset_refs": [ "133-a" ], "playback_status": "ready", "labels": [], "reading_order": 536, "music_asset_refs": [ "133-a" ] }, { "id": "133-1", "type": "paragraph", "latin": "Joseph. Sed hæc Species non admittit Semibrevis divisionem.", "english": "Joseph. But this species does not admit the division of a semibreve.", "sources": [ { "pdf_page": 91, "printed_page": 133 } ], "exercise": 3, "lesson": 4, "reading_order": 537 }, { "id": "133-2", "type": "paragraph", "latin": "Aloys. Ità est. Ubi fieri potest. Verùm plures casus evenient, ut exemplis mox subjiciendis edoceberis, ubi necessitate postulante, divisione supersedere nequaquam poteris. Quamobrem trium Semibrevium rigor hac in Specie non admodum strictè teneri potest.", "english": "Aloysius. That is so—where it is possible. But several cases will occur, as you will be taught by the examples shortly to follow, in which necessity will make it quite impossible to dispense with division. Therefore the strict requirement of three semibreves cannot be held very rigidly in this species.", "sources": [ { "pdf_page": 91, "printed_page": 133 } ], "exercise": 3, "lesson": 4, "reading_order": 538 }, { "id": "133-3", "type": "paragraph", "latin": "Joseph. Septima cum Octava comitata, Semibrevis divisioni obnoxia minimè foret: uti in priori exemplo tuo videndum est, hoc modo:", "english": "Joseph. A seventh accompanied by an octave would not be subject to the division of a semibreve, as may be seen in your preceding example, in this way:", "sources": [ { "pdf_page": 91, "printed_page": 133 } ], "exercise": 3, "lesson": 4, "reading_order": 539 }, { "id": "133-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 91, "printed_page": 133 } ], "exercise": 3, "lesson": 4, "asset_refs": [ "133-b" ], "playback_status": "ready", "labels": [], "reading_order": 540, "music_asset_refs": [ "133-b" ] }, { "id": "133-4", "type": "paragraph", "latin": "Aloys. Verum est in hoc casu, ubi nihil impedit, quò minùs Octava loco Quintæ dari possit; sed in Hypothesibus, quarum plurimæ reperiuntur, ubi propter præcedentium Notarum, subsequentiumque seriem Octavæ locus non est, Quinta necessariò usurpari debet: tum Semibrevis uti in multis aliis eventibus dividenda est; quemadmodum Paradigmata sequentia docent.", "english": "Aloysius. That is true in this case, where nothing prevents an octave from being given instead of the fifth. But in cases, of which there are very many, where there is no room for an octave because of the sequence of preceding and following notes, a fifth must necessarily be used. Then the semibreve must be divided, as in many other circumstances, as the following examples teach.", "sources": [ { "pdf_page": 91, "printed_page": 133 } ], "exercise": 3, "lesson": 4, "reading_order": 541 }, { "id": "133-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 91, "printed_page": 133 } ], "exercise": 3, "lesson": 4, "asset_refs": [ "133-c" ], "playback_status": "ready", "labels": [], "reading_order": 542, "music_asset_refs": [ "133-c" ] }, { "id": "134-1", "type": "paragraph", "latin": "Joseph. Nihil dubii in hoc exemplo reperio, præter progressionem de quarto in quintum tactum inter partes Tenoris & Alti.", "english": "Joseph. I find nothing doubtful in this example except the progression from the fourth measure to the fifth between the tenor and alto parts.", "sources": [ { "pdf_page": 92, "printed_page": 134 } ], "exercise": 3, "lesson": 4, "reading_order": 543 }, { "id": "134-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 92, "printed_page": 134 } ], "exercise": 3, "lesson": 4, "asset_refs": [ "134-a" ], "playback_status": "ready", "labels": [], "reading_order": 544, "music_asset_refs": [ "134-a" ] }, { "id": "134-2", "type": "paragraph", "latin": "Aloys. Ne scrupulum tibi moveat hæc progressio, scire te oportet, Quartam inter medias partes, aut nullius momenti haberi, aut officio Consonantiæ imperfectæ perfungi. Unde progressio illa perinde tenenda est, ac si de Consonantia perfecta ad imperfectam motu recto procederes: quod bene notandum est. Nunc ad reliqua exempla.", "english": "Aloysius. So that this progression may cause you no scruple, you must know that a fourth between the middle parts is either regarded as of no consequence or performs the function of an imperfect consonance. Hence that progression must be treated just as if you were proceeding by similar motion from a perfect to an imperfect consonance. This must be carefully noted. Now to the remaining examples.", "sources": [ { "pdf_page": 92, "printed_page": 134 } ], "exercise": 3, "lesson": 4, "reading_order": 545 }, { "id": "134-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 92, "printed_page": 134 } ], "exercise": 3, "lesson": 4, "asset_refs": [ "134-b" ], "playback_status": "ready", "labels": [], "reading_order": 546, "music_asset_refs": [ "134-b" ] }, { "id": "134-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 92, "printed_page": 134 } ], "exercise": 3, "lesson": 4, "asset_refs": [ "134-c" ], "playback_status": "ready", "labels": [], "reading_order": 547, "music_asset_refs": [ "134-c" ] }, { "id": "135-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 93, "printed_page": 135 } ], "exercise": 3, "lesson": 4, "asset_refs": [ "135-a" ], "playback_status": "ready", "labels": [], "reading_order": 548, "music_asset_refs": [ "135-a" ] }, { "id": "135-1", "type": "paragraph", "latin": "Quibus exemplis palàm fit, ligaturas in Quatricinio aut non ubique tribus integris Semibrevibus (ut hæc Species requirit) stipari, aut si possunt, haud absolutâ omnibus legibus Harmoniâ compleri posse.", "english": "These examples make it clear that ligatures in four voices either cannot everywhere be accompanied by three whole semibreves, as this species requires, or, where they can, cannot be furnished with harmony complete according to all the rules.", "sources": [ { "pdf_page": 93, "printed_page": 135 } ], "exercise": 3, "lesson": 4, "reading_order": 549 }, { "id": "135-2", "type": "paragraph", "latin": "Joseph. In quibus exemplis una, alterave Semibrevium divisa sit, & ob quam causam, conspicio, verùm ubi deesse dicis aliquid Harmoniæ, non video.", "english": "Joseph. I see in which examples one or another of the semibreves has been divided, and for what reason, but I do not see where you say anything is lacking in the harmony.", "sources": [ { "pdf_page": 93, "printed_page": 135 } ], "exercise": 3, "lesson": 4, "reading_order": 550 }, { "id": "135-3", "type": "paragraph", "latin": "Aloys. Non animadvertis, in exempli primi sexto tactu Thesi deesse Quintam? quæ tamen ad completam Harmoniam summopere necessaria est. Deinde in ultimi exempli quinto tactu Secunda duplicata est, deficiente Sextâ, quæ ad integram Harmoniæ rationem desideratur, ut sequens exemplum demonstrat.", "english": "Aloysius. Do you not observe that the fifth is missing on the thesis of the sixth measure of the first example? Yet it is most necessary for complete harmony. Then, in the fifth measure of the last example, the second is doubled, while the sixth needed for complete harmony is missing, as the following example demonstrates.", "sources": [ { "pdf_page": 93, "printed_page": 135 } ], "exercise": 3, "lesson": 4, "reading_order": 551 }, { "id": "135-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 93, "printed_page": 135 } ], "exercise": 3, "lesson": 4, "asset_refs": [ "135-b" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 552, "music_asset_refs": [ "135-b" ] }, { "id": "135-4", "type": "paragraph", "latin": "Postremò in ejusdem exempli quinto tactu quarta duplicata est; cùm de rigore Secunda potiùs, quàm Quarta duplicanda sit.", "english": "Finally, in the fifth measure of the same example the fourth is doubled, whereas strictly speaking the second rather than the fourth should be doubled.", "sources": [ { "pdf_page": 93, "printed_page": 135 } ], "exercise": 3, "lesson": 4, "reading_order": 553 }, { "id": "135-5", "type": "paragraph", "latin": "Joseph. Quæ ratio est duplicandæ Secundæ potiùs, quàm Quartæ?", "english": "Joseph. What is the reason for doubling the second rather than the fourth?", "sources": [ { "pdf_page": 93, "printed_page": 135 } ], "exercise": 3, "lesson": 4, "reading_order": 554 }, { "id": "135-6", "type": "paragraph", "latin": "Aloys. Non tam ratione Secundæ, vel Quartæ, quàm ratione completæ Harmoniæ interest. Cùm enim Harmoniæ plenitudo consistat in locatione Tertiæ, Quintæ, & Octavæ; in dicto autem exemplo loco Octavæ Quinta duplicata reperiatur, ibidem Harmoniam non omnibus numeris absolutam fore constat. Hîc autem non loquor de prima tactûs parte, ubi Secunda inest, quæ Octavam sibi comitem haud admittit, sed de secunda tactûs parte, in qua Octava desideratur. E. G.", "english": "Aloysius. It matters not so much on account of the second or fourth as on account of complete harmony. For since fullness of harmony consists in the placing of a third, fifth, and octave, whereas in the example mentioned a doubled fifth is found instead of the octave, it is clear that the harmony there will not be complete in every respect. Here, however, I am not speaking of the first part of the measure, where the second is present and does not admit an octave as its companion, but of the second part of the measure, where the octave is wanted. For example:", "sources": [ { "pdf_page": 93, "printed_page": 135 }, { "pdf_page": 94, "printed_page": 136, "region": "opening continuation" } ], "exercise": 3, "lesson": 4, "reading_order": 555 }, { "id": "136-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 94, "printed_page": 136 } ], "exercise": 3, "lesson": 4, "asset_refs": [ "136-a" ], "playback_status": "ready", "labels": [ { "latin": "meliùs.", "english": "better." } ], "reading_order": 556, "music_asset_refs": [ "136-a" ] }, { "id": "136-1", "type": "paragraph", "latin": "Similes haud magni momenti defectus hujus Speciei rigori concedendi sunt, ob eximium, quod hæc exercitatio Studiosis affert emolumentum: quia non solùm rectam componendi rationem edocet; verùm etiam, quantum subinde, necessitate postulante à rigore regularum recedere permissum sit. Formulam ante oculos tibi posui, quam imitando reliquos quinque tonos æquali ratione, mutationeque pertractandos tibi relinquo. Nunc ad quintam hujus Studii Speciem progrediamur.", "english": "Similar defects of no great consequence must be conceded to the strictness of this species because of the exceptional benefit this exercise brings to students. For it teaches not only the correct manner of composing, but also how far one may at times depart from the strictness of the rules when necessity requires. I have placed a model before your eyes, and leave you to imitate it in working through the remaining five modes with the same method and changes of position. Now let us proceed to the fifth species of this study.", "sources": [ { "pdf_page": 94, "printed_page": 136 } ], "exercise": 3, "lesson": 4, "reading_order": 557 }, { "id": "136-h1", "type": "heading", "latin": "EXERCITII III.", "english": "EXERCISE III.", "sources": [ { "pdf_page": 94, "printed_page": 136 } ], "exercise": 3, "lesson": 5, "reading_order": 558 }, { "id": "136-h2", "type": "heading", "latin": "LECTIO QUINTA.", "english": "FIFTH LESSON.", "sources": [ { "pdf_page": 94, "printed_page": 136 } ], "exercise": 3, "lesson": 5, "reading_order": 559 }, { "id": "136-2", "type": "paragraph", "latin": "Speciem hanc, Josephe, Contrapuncto florido contineri, non ignoras. Quid sit, qua ratione fiat, ex præcedentibus, & exemplis, & dictis nota tibi fore suppono: maximè ex Tricinii speciei hujus exercitio: ut adeò nihil hîc novi addendum sit, præter quartam partem, Semibrevi constantem, juxtaque Quatricinii regulas intexendam. Ad exempla.", "english": "Joseph, you know that this species consists in florid counterpoint. I suppose that its nature and manner of construction are known to you from the preceding examples and explanations, especially from the exercise in this species for three voices. Thus nothing new needs to be added here except a fourth part, consisting of semibreves, to be woven in according to the rules of four-voice composition. To the examples.", "sources": [ { "pdf_page": 94, "printed_page": 136 } ], "exercise": 3, "lesson": 5, "reading_order": 560 }, { "id": "136-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 94, "printed_page": 136 } ], "exercise": 3, "lesson": 5, "asset_refs": [ "136-b" ], "playback_status": "ready", "labels": [], "reading_order": 561, "music_asset_refs": [ "136-b" ] }, { "id": "137-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 95, "printed_page": 137 } ], "exercise": 3, "lesson": 5, "asset_refs": [ "137-a" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 562, "music_asset_refs": [ "137-a" ] }, { "id": "137-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 95, "printed_page": 137 } ], "exercise": 3, "lesson": 5, "asset_refs": [ "137-b" ], "playback_status": "ready", "labels": [], "reading_order": 563, "music_asset_refs": [ "137-b" ] }, { "id": "137-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 95, "printed_page": 137 } ], "exercise": 3, "lesson": 5, "asset_refs": [ "137-c" ], "playback_status": "ready", "labels": [], "reading_order": 564, "music_asset_refs": [ "137-c" ] }, { "id": "138-1", "type": "paragraph", "latin": "Joseph. Video sicut in ligaturarum specie, ità quoque hîc unam alteramve Semibrevium divisam esse.", "english": "Joseph. I see that here too, as in the species of ligatures, one or another of the semibreves has been divided.", "sources": [ { "pdf_page": 96, "printed_page": 138 } ], "exercise": 3, "lesson": 5, "reading_order": 565 }, { "id": "138-2", "type": "paragraph", "latin": "Aloys. Quando dixi, quod Semibreves integræ manere debeant, de possibilitate intelligi volo. Interim tamen advertas, ubi copia dabatur, id ubique ad amussim observatum esse. Reliqua quinque tonorum exercitia pari studio prosequenda tibi committo.", "english": "Aloysius. When I said that the semibreves must remain whole, I wish this to be understood in terms of what is possible. Nevertheless, observe that wherever the opportunity was given, this was everywhere observed exactly. I entrust the remaining exercises in the five modes to you, to be pursued with equal application.", "sources": [ { "pdf_page": 96, "printed_page": 138 } ], "exercise": 3, "lesson": 5, "reading_order": 566 }, { "id": "138-3", "type": "paragraph", "latin": "Absolutis jam quinque Speciebus, ubique seorsum exercitatis, id conjunctim nunc ut facias, quàm maximè te cohortor; servato eodem Cantu firmo, conjungas E. G. Minimas, Semiminimas, & Ligaturas; quo facto, qualibet partium peculiarem motum nactâ, mira Compositioni varietas accedet. In exemplo.", "english": "Having now completed the five species and practiced each separately, I most strongly encourage you to practice them together. Keeping the same cantus firmus, combine, for example, minims, semiminims, and ligatures. By doing this, each part acquiring its own particular motion, a wonderful variety will be added to the composition. As in the example.", "sources": [ { "pdf_page": 96, "printed_page": 138 } ], "exercise": 3, "lesson": 5, "reading_order": 567 }, { "id": "138-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 96, "printed_page": 138 } ], "exercise": 3, "lesson": 5, "asset_refs": [ "138-a" ], "playback_status": "ready", "labels": [], "reading_order": 568, "music_asset_refs": [ "138-a" ] }, { "id": "139-1", "type": "paragraph", "latin": "Pari studio, & hunc, & cæteros quinque tonos quadruplici Cantûs firmi variatâ positione, ità ut in omnibus quatuor partibus existere contingat, absolvendos tibi impono: operamque dabis, ut quæ de qualibet Specie separatim dicta sunt, nunc cumulatè comprehendas: & quid muneris partium inter se existat, (quod te ampliùs latere non puto) ad amussim observes. Quantum emolumenti hæc exercitia ritè instituta studiosis afferant, haud facilè exprimi potest: quippe quum fermè nihil difficultatis oriturum sit, quod his Speciebus exactis notum tibi futurum non sit. Quapropter, si progressum hac in Disciplina facere cupis, summâ contentione te exhortor, ut his quinque Speciebus exercendis haud exiguum tempus impendas; novosque semper arbitrio tuo Cantus firmos eligendo, ad minimum unius, alteriusve anni spatium exercitio huic insistendo consumas. Neque præposterâ rapi te sinas aviditate progrediendi ad Compositionem idealem, arbitrariamque; cujus dulcedine allectus hinc inde vagando tempus terens, haud unquam ad veri fundamenti adeptionem pervenies.", "english": "With equal application I assign you to complete both this mode and the other five, varying the cantus firmus through all four positions so that it occurs in every part. You will take care now to grasp together what has been said separately about each species, and to observe exactly the function of the parts in relation to one another, which I think is no longer unknown to you. It is not easy to express how much benefit these properly conducted exercises bring to students, since scarcely any difficulty will arise that will not be familiar to you after working through these species. Therefore, if you wish to progress in this discipline, I urge you with the greatest earnestness to devote no small amount of time to practicing these five species, continually choosing new cantus firmi at your discretion and spending at least a year or two persevering in this exercise. Do not allow yourself to be carried away by a premature eagerness to proceed to imaginative and freely invented composition. Enticed by its sweetness, wasting time wandering here and there, you will never attain a true foundation.", "sources": [ { "pdf_page": 97, "printed_page": 139 } ], "exercise": 3, "lesson": 5, "reading_order": 569 }, { "id": "139-2", "type": "paragraph", "latin": "Joseph. Per asperam viam, Venerande Magister, valdeque spinosam incedere jubes. Vix enim fieri potest, tanto tempore fastidioso huic labori vacando, ne tædio afficiar.", "english": "Joseph. You bid me walk a rough and very thorny path, revered Master. For it can scarcely be possible to devote so much time to this wearisome work without becoming bored.", "sources": [ { "pdf_page": 97, "printed_page": 139 } ], "exercise": 3, "lesson": 5, "reading_order": 570 }, { "id": "139-3", "type": "paragraph", "latin": "Aloys. Ignosco Josephe, querelæ tuæ; tibique compatior. Verùm Musæ montem incolere dicuntur, quò, nisi viâ præcipiti non pervenitur. Nullus est utcunque miserabilis artis mechanicæ tyro, qui tyrocinio ad minimum tres annos non obstringatur. Quid dicam de Musica? quæ non has modò inertes, operariasque artes ingenio, difficultate, rerum copiâ longè antecellit, verùm nulli liberalium artium est secunda. Stimulet te futura sudoris utilitas. Alliciat gloriæ spes. Incitet exinde ventura scribendi facilitas; deque, quæ scripturus es, rectâ scriptione certa fiducia. Quo facto, remoto ad tempus Cantu firmo, ad imitationum, fugarumque cognitionem te ducam. Priùs autem præmittendum est, extra Cantûs firmi restrictionem, quasdam dissonantiarum alio quoque modo resolvi posse: V. G. Nonam in Sextam, & Decimam in Tertiam: Quartam in Sextam, & Tertiam infrà scripto modo. E. G.", "english": "Aloysius. Joseph, I forgive your complaint and sympathize with you. But the Muses are said to dwell on a mountain that can be reached only by a steep path. There is no apprentice to any mechanical art, however humble, who is not bound to an apprenticeship of at least three years. What shall I say of music? It far surpasses not only those unlearned and manual arts in ingenuity, difficulty, and abundance of material, but is second to none of the liberal arts. Let the future benefit of your toil spur you on. Let the hope of glory attract you. Let the resulting ease in writing encourage you, together with sure confidence that what you write will be correct. Once this is done, setting aside the cantus firmus for a time, I shall lead you to the knowledge of imitations and fugues. First, however, it must be stated that, outside the restriction of the cantus firmus, some dissonances may also be resolved in another way: for example, a ninth to a sixth and a tenth to a third; a fourth to a sixth and to a third, in the manner written below. For example:", "sources": [ { "pdf_page": 97, "printed_page": 139 } ], "exercise": 3, "lesson": 5, "reading_order": 571 }, { "id": "139-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 97, "printed_page": 139 } ], "exercise": 3, "lesson": 5, "asset_refs": [ "139-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 572, "music_asset_refs": [ "139-custos" ] }, { "id": "140-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 98, "printed_page": 140 } ], "exercise": 3, "lesson": 5, "asset_refs": [ "140-a" ], "playback_status": "ready", "labels": [ { "latin": "5 falsa.", "english": "false fifth." } ], "reading_order": 573, "music_asset_refs": [ "140-a" ] }, { "id": "140-1", "type": "paragraph", "latin": "Joseph. Quare hæ resolutiones extra Cantum firmum usuveniunt, & non etiam cum Cantu firmo?", "english": "Joseph. Why do these resolutions occur outside a cantus firmus, and not also with a cantus firmus?", "sources": [ { "pdf_page": 98, "printed_page": 140 } ], "exercise": 3, "lesson": 5, "reading_order": 574 }, { "id": "140-2", "type": "paragraph", "latin": "Aloys. Non vides, utramque partem in resolutione moveri? id autem cum Cantu firmo, qui immobilis est, fieri non posse? disparitas itaque est: & patet his resolutionibus, ubi motus obliquus indispensabilis est, locum haud quaquam esse. Nunc ad Bicinii Compositionem, nullo Cantûs firmi vinculo restrictum, retrò te reducam.", "english": "Aloysius. Do you not see that both parts move in the resolution, and that this cannot happen with a cantus firmus, which is immovable? There is therefore a difference, and it is clear that these resolutions have no place where oblique motion is indispensable. Now I shall lead you back to composition in two voices, unrestricted by any bond of a cantus firmus.", "sources": [ { "pdf_page": 98, "printed_page": 140 } ], "exercise": 3, "lesson": 5, "reading_order": 575 }, { "id": "140-h1", "type": "heading", "latin": "EXERCITII IV.", "english": "EXERCISE IV.", "sources": [ { "pdf_page": 98, "printed_page": 140 } ], "exercise": 4, "lesson": 1, "reading_order": 576 }, { "id": "140-h2", "type": "heading", "latin": "LECTIO UNICA,", "english": "SOLE LESSON,", "sources": [ { "pdf_page": 98, "printed_page": 140 } ], "exercise": 4, "lesson": 1, "reading_order": 577 }, { "id": "140-h3", "type": "heading", "latin": "De Imitatione.", "english": "On imitation.", "sources": [ { "pdf_page": 98, "printed_page": 140 } ], "exercise": 4, "lesson": 1, "reading_order": 578 }, { "id": "140-3", "type": "paragraph", "latin": "Imitatio fit, quando pars sequens antecedentem sequitur post aliquam pausam servatis iisdem intervallis, quibus antecedens incessit, nullâ Modi, Toni, Semitonique habitâ ratione; id quod fieri potest in Unisono, Secundâ, Tertiâ, Quartâ, Quintâ, Sextâ, Septimâ, & Octavâ; quod exemplis clariùs patebit.", "english": "Imitation occurs when the following part follows the preceding one after a rest, preserving the same intervals by which the preceding part moved, without regard to mode, whole tone, or semitone. This can take place at the unison, second, third, fourth, fifth, sixth, seventh, and octave, as examples will make clearer.", "sources": [ { "pdf_page": 98, "printed_page": 140 } ], "exercise": 4, "lesson": 1, "reading_order": 579 }, { "id": "140-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 98, "printed_page": 140 } ], "exercise": 4, "lesson": 1, "asset_refs": [ "140-b" ], "playback_status": "ready", "labels": [ { "latin": "In Unisono.", "english": "At the unison." } ], "reading_order": 580, "music_asset_refs": [ "140-b" ] }, { "id": "141-1", "type": "paragraph", "latin": "Joseph. Ex hoc Paradigmate colligo, non omnes antecedentis partis Notas in sequente repetendas esse.", "english": "Joseph. From this example I gather that not all the notes of the preceding part must be repeated in the following part.", "sources": [ { "pdf_page": 99, "printed_page": 141 } ], "exercise": 4, "lesson": 1, "reading_order": 581 }, { "id": "141-2", "type": "paragraph", "latin": "Aloys. Rectè collegisti. Id enim muneris est Canonum, non imitationum, in quibus satis est, quasdam Notas prosequi.", "english": "Aloysius. You have inferred correctly. For that is the task of canons, not imitations, in which it is enough to follow certain notes.", "sources": [ { "pdf_page": 99, "printed_page": 141 } ], "exercise": 4, "lesson": 1, "reading_order": 582 }, { "id": "141-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 99, "printed_page": 141 } ], "exercise": 4, "lesson": 1, "asset_refs": [ "141-a" ], "playback_status": "ready", "labels": [ { "latin": "In Secunda.", "english": "At the second." } ], "reading_order": 583, "music_asset_refs": [ "141-a" ] }, { "id": "141-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 99, "printed_page": 141 } ], "exercise": 4, "lesson": 1, "asset_refs": [ "141-b" ], "playback_status": "ready", "labels": [ { "latin": "In Tertia.", "english": "At the third." } ], "reading_order": 584, "music_asset_refs": [ "141-b" ] }, { "id": "141-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 99, "printed_page": 141 } ], "exercise": 4, "lesson": 1, "asset_refs": [ "141-c" ], "playback_status": "ready", "labels": [ { "latin": "In Quarta.", "english": "At the fourth." } ], "reading_order": 585, "music_asset_refs": [ "141-c" ] }, { "id": "141-3", "type": "paragraph", "latin": "Joseph. Videtur ultimum hoc exemplum incipere in C. & in G. finire.", "english": "Joseph. This last example seems to begin on C and end on G.", "sources": [ { "pdf_page": 99, "printed_page": 141 } ], "exercise": 4, "lesson": 1, "reading_order": 586 }, { "id": "141-4", "type": "paragraph", "latin": "Aloys. Jam oblivio te cœpit illius, quod paulò antè dixi, imitationem nullo modi, vel toni vinculo obstrictam, satis esse, quocunque modo partem imitantem antecedentis vestigia sequatur: præterquam, quod imitatio non tam in principio Concentûs, quàm in medio usurpari soleat. Ubi rigor modi haud multùm attenditur.", "english": "Aloysius. You have already forgotten what I said a little earlier: imitation is bound by no constraint of mode or tonal placement, and it is enough that the imitating part follows the footsteps of the preceding part in whatever manner. Moreover, imitation is customarily used less at the beginning of a composition than in its middle, where the strictness of the mode is not greatly attended to.", "sources": [ { "pdf_page": 99, "printed_page": 141 } ], "exercise": 4, "lesson": 1, "reading_order": 587 }, { "id": "142-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 100, "printed_page": 142 } ], "exercise": 4, "lesson": 1, "asset_refs": [ "142-a" ], "playback_status": "ready", "labels": [ { "latin": "In Quinta.", "english": "At the fifth." } ], "reading_order": 588, "music_asset_refs": [ "142-a" ] }, { "id": "142-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 100, "printed_page": 142 } ], "exercise": 4, "lesson": 1, "asset_refs": [ "142-b" ], "playback_status": "ready", "labels": [ { "latin": "In Sexta.", "english": "At the sixth." } ], "reading_order": 589, "music_asset_refs": [ "142-b" ] }, { "id": "142-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 100, "printed_page": 142 } ], "exercise": 4, "lesson": 1, "asset_refs": [ "142-c" ], "playback_status": "ready", "labels": [ { "latin": "In Septima.", "english": "At the seventh." } ], "reading_order": 590, "music_asset_refs": [ "142-c" ] }, { "id": "142-d", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 100, "printed_page": 142 } ], "exercise": 4, "lesson": 1, "asset_refs": [ "142-d" ], "playback_status": "ready", "labels": [ { "latin": "In Octava.", "english": "At the octave." } ], "reading_order": 591, "music_asset_refs": [ "142-d" ] }, { "id": "142-1", "type": "paragraph", "latin": "Aloys. Hæc exempla imitando non nihil temporis impendes; positis ad arbitrium aliquot Notis, quas de Nota ad Notam descriptas in quocunque intervallo libuerit, alteri parti inferes, & supra quas variis Notarum figuris juxta Contrapuncti præcepta fabricando, habitâ concinnè canendi ratione Bicinium conficies.", "english": "Aloysius. You will spend some time imitating these examples. Place a few notes at your discretion, copy them note for note into the other part at whatever interval you please, and, building above them with various note forms according to the precepts of counterpoint and with regard for graceful melody, you will construct a two-voice composition.", "sources": [ { "pdf_page": 100, "printed_page": 142 } ], "exercise": 4, "lesson": 1, "reading_order": 592 }, { "id": "143-h1", "type": "heading", "latin": "EXERCITII V.", "english": "EXERCISE V.", "sources": [ { "pdf_page": 101, "printed_page": 143 } ], "exercise": 5, "lesson": 1, "reading_order": 593 }, { "id": "143-h2", "type": "heading", "latin": "LECTIO PRIMA,", "english": "FIRST LESSON,", "sources": [ { "pdf_page": 101, "printed_page": 143 } ], "exercise": 5, "lesson": 1, "reading_order": 594 }, { "id": "143-h3", "type": "heading", "latin": "De Fugis in genere.", "english": "On fugues in general.", "sources": [ { "pdf_page": 101, "printed_page": 143 } ], "exercise": 5, "lesson": 1, "reading_order": 595 }, { "id": "143-1", "type": "paragraph", "latin": "Fugam à fugere, ac fugare, dictam complures haud aspernandi Auctores affirmant; ac si præcedens pars fugeret, fugata ab insequente; quod verum esset, nisi id ipsum, ut dictum est, imitatio faceret. Quapropter alia definitio, quâ Fuga ab imitatione distinguatur, statuenda est. Dico ergo: Fuga est quarundam Notarum in parte præcedenti positarum, ab sequente repetitio, habitâ modi, ac plerumque toni, semitoniique ratione. Ad intelligentiam hujus definitionis, patet, necesse fore scire, quid sit Modus. Per Modum intelligo id, quod vulgò tonus appellatur. Itaque dum dicitur: tonus primus, tonus secundus, &c. meliùs dicetur, Modus primus, Modus secundus, &c. ad tollendam æquivocationem intervalli sesquioctavi, 9. 8., atque sesquinoni, 10. 9. qui toni nomine quoque comprehenduntur. Cùm autem Modorum materia sit fermè omnium intricatissima, nec incipienti facilis perceptu; pro hîc, & nunc de eo tantum quantum ad nostrum præsens propositum satis est, explicasse contenti, plenam ejus explanationem ad finem Operis differendam existimamus. Modus igitur est series intervallorum infrà limites Octavæ contentorum, atque in vario, disparique situ Semitoniorum collocatio. Huc pertinet illud Horatii:", "english": "Several authors of no mean standing affirm that fugue takes its name from fugere, to flee, and fugare, to put to flight, as though the preceding part fled, pursued by the following one. This would be true, were it not that imitation does the same, as was said. Therefore another definition must be established to distinguish fugue from imitation. I say, then: fugue is the repetition by a following part of certain notes placed in a preceding part, with regard to the mode and, for the most part, to whole tones and semitones. To understand this definition it is clearly necessary to know what a mode is. By mode I mean what is commonly called a tone. Thus, when one says first tone, second tone, and so forth, it would be better to say first mode, second mode, and so forth, to remove ambiguity with the intervals in the ratios 9:8 and 10:9, which are also included under the name tone. Since the subject of modes is among the most intricate of all and not easy for a beginner to grasp, we shall be content here and now to explain only as much as suffices for our present purpose, deferring its full explanation to the end of the work. A mode, then, is a series of intervals contained within the bounds of an octave, with the semitones placed in various and differing positions. To this applies the saying of Horace:", "sources": [ { "pdf_page": 101, "printed_page": 143 } ], "exercise": 5, "lesson": 1, "reading_order": 596 }, { "id": "143-2", "type": "verse", "latin": "Est modus in rebus, sunt certi denique fines,\nQuos ultrà, citraque nequit consistere rectum.", "english": "There is a measure in things; there are, after all, fixed bounds,\nBeyond or short of which right cannot stand.", "sources": [ { "pdf_page": 101, "printed_page": 143 } ], "exercise": 5, "lesson": 1, "reading_order": 597 }, { "id": "143-3", "type": "paragraph", "latin": "Cùm varietas sitûs Semitoniorum sextuplex reperiatur, sex Modi quoque statuendi sunt: qui sequentibus Octavarum Sistematibus exhibentur, nempe: D. E. F. G. A. C.", "english": "Since the variety in the position of the semitones is found to be sixfold, six modes must also be established. These are shown in the following octave systems, namely D, E, F, G, A, C.", "sources": [ { "pdf_page": 101, "printed_page": 143 } ], "exercise": 5, "lesson": 1, "reading_order": 598 }, { "id": "143-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 101, "printed_page": 143 } ], "exercise": 5, "lesson": 1, "asset_refs": [ "143-a" ], "playback_status": "ready", "labels": [ { "latin": "mi fa · mi fa · mi fa · mi fa", "english": "mi fa · mi fa · mi fa · mi fa" } ], "reading_order": 599, "music_asset_refs": [ "143-a" ] }, { "id": "143-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 101, "printed_page": 143 } ], "exercise": 5, "lesson": 1, "asset_refs": [ "143-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 600, "music_asset_refs": [ "143-custos" ] }, { "id": "144-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 102, "printed_page": 144 } ], "exercise": 5, "lesson": 1, "asset_refs": [ "144-a" ], "playback_status": "ready", "labels": [], "continued_from": "143-a", "reading_order": 601, "music_asset_refs": [ "144-a" ] }, { "id": "144-1", "type": "paragraph", "latin": "Vides in sex diversis locis Semitoniorum existentiam; numerando de cujusvis Modi prima Nota: quæ diversitas nigredine Notarum indicatur; qui horum autem primus, secundus, tertiusve sit &c. in præsentia transibimus; interim eo, quo hîc positi sunt ordine, eos numerantes. Porrò Modus Quartæ, & Quintæ intrà Octavam existentium limitibus terminatur: juxta quos limites Fugarum themata regulanda sunt. E. C.", "english": "You see the semitones in six different positions, counting from the first note of each mode. This difference is indicated by the blackened notes. Which of these is first, second, third, and so forth we shall pass over for the present, numbering them meanwhile in the order in which they are placed here. Furthermore, a mode is bounded by the limits of the fourth and fifth contained within the octave; fugue subjects must be regulated according to these limits. For example:", "sources": [ { "pdf_page": 102, "printed_page": 144 } ], "exercise": 5, "lesson": 1, "reading_order": 602 }, { "id": "144-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 102, "printed_page": 144 } ], "exercise": 5, "lesson": 1, "asset_refs": [ "144-b" ], "playback_status": "ready", "labels": [], "reading_order": 603, "music_asset_refs": [ "144-b" ] }, { "id": "144-2", "type": "paragraph", "latin": "Adeò, si pars incipiens, Quintæ saltum efficiat, ne pars sequens Modi, vel Octavæ limitem excedat, Quartæ saltum faciat, necesse sit, & vice versâ. E. G.", "english": "Thus, if the beginning part makes the leap of a fifth, the following part must make the leap of a fourth, lest it exceed the limit of the mode or octave, and conversely. For example:", "sources": [ { "pdf_page": 102, "printed_page": 144 } ], "exercise": 5, "lesson": 1, "reading_order": 604 }, { "id": "144-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 102, "printed_page": 144 } ], "exercise": 5, "lesson": 1, "asset_refs": [ "144-c" ], "playback_status": "ready", "labels": [], "reading_order": 605, "music_asset_refs": [ "144-c" ] }, { "id": "144-3", "type": "paragraph", "latin": "Ad quod imitatio non obstringitur; cui sufficit, eosdem gradus, ac saltus sequi. E. G.", "english": "Imitation is not bound to this; it is enough for it to follow the same steps and leaps. For example:", "sources": [ { "pdf_page": 102, "printed_page": 144 } ], "exercise": 5, "lesson": 1, "reading_order": 606 }, { "id": "144-d", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 102, "printed_page": 144 } ], "exercise": 5, "lesson": 1, "asset_refs": [ "144-d" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 607, "music_asset_refs": [ "144-d" ] }, { "id": "145-1", "type": "paragraph", "latin": "Postremò, Fuga, extra intervalla Modum constituentia, v. g. extra Unisonum, Octavam, & Quintam institui non potest: Imitatio autem, ut dictum est, in omnibus intervallis.", "english": "Finally, fugue cannot be established outside the intervals constituting the mode, namely outside the unison, octave, and fifth; imitation, however, as has been said, can be at all intervals.", "sources": [ { "pdf_page": 103, "printed_page": 145 } ], "exercise": 5, "lesson": 1, "reading_order": 608 }, { "id": "145-2", "type": "paragraph", "latin": "Joseph. Hucusque quæ de Modis, Imitatione, Fugâque dicta sunt, percepisse mihi videor. Jam, ut edoceas, quæso, quid in eligendis subjectis, & quo modo Fugæ instituendæ, atque ducendæ sint: persæpe enim audivi, rem Fugarum non omnibus hujus disciplinæ Professoribus notam esse.", "english": "Joseph. I think I have understood what has been said thus far about modes, imitation, and fugue. Now please teach me what must be considered in choosing subjects and how fugues are to be established and conducted; for I have very often heard that the matter of fugues is not known to all who profess this discipline.", "sources": [ { "pdf_page": 103, "printed_page": 145 } ], "exercise": 5, "lesson": 1, "reading_order": 609 }, { "id": "145-3", "type": "paragraph", "latin": "Aloys. Ità est, frequentior de illis auditur sermo, quàm scientia. Ut itaque nihil earum te lateat, quod quæsîsti, exponam. Sex differentes modos dari, ex antè dictâ demonstratione constat. Ideoque cuivis Modorum etiam proprium suum subjectum aptandum esse. Ex quo infertur, thema primo Modo proprium, secundo, tertio, quarto, quinto, sexto minimè convenire, propter tonorum, semitoniorumque situm, in quolibet Modo differenter repertum, ut exempla monstrabunt.", "english": "Aloysius. That is so; talk of them is heard more frequently than knowledge of them. So that nothing about them may remain unknown to you, I shall explain what you have asked. The preceding demonstration establishes that there are six different modes, and therefore each mode must have its own appropriate subject. It follows that a theme proper to the first mode is by no means suited to the second, third, fourth, fifth, or sixth, because of the differing position of whole tones and semitones found in each mode, as the examples will show.", "sources": [ { "pdf_page": 103, "printed_page": 145 } ], "exercise": 5, "lesson": 1, "reading_order": 610 }, { "id": "145-h1", "type": "heading", "latin": "Subjectum primi Modi proprium.", "english": "A subject proper to the first mode.", "sources": [ { "pdf_page": 103, "printed_page": 145 } ], "exercise": 5, "lesson": 1, "reading_order": 611 }, { "id": "145-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 103, "printed_page": 145 } ], "exercise": 5, "lesson": 1, "asset_refs": [ "145-a" ], "playback_status": "ready", "labels": [ { "latin": "re, fa, mi, re,", "english": "re, fa, mi, re," } ], "reading_order": 612, "music_asset_refs": [ "145-a" ] }, { "id": "145-4", "type": "paragraph", "latin": "Hoc thema, à parte sequente in Quinta reassumptum eosdem tonos, & semitonia servat. E. G.", "english": "This theme, taken up by the following part at the fifth, preserves the same whole tones and semitones. For example:", "sources": [ { "pdf_page": 103, "printed_page": 145 } ], "exercise": 5, "lesson": 1, "reading_order": 613 }, { "id": "145-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 103, "printed_page": 145 } ], "exercise": 5, "lesson": 1, "asset_refs": [ "145-b" ], "playback_status": "ready", "labels": [ { "latin": "re, fa, mi, re.", "english": "re, fa, mi, re." } ], "reading_order": 614, "music_asset_refs": [ "145-b" ] }, { "id": "145-5", "type": "paragraph", "latin": "Id quod in nullo cæterorum Modorum huic subjecto usuvenire potest. Videamus Modum A, la, mi, re, qui solus Modo D, la, sol, re, æqualitate proximus est:", "english": "This cannot occur for this subject in any of the other modes. Let us examine the mode A, la, mi, re, which alone comes closest in similarity to the mode D, la, sol, re:", "sources": [ { "pdf_page": 103, "printed_page": 145 } ], "exercise": 5, "lesson": 1, "reading_order": 615 }, { "id": "145-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 103, "printed_page": 145 } ], "exercise": 5, "lesson": 1, "asset_refs": [ "145-c" ], "playback_status": "ready", "labels": [ { "latin": "re, fa, mi, re. mi, sol, fa, mi.", "english": "re, fa, mi, re. mi, sol, fa, mi." } ], "reading_order": 616, "music_asset_refs": [ "145-c" ] }, { "id": "145-6", "type": "paragraph", "latin": "Ubi in partis sequentis penultima Nota loco mi, fa venit, & toni, semitoniique situs invertitur; nec subjecti sistema in prima parte propositum, aliter haberi potest, nisi Diesis penultimæ Notæ præpositæ adminiculo. E. G.", "english": "Here, in the penultimate note of the following part, fa comes instead of mi, and the position of whole tone and semitone is reversed. The arrangement of the subject proposed in the first part cannot otherwise be obtained except with the aid of a sharp placed before the penultimate note. For example:", "sources": [ { "pdf_page": 103, "printed_page": 145 } ], "exercise": 5, "lesson": 1, "reading_order": 617 }, { "id": "145-d", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 103, "printed_page": 145 } ], "exercise": 5, "lesson": 1, "asset_refs": [ "145-d" ], "playback_status": "ready", "labels": [ { "latin": "re, fa, mi, re.", "english": "re, fa, mi, re." } ], "reading_order": 618, "music_asset_refs": [ "145-d" ] }, { "id": "145-7", "type": "paragraph", "latin": "Id quod genus Diatonicum, in quo nunc versamur, haud admittit; sed omni Diesi, & b. molli in thematibus abstinere debet: aliàs enim nunquam genuinam Modorum naturam compertam haberemus.", "english": "This is not admitted by the diatonic genus in which we are now working; rather, it must abstain from every sharp and flat in subjects, for otherwise we should never come to know the true nature of the modes.", "sources": [ { "pdf_page": 103, "printed_page": 145 }, { "pdf_page": 104, "printed_page": 146, "region": "opening continuation" } ], "exercise": 5, "lesson": 1, "reading_order": 619 }, { "id": "146-h1", "type": "heading", "latin": "EXERCITII V.", "english": "EXERCISE V.", "sources": [ { "pdf_page": 104, "printed_page": 146 } ], "exercise": 5, "lesson": 2, "reading_order": 620 }, { "id": "146-h2", "type": "heading", "latin": "LECTIO SECUNDA,", "english": "SECOND LESSON,", "sources": [ { "pdf_page": 104, "printed_page": 146 } ], "exercise": 5, "lesson": 2, "reading_order": 621 }, { "id": "146-h3", "type": "heading", "latin": "De Fuga duarum Partium", "english": "On fugue for two parts", "sources": [ { "pdf_page": 104, "printed_page": 146 } ], "exercise": 5, "lesson": 2, "reading_order": 622 }, { "id": "146-1", "type": "paragraph", "latin": "Nunc Fugas duarum partium, planâ primò, ac simplicissimâ methodo conficiendi artem te docebo. Accipe subjectum aliquot Notarum, Modo, in quo laborare intendis, appropriatum: illasque Notas inscribe parti, quâ incipere animo concepisti: quibus finitis, si modo nihil derogetur, secundæ parti, sive sequenti, in Quarta, vel Quinta intrando easdem Notas dabis: interim cum parte, quâ thema incepisti, variis Notarum figuris modulando, ut Contrapuncto florido edoctus es, Contrapunctum superinstrues. Quo facto, post aliquantulam modulationem partes eò disponendo primam clausulam in quinta Modi conficies. Post hæc, positâ integri tactûs, aut dimidii pausâ, vel intercedente magno saltu, etiam absque pausâ, in parte fermè, quâ incepisti, thema reassumes; sed alio, quàm inchoatum est, intervallo: pars altera, factâ aliquâ pausâ, priùs, quàm subjectum in altera parte finitum sit, intrare tentabit; deinde nonnihil modulando secundam clausulam in Tertia Modi construes. Postremò, posito in utra partium subjecto, alteram partem in secundo protinus subjecti tactu, si res patitur, cum subjecto intrare facies; & ita, conjunctis arctissimo vinculo partibus, clausulâ finali Fugæ finem impones.", "english": "I shall now teach you the art of composing fugues for two parts, first by a clear and very simple method. Take a subject of a few notes appropriate to the mode in which you intend to work, and write those notes in the part with which you have decided to begin. When they are finished, give the same notes to the second or following part, entering at the fourth or fifth, provided nothing is done contrary to the mode. Meanwhile, in the part with which you began the theme, build counterpoint with various note forms, as you have been taught in florid counterpoint. After some melodic continuation, arrange the parts so as to make the first cadence on the fifth of the mode. After this, with a rest of a whole or half measure, or even without a rest if a large leap intervenes, take up the theme again, generally in the part with which you began, but at a different interval from its opening. The other part, after a rest, will attempt to enter before the subject in the first part is finished. Then, after some further melodic continuation, construct a second cadence on the third of the mode. Finally, having placed the subject in either part, make the other enter with the subject immediately in its second measure, if circumstances permit. With the parts thus joined in the closest bond, bring the fugue to an end with a final cadence.", "sources": [ { "pdf_page": 104, "printed_page": 146 } ], "exercise": 5, "lesson": 2, "reading_order": 623 }, { "id": "146-2", "type": "paragraph", "latin": "Joseph. Memini, te suprà dixisse - - - -", "english": "Joseph. I remember that you said above—", "sources": [ { "pdf_page": 104, "printed_page": 146 } ], "exercise": 5, "lesson": 2, "reading_order": 624 }, { "id": "146-3", "type": "paragraph", "latin": "Aloys. Differre dubium tuum nunc expedit, donec res obscura Paradigmate clarefacta. Accipiam itaque subjectum, quò paulò ante Modi natura demonstrata est, præscriptoque modo id ducendo, Fugam efficiam; quâ normâ facilior, & expeditior via tibi strata erit. E. G.", "english": "Aloysius. It is best to defer your doubt for now until the obscure matter is clarified by an example. I shall therefore take the subject with which the nature of the mode was demonstrated a little earlier and, conducting it in the manner prescribed, make a fugue. This model will lay an easier and more direct path for you. For example:", "sources": [ { "pdf_page": 104, "printed_page": 146 } ], "exercise": 5, "lesson": 2, "reading_order": 625 }, { "id": "146-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 104, "printed_page": 146 } ], "exercise": 5, "lesson": 2, "asset_refs": [ "146-a" ], "playback_status": "ready", "labels": [ { "latin": "Fuga à 2. Cadentia in 5ta.", "english": "Fugue for two. Cadence on the fifth." } ], "continues_to": { "printed_page": 147, "pdf_page": 105, "block": "147-a" }, "reading_order": 626, "continuation_status": "resolved", "music_asset_refs": [ "146-a" ] }, { "id": "147-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 105, "printed_page": 147 } ], "exercise": 5, "lesson": 2, "asset_refs": [ "147-a" ], "playback_status": "ready", "labels": [ { "latin": "Cadentia in 3tia.", "english": "Cadence on the third." } ], "continued_from": "146-a", "reading_order": 627, "music_asset_refs": [ "147-a" ] }, { "id": "147-1", "type": "paragraph", "latin": "En finitum in Alto subjectum, à Cantu idque in Quinta Modi assumi; interim Altum Contrapuncti floridi specie vagari; usquedum subjectum in Cantu finitum sit. Post factâ brevi, utraque in parte, modulatione, clausulam in Quinta modi confici. Quo facto, vides ab Alto repeti subjectum in Quinta Modi inferiùs, absque pausâ quidem, quia per saltum: deinde positâ pausâ intrare partem Cantûs in Octava Modi; sed maturiùs quàm in principio, nempe in tertio subjecti tactu, modulante interim Alto, finitòque denique subjecto in Cantu post brevem utriusque partis modulationem conspicis secundam clausulam in Tertia Modi constructam. Postremò comperies subjecto in Alto assumpto, ab Cantu extemplo in secundo tactu idem subjectum intextum esse, indeque clausulâ finali finem imponi. Hac itaque simplicissimâ methodo usus, ac cæterorum exercitatione Modorum gradatim pleniorem Fugarum scientiam adepturum te, nullum habe dubium.", "english": "Observe that, when the subject is finished in the alto, the soprano takes it up at the fifth of the mode, while the alto meanwhile moves in the manner of florid counterpoint until the subject in the soprano is finished. After a brief melodic continuation in both parts, a cadence is made on the fifth of the mode. Next you see the alto repeat the subject a fifth of the mode lower, without a rest because it enters by leap. Then, after a rest, the soprano enters at the octave of the mode, but earlier than at the beginning, namely in the third measure of the subject, while the alto continues melodically. When the subject in the soprano is finally finished, after a brief continuation in both parts you see the second cadence constructed on the third of the mode. Lastly, you will find that, after the subject is taken up in the alto, the soprano immediately weaves in the same subject in the second measure, and the end is then made with a final cadence. Have no doubt, therefore, that by using this very simple method and practicing in the other modes you will gradually acquire a fuller knowledge of fugues.", "sources": [ { "pdf_page": 105, "printed_page": 147 } ], "exercise": 5, "lesson": 2, "reading_order": 628 }, { "id": "147-2", "type": "paragraph", "latin": "Joseph. Video in hac Fuga aliquibus in locis Dieses, & b mollia posita esse, contra præceptum de iisdem in Genere Diatonico non adhibendis.", "english": "Joseph. I see sharps and flats placed in some parts of this fugue, contrary to the precept against using them in the diatonic genus.", "sources": [ { "pdf_page": 105, "printed_page": 147 } ], "exercise": 5, "lesson": 2, "reading_order": 629 }, { "id": "147-3", "type": "paragraph", "latin": "Aloys. Intelligendum puto de subjectis, ubi ad noscendam Modorum naturam differentiamque, Semitonia naturali ratione venire debent, absque Diesis, vel b mollis adminiculo. Alia ratio est in Modulatione, ubi Diesis, atque b mollis usus non solùm non prohibitus, verùm etiam ad evitandam asperam mi contra fa relationem nonnunquam necessarius est. Oriuntur autem dictæ rationes ex sequenti fermè mi contra fa oppositione.", "english": "Aloysius. I think the precept should be understood of subjects, where, in order to recognize the nature and differences of the modes, the semitones must occur naturally, without the aid of a sharp or flat. The case is different in melodic continuation, where the use of sharps and flats is not only not forbidden but is sometimes necessary to avoid the harsh relation of mi against fa. These circumstances arise generally from the following opposition of mi against fa.", "sources": [ { "pdf_page": 105, "printed_page": 147 } ], "exercise": 5, "lesson": 2, "reading_order": 630 }, { "id": "148-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 106, "printed_page": 148 } ], "exercise": 5, "lesson": 2, "asset_refs": [ "148-a" ], "playback_status": "ready", "labels": [], "reading_order": 631, "music_asset_refs": [ "148-a" ] }, { "id": "148-1", "type": "paragraph", "latin": "Jam aperi dubium tuum, quod suprà proponere in animo tibi fuerat.", "english": "Now disclose the doubt that you had intended to put forward above.", "sources": [ { "pdf_page": 106, "printed_page": 148 } ], "exercise": 5, "lesson": 2, "reading_order": 632 }, { "id": "148-2", "type": "paragraph", "latin": "Joseph. In discrimine inter Fugam, Imitationemque suprà dato asseruisti, in Fuga parti sequenti non nisi in Quinta, Octava, & Unisono facultatem intrandi fore; paulò verò post in dogmata conficiendæ Fugæ de Quarta quoque mentionem fecisti.", "english": "Joseph. In the distinction given above between fugue and imitation, you asserted that in fugue the following part would have the opportunity to enter only at the fifth, octave, and unison. Yet a little later, in the precepts for composing a fugue, you also mentioned the fourth.", "sources": [ { "pdf_page": 106, "printed_page": 148 } ], "exercise": 5, "lesson": 2, "reading_order": 633 }, { "id": "148-3", "type": "paragraph", "latin": "Aloys. Primo loco respectus habitus est ad Notam fundamentalem, sequensque sistema:", "english": "Aloysius. In the first place, reference was made to the fundamental note and the following arrangement:", "sources": [ { "pdf_page": 106, "printed_page": 148 } ], "exercise": 5, "lesson": 2, "reading_order": 634 }, { "id": "148-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 106, "printed_page": 148 } ], "exercise": 5, "lesson": 2, "asset_refs": [ "148-b" ], "playback_status": "ready", "labels": [], "reading_order": 635, "music_asset_refs": [ "148-b" ] }, { "id": "148-4", "type": "paragraph", "latin": "Cui quarta utique non inest: secundo verò loco omissâ Notâ fundamentali, habitoque respectu partis superioris ad sequens sistema respexi:", "english": "This certainly contains no fourth. In the second place, however, omitting the fundamental note and considering the upper part, I referred to the following arrangement:", "sources": [ { "pdf_page": 106, "printed_page": 148 } ], "exercise": 5, "lesson": 2, "reading_order": 636 }, { "id": "148-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 106, "printed_page": 148 } ], "exercise": 5, "lesson": 2, "asset_refs": [ "148-c" ], "playback_status": "ready", "labels": [], "reading_order": 637, "music_asset_refs": [ "148-c" ] }, { "id": "148-5", "type": "paragraph", "latin": "Quanquam etiam hoc in casu A. illud Quinta dici possit, quia Nota fundamentalis D. subintelligi debet; unde sequentis exempli pars secunda in Quinta sequi censenda est. E. G.", "english": "Although even in this case that A may be called the fifth, because the fundamental note D must be understood; hence the second part of the following example must be regarded as following at the fifth. For example:", "sources": [ { "pdf_page": 106, "printed_page": 148 } ], "exercise": 5, "lesson": 2, "reading_order": 638 }, { "id": "148-d", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 106, "printed_page": 148 } ], "exercise": 5, "lesson": 2, "asset_refs": [ "148-d" ], "playback_status": "ready", "labels": [], "reading_order": 639, "music_asset_refs": [ "148-d" ] }, { "id": "149-1", "type": "paragraph", "latin": "Joseph. Quid est, quod ad finem Fugæ, idque in subjecto Notarum figuras nonnihil immutatas conspicio?", "english": "Joseph. Why do I see the note forms somewhat altered toward the end of the fugue, and that in the subject itself?", "sources": [ { "pdf_page": 107, "printed_page": 149 } ], "exercise": 5, "lesson": 2, "reading_order": 640 }, { "id": "149-2", "type": "paragraph", "latin": "Aloys. Dico, non solùm permissum esse subinde solutas Notas ligari, verùm etiam, nescio quid grati per hoc accedere Compositioni: imò persæpe, ubi subjecta in angustum contrahi aliter non possunt, hâc figurarum fractione opus esse. Nunc tu ipse alterum modum E. ad manus accipe, & electo subjecto, nulli alteri Modorum conveniente, ad prioris exempli normam Fugam conficere tenta: hoc tamen discrimine, quod, sicut & in priori, & omnibus aliis Modis prima Clausula in Quinta sit, ita in hoc in Sexta facienda sit; ob rationem, quod accedente parte tertiâ, Tertiam majorem exigente, nimis aliena foret ab hoc Modo modulatio; pessimâque ex mi contra fa oriunda modulatio propter mox secuturum F. aures offenderet. E. G.", "english": "Aloysius. I say that it is not only permitted at times to tie notes that were untied, but that this adds a certain charm to the composition. Indeed, very often, where subjects cannot otherwise be drawn into close overlap, this breaking up of note forms is necessary. Now take up the second mode, E, yourself, and, choosing a subject suitable to none of the other modes, try to compose a fugue on the model of the preceding example. There is this difference, however: whereas in the first and all the other modes the first cadence is on the fifth, in this mode it must be made on the sixth. For, with a third part added that requires a major third, the melodic course would be too foreign to this mode, and the very bad course arising from mi against fa would offend the ears because of the F immediately following. For example:", "sources": [ { "pdf_page": 107, "printed_page": 149 } ], "exercise": 5, "lesson": 2, "reading_order": 641 }, { "id": "149-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 107, "printed_page": 149 } ], "exercise": 5, "lesson": 2, "asset_refs": [ "149-a" ], "playback_status": "ready", "labels": [], "reading_order": 642, "music_asset_refs": [ "149-a" ] }, { "id": "149-3", "type": "paragraph", "latin": "Nunc intellectis omnibus, ut puto, ad hoc necessariis, ad operam te accinge.", "english": "Now that you have understood, as I think, everything necessary for this, set yourself to work.", "sources": [ { "pdf_page": 107, "printed_page": 149 } ], "exercise": 5, "lesson": 2, "reading_order": 643 }, { "id": "149-4", "type": "paragraph", "latin": "Joseph. Si primum tentamen non bene mihi cesserit, ne ægrè feras, te Magister etiam, etiamque rogo.", "english": "Joseph. If my first attempt does not turn out well, Master, I ask you again and again not to take it amiss.", "sources": [ { "pdf_page": 107, "printed_page": 149 } ], "exercise": 5, "lesson": 2, "reading_order": 644 }, { "id": "149-5", "type": "paragraph", "latin": "Aloys. Mitte timorem; noscis enim patientiam meam; neque ego ignoro hujus studii in tyronibus difficultatem.", "english": "Aloysius. Put aside your fear, for you know my patience; nor am I ignorant of the difficulty of this study for beginners.", "sources": [ { "pdf_page": 107, "printed_page": 149 } ], "exercise": 5, "lesson": 2, "reading_order": 645 }, { "id": "149-h1", "type": "heading", "latin": "Modus E.", "english": "Mode E.", "sources": [ { "pdf_page": 107, "printed_page": 149 } ], "exercise": 5, "lesson": 2, "reading_order": 646 }, { "id": "149-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 107, "printed_page": 149 } ], "exercise": 5, "lesson": 2, "asset_refs": [ "149-b" ], "playback_status": "playback not yet available", "labels": [], "continues_to": { "printed_page": 150, "pdf_page": 108, "block": "150-a" }, "reading_order": 647, "continuation_status": "resolved", "music_asset_refs": [ "149-b" ] }, { "id": "149-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 107, "printed_page": 149 } ], "exercise": 5, "lesson": 2, "asset_refs": [ "149-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 648, "music_asset_refs": [ "149-custos" ] }, { "id": "150-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 108, "printed_page": 150 } ], "exercise": 5, "lesson": 2, "asset_refs": [ "150-a" ], "playback_status": "playback not yet available", "labels": [], "continued_from": "149-b", "reading_order": 649, "music_asset_refs": [ "150-a" ] }, { "id": "150-1", "type": "paragraph", "latin": "Joseph. Subjectum nulli alteri Modorum in genere Diatonico applicari posse confido; an autem tractus æquè respondeat, à te intelligere cupio.", "english": "Joseph. I am confident that the subject cannot be applied to any other mode in the diatonic genus; but I wish to learn from you whether its treatment is equally fitting.", "sources": [ { "pdf_page": 108, "printed_page": 150 } ], "exercise": 5, "lesson": 2, "reading_order": 650 }, { "id": "150-2", "type": "paragraph", "latin": "Aloys. Mactè animo, Josephe, & subjectum tam scitè inventum, ejusdemque tractus fermè Tyrocinium tuum excedunt; spemque facis haud vulgaris hac in arte futuri progressûs. Perge nunc ad Modum F. & cæteras superstitum Modorum claves.", "english": "Aloysius. Take heart, Joseph: both the skillfully invented subject and its treatment almost surpass your beginner’s standing, and you give promise of no ordinary future progress in this art. Proceed now to mode F and the other pitches of the remaining modes.", "sources": [ { "pdf_page": 108, "printed_page": 150 } ], "exercise": 5, "lesson": 2, "reading_order": 651 }, { "id": "150-h1", "type": "heading", "latin": "Modus F.", "english": "Mode F.", "sources": [ { "pdf_page": 108, "printed_page": 150 } ], "exercise": 5, "lesson": 2, "reading_order": 652 }, { "id": "150-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 108, "printed_page": 150 } ], "exercise": 5, "lesson": 2, "asset_refs": [ "150-b" ], "playback_status": "ready", "labels": [], "reading_order": 653, "music_asset_refs": [ "150-b" ] }, { "id": "151-h1", "type": "heading", "latin": "Modus G.", "english": "Mode G.", "sources": [ { "pdf_page": 109, "printed_page": 151 } ], "exercise": 5, "lesson": 2, "reading_order": 654 }, { "id": "151-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 109, "printed_page": 151 } ], "exercise": 5, "lesson": 2, "asset_refs": [ "151-a" ], "playback_status": "ready", "labels": [], "reading_order": 655, "music_asset_refs": [ "151-a" ] }, { "id": "151-1", "type": "paragraph", "latin": "Joseph. In clausula secunda conficienda nonnihil hæsitabam, an sic, vel sequenti modo facienda sit. E. G.", "english": "Joseph. In making the second cadence I hesitated somewhat as to whether it should be made as it is or in the following way. For example:", "sources": [ { "pdf_page": 109, "printed_page": 151 } ], "exercise": 5, "lesson": 2, "reading_order": 656 }, { "id": "151-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 109, "printed_page": 151 } ], "exercise": 5, "lesson": 2, "asset_refs": [ "151-b" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 657, "music_asset_refs": [ "151-b" ] }, { "id": "151-2", "type": "paragraph", "latin": "Aloys. Clausula ista, cui duabus opus est Diesibus, imò tribus, accedente parte tertiâ, nimis ab hujus Modi natura recedit; magisque conveniens est Modo transposito, de quibus infrà dicetur. Valet itaque clausula per Septimam, & Sextam à te usurpata. Jam ad Modum A. ordine nostro quintum procedamus, cujus, quum aliquantò discrepet ab aliis Modis, exemplum ego tibi ante oculos ponam. E. G.", "english": "Aloysius. That cadence, which requires two sharps, indeed three when a third part is added, departs too far from the nature of this mode and is more suitable to a transposed mode, of which we shall speak below. The cadence by the seventh and sixth that you used is therefore valid. Now let us proceed to mode A, the fifth in our order. Since it differs somewhat from the other modes, I shall place an example before your eyes. For example:", "sources": [ { "pdf_page": 109, "printed_page": 151 } ], "exercise": 5, "lesson": 2, "reading_order": 658 }, { "id": "151-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 109, "printed_page": 151 } ], "exercise": 5, "lesson": 2, "asset_refs": [ "151-c" ], "playback_status": "ready", "labels": [], "continues_to": { "printed_page": 152, "pdf_page": 110, "block": "152-a" }, "reading_order": 659, "continuation_status": "resolved", "music_asset_refs": [ "151-c" ] }, { "id": "152-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 110, "printed_page": 152 } ], "exercise": 5, "lesson": 2, "asset_refs": [ "152-a" ], "playback_status": "ready", "labels": [], "continued_from": "151-c", "reading_order": 660, "music_asset_refs": [ "152-a" ] }, { "id": "152-1", "type": "paragraph", "latin": "Joseph. Cur de secundæ partis prima Nota ad secundam per saltum Tertiæ processeris, comprehendo; quia illud fa in primæ partis secunda Nota expressum aliàs haberi non licuisset. Sed quare post primam Clausulam reassumptio subjecti in Alto in B. mi, itaque in chorda Modo non convenienti facta fuerit, ignoro.", "english": "Joseph. I understand why you proceeded by the leap of a third from the first note of the second part to the second, because otherwise that fa expressed in the second note of the first part could not have been obtained. But I do not know why, after the first cadence, the subject was taken up again in the alto on B mi, thus on a pitch not suited to the mode.", "sources": [ { "pdf_page": 110, "printed_page": 152 } ], "exercise": 5, "lesson": 2, "reading_order": 661 }, { "id": "152-2", "type": "paragraph", "latin": "Aloys. Hanc necessitatem causat partis fundamentalis in E. existentia, quæ impedit introitum in A. utpote dissonantia respectu E. infràpositi: verùm nihil perfectioni Compositionis derogatur, imò in meliùs vertitur, si id in medio Fugæ fiat; quia hoc pacto partes subjecti ubique æquantur. Aliud judicium ferendum est de principio Fugæ, ubi ratio Modi, & chorda introitioni subjecti debita, de qua jam dictum est, accuratè tenenda est.", "english": "Aloysius. This necessity is caused by the foundational part being on E, which prevents an entry on A because it is dissonant in relation to the E placed below. Yet nothing is taken away from the perfection of the composition; rather, it is improved if this occurs in the middle of the fugue, because by this means the parts of the subject are made equal throughout. A different judgment must be made concerning the beginning of the fugue, where the requirements of the mode and the pitch proper to the subject’s entry, of which we have already spoken, must be carefully observed.", "sources": [ { "pdf_page": 110, "printed_page": 152 } ], "exercise": 5, "lesson": 2, "reading_order": 662 }, { "id": "152-3", "type": "paragraph", "latin": "Joseph. Magnam animadverti difficultatem in subjectis magis, magisque contrahendis, & videtur, subjecta de industria ad id eligenda fore.", "english": "Joseph. I have observed great difficulty in drawing subjects into closer and closer overlap, and it seems that subjects must be deliberately chosen for this purpose.", "sources": [ { "pdf_page": 110, "printed_page": 152 } ], "exercise": 5, "lesson": 2, "reading_order": 663 }, { "id": "152-4", "type": "paragraph", "latin": "Aloys. Ità est. Probanda itaque primò, inquirendaque subjecta sunt, hac ratione tractabilia: ideoque ante selectum ad reflectendum erit. Cæterùm nonneminem fortassis audies cachinando tibi objicientem: quàm trita, jejuna sunt hæc subjecta; nulliusque saporis? Rem verò ità se habere, neutiquam inficias ivero. Non enim ad conceptûs sublimitatem hîc respicitur, sed solùm ad genuinam in Genere Diatonico Modorum naturam, quod Genus limitibus satis angustis includitur: major excurrendi, succosioraque capiendi subjecta libertas erit, ubi mixti Generis usus concedetur, de quo ad finem Libri Primi abundanter dictum est. Nunc ad ultimum Modum C. progredere.", "english": "Aloysius. That is so. Subjects capable of being treated in this manner must therefore first be tested and sought out; reflection is needed before choosing. You may perhaps hear someone laughingly object: how commonplace and meager these subjects are, without any flavor! I shall by no means deny that this is so. For what is considered here is not sublimity of invention, but only the true nature of the modes in the diatonic genus, which is enclosed within rather narrow bounds. There will be greater freedom to range abroad and choose richer subjects when the use of the mixed genus is allowed, of which ample discussion was given at the end of Book One. Now proceed to the last mode, C.", "sources": [ { "pdf_page": 110, "printed_page": 152 }, { "pdf_page": 111, "printed_page": 153, "region": "opening continuation" } ], "exercise": 5, "lesson": 2, "reading_order": 664 }, { "id": "153-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 111, "printed_page": 153 } ], "exercise": 5, "lesson": 2, "asset_refs": [ "153-a" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 665, "music_asset_refs": [ "153-a" ] }, { "id": "153-1", "type": "paragraph", "latin": "Hæc itaque est adumbratio, vestibulumque, quâ patet ingressus ad Fugas.", "english": "This, then, is the outline and entrance hall through which the way to fugues opens.", "sources": [ { "pdf_page": 111, "printed_page": 153 } ], "exercise": 5, "lesson": 2, "reading_order": 666 }, { "id": "153-2", "type": "paragraph", "latin": "Quemadmodum ars pingendi nisi præviâ frequenti delineatione non acquiritur, ità quoque ad uberiorem Fugarum scientiam opus est haud brevi ad formulam præscriptam exercitatione, quam tibi summopere commendo, alia semper, atque alia investigando.", "english": "Just as the art of painting is not acquired without frequent preliminary drawing, so a fuller knowledge of fugues requires no short practice according to the prescribed model. I most strongly commend this to you, continually seeking one new thing after another.", "sources": [ { "pdf_page": 111, "printed_page": 153 } ], "exercise": 5, "lesson": 2, "reading_order": 667 }, { "id": "153-3", "type": "paragraph", "latin": "Joseph. Inops mihi videtur hoc Genus, atque magnâ laborare penuriâ, inde exigua pervium esse inventioni.", "english": "Joseph. This genus seems poor to me and to suffer great scarcity, hence to leave only a narrow opening for invention.", "sources": [ { "pdf_page": 111, "printed_page": 153 } ], "exercise": 5, "lesson": 2, "reading_order": 668 }, { "id": "153-4", "type": "paragraph", "latin": "Aloys. Restrictius esse Genere mixto, neque adeò patentem excurrendi campum habere, non contradico: verùm aptissimum ad dignoscendam Modorum naturam, eorumque differentias, & ad Compositiones à Capella absque Organo decantandas magnopere necessarium: neque tamen inopia tantæ est, quin varia subjectorum genera reperiendi copia sit. Relicto itaque Bicinii studio privatæ exercitationi tuæ, ad trium partium Fugas procedamus.", "english": "Aloysius. I do not deny that it is more restricted than the mixed genus and does not offer so open a field for ranging abroad; but it is most suitable for recognizing the nature of the modes and their differences, and very necessary for a cappella compositions to be sung without organ. Nor is its poverty so great that there is no opportunity to find various kinds of subjects. Leaving the study of two voices to your private practice, then, let us proceed to fugues for three parts.", "sources": [ { "pdf_page": 111, "printed_page": 153 }, { "pdf_page": 112, "printed_page": 154, "region": "opening continuation" } ], "exercise": 5, "lesson": 2, "reading_order": 669 }, { "id": "154-h1", "type": "heading", "latin": "EXERCITII V.", "english": "EXERCISE V.", "sources": [ { "pdf_page": 112, "printed_page": 154 } ], "exercise": 5, "lesson": 3, "reading_order": 670 }, { "id": "154-h2", "type": "heading", "latin": "LECTIO TERTIA,", "english": "THIRD LESSON,", "sources": [ { "pdf_page": 112, "printed_page": 154 } ], "exercise": 5, "lesson": 3, "reading_order": 671 }, { "id": "154-h3", "type": "heading", "latin": "De trium partium Fugis.", "english": "On fugues for three parts.", "sources": [ { "pdf_page": 112, "printed_page": 154 } ], "exercise": 5, "lesson": 3, "reading_order": 672 }, { "id": "154-1", "type": "paragraph", "latin": "Quid muneris Tricinio sit, seu interveniente Cantu firmo, seu absque eo, ex hucusque dictis jam notum tibi fore suppono: magnopere nempe perfectæ Triadis rationem habendam esse. Nunc videndum occurrit, quo modo trium partium Fuga instituenda, & quid in ea observandum sit. Quod de Fuga duarum partium dictum est, hîc quoque subsistit, usque dum parti tertiæ intrandi tempus sit; id quod fit absoluto in utraque partium subjecto, vel post quandam modulationem, vel extemplò sine modulatione, prout partium constitutio aut patietur, aut postulabit, quod æquo Componentis judicio ponderandum erit. Et ne pars illa frustrà, & absque novæ harmoniæ accessione intrâsse videatur, adnitendum est, ut introitu suo aut Triadem harmonicam efficiat, aut in regulata per Ligaturam dissonantia (quod elegantius est) intrare detur.", "english": "I suppose that from what has been said thus far you now know the task of three-voice composition, whether with or without a cantus firmus: namely, that great consideration must be given to the complete triad. We must now see how a fugue for three parts is to be established and what must be observed in it. What was said of fugue for two parts also holds here until the time comes for the third part to enter. This occurs when the subject has been completed in both parts, either after some melodic continuation or immediately without it, as the disposition of the parts allows or requires; this must be weighed by the composer’s balanced judgment. So that this part may not seem to enter in vain and without adding new harmony, one must strive either to have it form the harmonic triad by its entry or to allow it to enter in a dissonance regulated through ligature, which is more elegant.", "sources": [ { "pdf_page": 112, "printed_page": 154 } ], "exercise": 5, "lesson": 3, "reading_order": 673 }, { "id": "154-2", "type": "paragraph", "latin": "Joseph. Quam utrarum partium quoad intervallum pars tertia sequi debet?", "english": "Joseph. Which of the two parts should the third part follow as regards interval?", "sources": [ { "pdf_page": 112, "printed_page": 154 } ], "exercise": 5, "lesson": 3, "reading_order": 674 }, { "id": "154-3", "type": "paragraph", "latin": "Aloys. Illam plerumque, à qua subjectum primò inceptum est, ut varietati, cujus permagna ratio habenda est, consultum sit. Quod si partium constitutio feret, ut alio intervallo intrare consultius tibi visum fuerit, judicium tuum sequi licebit, ad quod præceptum hoc flectendum erit.", "english": "Aloysius. Generally the one with which the subject first began, so that variety, to which great consideration must be given, is served. But if the disposition of the parts makes it seem more advisable to enter at another interval, you may follow your judgment, to which this precept must be adapted.", "sources": [ { "pdf_page": 112, "printed_page": 154 } ], "exercise": 5, "lesson": 3, "reading_order": 675 }, { "id": "154-4", "type": "paragraph", "latin": "Joseph. Estne eadem clausularum in Bicinio paulò ante dicta?", "english": "Joseph. Is the rule for cadences the same as that given a little earlier for two voices?", "sources": [ { "pdf_page": 112, "printed_page": 154 } ], "exercise": 5, "lesson": 3, "reading_order": 676 }, { "id": "154-5", "type": "paragraph", "latin": "Aloys. Minimè. Imò nulla clausula formalis, aut absoluta (quæ tertiâ majore clauditur) facienda, in qua subjecto potestatem intrandi non esse perspexeris. Econtra, si subjectum intrare posse cognoveris, non solùm in Quinta, Tertia, verùm etiam aliis intervallis non nimis aversis ab natura Modi, clausulam, & absolutam, & fictam rectè fieri assero.", "english": "Aloysius. Not at all. Indeed, no formal or complete cadence—which closes with a major third—is to be made where you see no possibility for the subject to enter. Conversely, if you know that the subject can enter, I affirm that a cadence, whether complete or deceptive, may correctly be made not only on the fifth or third, but also on other intervals not too foreign to the nature of the mode.", "sources": [ { "pdf_page": 112, "printed_page": 154 }, { "pdf_page": 113, "printed_page": 155, "region": "opening continuation" } ], "exercise": 5, "lesson": 3, "reading_order": 677 }, { "id": "155-1", "type": "paragraph", "latin": "Joseph. Quid intelligis, suavissime Magister, per clausulam fictam?", "english": "Joseph. What do you mean, dearest Master, by a deceptive cadence?", "sources": [ { "pdf_page": 113, "printed_page": 155 } ], "exercise": 5, "lesson": 3, "reading_order": 678 }, { "id": "155-2", "type": "paragraph", "latin": "Aloys. Clausulam formalem, sive absolutam, Tertiâ majore concludi, inde in Octavam labi, non ignoras. Clausula verò ficta loco Tertiæ majoris, minore utens, clausulam formalem auribus expectatam evitando eludit, atque audientis opinionem fallit. Unde ab Italis Inganno nuncupata est. Videantur exempla.", "english": "Aloysius. You know that a formal or complete cadence concludes with a major third and proceeds from there to an octave. A deceptive cadence, however, using a minor third instead of a major one, eludes the formal cadence expected by the ear and deceives the listener’s expectation. Hence the Italians call it Inganno. Let us examine examples.", "sources": [ { "pdf_page": 113, "printed_page": 155 } ], "exercise": 5, "lesson": 3, "reading_order": 679 }, { "id": "155-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 113, "printed_page": 155 } ], "exercise": 5, "lesson": 3, "asset_refs": [ "155-a" ], "playback_status": "ready", "labels": [ { "latin": "Claus. formal. Claus. ficta. ficta.", "english": "Formal cadence. Deceptive cadence. Deceptive." } ], "reading_order": 680, "music_asset_refs": [ "155-a" ] }, { "id": "155-3", "type": "paragraph", "latin": "Potest etiam Clausula formalis evitari servatâ in parte superiori Tertiâ majore, cùm pars fundamentalis Octavam effugiens aliam assumit Consonantiam. E. G.", "english": "A formal cadence can also be avoided while retaining the major third in the upper part, when the foundational part evades the octave and takes another consonance. For example:", "sources": [ { "pdf_page": 113, "printed_page": 155 } ], "exercise": 5, "lesson": 3, "reading_order": 681 }, { "id": "155-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 113, "printed_page": 155 } ], "exercise": 5, "lesson": 3, "asset_refs": [ "155-b" ], "playback_status": "ready", "labels": [], "reading_order": 682, "music_asset_refs": [ "155-b" ] }, { "id": "155-4", "type": "paragraph", "latin": "Id quod in plurium partium concentu multò elegantiùs usuvenit. E. G.", "english": "This occurs with much greater elegance in composition for several parts. For example:", "sources": [ { "pdf_page": 113, "printed_page": 155 } ], "exercise": 5, "lesson": 3, "reading_order": 683 }, { "id": "155-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 113, "printed_page": 155 } ], "exercise": 5, "lesson": 3, "asset_refs": [ "155-c" ], "playback_status": "ready", "labels": [ { "latin": "à 3.", "english": "for three." } ], "reading_order": 684, "music_asset_refs": [ "155-c" ] }, { "id": "155-d", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 113, "printed_page": 155 } ], "exercise": 5, "lesson": 3, "asset_refs": [ "155-d" ], "playback_status": "ready", "labels": [ { "latin": "à 4.", "english": "for four." } ], "reading_order": 685, "music_asset_refs": [ "155-d" ] }, { "id": "156-1", "type": "paragraph", "latin": "Videamus nunc, quo modo Clausula formalis subsistere possit beneficio subjecti intrantis etiam in intervallo, modo non multùm consueto. E. G. Subjecti sequentis usu:", "english": "Let us now see how a formal cadence can stand by virtue of the subject entering even at an interval not very customary in the mode. For example, using the following subject:", "sources": [ { "pdf_page": 114, "printed_page": 156 } ], "exercise": 5, "lesson": 3, "reading_order": 686 }, { "id": "156-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 114, "printed_page": 156 } ], "exercise": 5, "lesson": 3, "asset_refs": [ "156-a" ], "playback_status": "ready", "labels": [], "reading_order": 687, "music_asset_refs": [ "156-a" ] }, { "id": "156-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 114, "printed_page": 156 } ], "exercise": 5, "lesson": 3, "asset_refs": [ "156-b" ], "playback_status": "ready", "labels": [], "reading_order": 688, "music_asset_refs": [ "156-b" ] }, { "id": "156-2", "type": "paragraph", "latin": "Hoc exemplo demonstratur non solùm, quo modo Clausula formalis in prima subjecti Nota formari possit, verùm etiam, quâ ratione reliquæ partes eò disponendæ sint. Videamus nunc clausulam in secunda subjecti Nota exstructam:", "english": "This example demonstrates not only how a formal cadence can be formed on the first note of the subject, but also how the other parts must be arranged for it. Let us now examine a cadence constructed on the second note of the subject:", "sources": [ { "pdf_page": 114, "printed_page": 156 } ], "exercise": 5, "lesson": 3, "reading_order": 689 }, { "id": "156-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 114, "printed_page": 156 } ], "exercise": 5, "lesson": 3, "asset_refs": [ "156-c" ], "playback_status": "ready", "labels": [], "reading_order": 690, "music_asset_refs": [ "156-c" ] }, { "id": "156-3", "type": "paragraph", "latin": "Ejusmodi clausulas formales non solùm permitti pronuntio; verùm etiam per eas haud parùm ornamenti Compositioni accedere. Hæc de clausula formali subjectis innectenda. Nunc exemplis docebo, quo modo clausulæ subjectis immixtæ, vel Tertiæ majoris adjumento, in parte fundamenti, effugiendæ sint. Accipiamus subjectum primæ Fugæ in Bicinio assumptum.", "english": "I declare that formal cadences of this kind are not only permitted, but also add no little ornament to the composition. So much for joining a formal cadence to subjects. I shall now teach by examples how cadences interwoven with subjects are to be evaded, including those involving a major third, by means of the foundational part. Let us take the subject used in the first fugue for two voices.", "sources": [ { "pdf_page": 114, "printed_page": 156 } ], "exercise": 5, "lesson": 3, "reading_order": 691 }, { "id": "156-d", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 114, "printed_page": 156 } ], "exercise": 5, "lesson": 3, "asset_refs": [ "156-d" ], "playback_status": "ready", "labels": [], "reading_order": 692, "music_asset_refs": [ "156-d" ] }, { "id": "157-1", "type": "paragraph", "latin": "Joseph. Quare tot clausulas in Bicinio statuisti, & hîc in Tricinio restringis?", "english": "Joseph. Why did you establish so many cadences in two voices and restrict them here in three?", "sources": [ { "pdf_page": 115, "printed_page": 157 } ], "exercise": 5, "lesson": 3, "reading_order": 693 }, { "id": "157-2", "type": "paragraph", "latin": "Aloys. Clausulas in Bicinio concessas naturâ differentes esse à clausulis formalibus, haud ignoras: utpote Septimâ, & Sextâ, vel Secundâ, & Tertiâ constantes, minusque quietis habentes. Unde hac re accuratiùs inspectâ, compertum est, clausulas Septimâ, & Sextâ, vel Secundâ, & Tertiâ nixas esse potiùs dispositiones ad clausulas formales, quàm ut ipsæ tales appellandæ sint: quia accedente parte tertiâ, cæteris nihil immutatis tales efficiuntur. E. G.", "english": "Aloysius. You know that the cadences allowed in two voices differ in nature from formal cadences: they consist of a seventh and sixth, or a second and third, and possess less repose. On examining the matter more carefully, one finds that cadences based on a seventh and sixth or a second and third are preparations for formal cadences rather than deserving that name themselves, because when a third part is added, with nothing else changed, they become formal cadences. For example:", "sources": [ { "pdf_page": 115, "printed_page": 157 } ], "exercise": 5, "lesson": 3, "reading_order": 694 }, { "id": "157-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 115, "printed_page": 157 } ], "exercise": 5, "lesson": 3, "asset_refs": [ "157-a" ], "playback_status": "ready", "labels": [], "reading_order": 695, "music_asset_refs": [ "157-a" ] }, { "id": "157-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 115, "printed_page": 157 } ], "exercise": 5, "lesson": 3, "asset_refs": [ "157-b" ], "playback_status": "ready", "labels": [ { "latin": "Accessione Partis tertiæ.", "english": "With the addition of the third part." } ], "reading_order": 696, "music_asset_refs": [ "157-b" ] }, { "id": "157-3", "type": "paragraph", "latin": "Joseph. Obsecro te suavissime Magister, ne excandescas ad tot quæstiunculas tibi forte tædium parituras.", "english": "Joseph. I beg you, dearest Master, not to grow angry at so many little questions that may perhaps weary you.", "sources": [ { "pdf_page": 115, "printed_page": 157 } ], "exercise": 5, "lesson": 3, "reading_order": 697 }, { "id": "157-4", "type": "paragraph", "latin": "Aloys. Audacter expone; in integrum enim hunc offensionis lapidem amovere cupio, in quem tot Professores tam frequenter impingere comperio.", "english": "Aloysius. Put them forward boldly, for I wish entirely to remove this stumbling block, against which I find so many practitioners so often stumble.", "sources": [ { "pdf_page": 115, "printed_page": 157 } ], "exercise": 5, "lesson": 3, "reading_order": 698 }, { "id": "157-5", "type": "paragraph", "latin": "Joseph. Quare Clausula formalis cum subjecto intrante valet, & absque eo non admittitur?", "english": "Joseph. Why is a formal cadence valid with an entering subject, but not admitted without it?", "sources": [ { "pdf_page": 115, "printed_page": 157 } ], "exercise": 5, "lesson": 3, "reading_order": 699 }, { "id": "157-6", "type": "paragraph", "latin": "Aloys. Clausula formalis, quietis indicium est, ideòque non nisi in fine, aut finito quodam articulo, novi cujusdam subjecti assumendi causâ adhibenda. Subjectum autem in ipsâ Clausula formali intrans, quietis opinionem abstrahendo, motumque in hoc Compositionis genere usque ad finem desideratum promovendo, finem nondum adesse significat.", "english": "Aloysius. A formal cadence is a sign of repose and therefore should be used only at the end, or when a section has been completed in order to take up a new subject. But a subject entering in the formal cadence itself dispels the impression of repose and sustains the motion desired in this kind of composition until the end, thus signifying that the end has not yet arrived.", "sources": [ { "pdf_page": 115, "printed_page": 157 } ], "exercise": 5, "lesson": 3, "reading_order": 700 }, { "id": "158-1", "type": "paragraph", "latin": "Joseph. Soluto hoc dubio, perceptisque hucusque dictis satis instructum me puto ad Fugas trium partium aggrediendas.", "english": "Joseph. With this doubt resolved and what has been said thus far understood, I consider myself sufficiently instructed to undertake fugues for three parts.", "sources": [ { "pdf_page": 116, "printed_page": 158 } ], "exercise": 5, "lesson": 3, "reading_order": 701 }, { "id": "158-2", "type": "paragraph", "latin": "Aloys. Fiat. Posteaquàm antè demonstravero, qua ratione duabus partibus per Septimam, & Sextam, perque Secundam, & Tertiam descendendo progressis pars fundamentalis accommodanda sit; quo haud parva modulationi facilitas accedet.", "english": "Aloysius. So be it—after I have first shown how the foundational part must be fitted to two parts proceeding downward through a seventh and sixth, and through a second and third. This will add no small ease to melodic continuation.", "sources": [ { "pdf_page": 116, "printed_page": 158 } ], "exercise": 5, "lesson": 3, "reading_order": 702 }, { "id": "158-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 116, "printed_page": 158 } ], "exercise": 5, "lesson": 3, "asset_refs": [ "158-a" ], "playback_status": "ready", "labels": [], "reading_order": 703, "music_asset_refs": [ "158-a" ] }, { "id": "158-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 116, "printed_page": 158 } ], "exercise": 5, "lesson": 3, "asset_refs": [ "158-b" ], "playback_status": "ready", "labels": [], "reading_order": 704, "music_asset_refs": [ "158-b" ] }, { "id": "158-3", "type": "paragraph", "latin": "Ex quibus exemplis colligendum est, ut Quintæ, & Sextæ conjunctim positis locus sit, inter partes superiores Septimam in Sextam, vel Secundam in Tertiam resolutam reperiri debere. Id quod etiam de Quarta, & Quinta aggregatim existentibus intelligendum puta. Hujus, similisque modulationis aliqua parte, vel extra, vel intrà subjectum te juvare, & ingresso subjecto viam sternere poteris. Pergamus itaque ad Tricinium, Bicinii superioris subjecta servantes, trium partium texturâ deducenda. Primum exemplum ego subjiciam, per cæteros deinde modos tibi imitandum.", "english": "From these examples it must be inferred that, for a fifth and sixth placed together to have a place, there must be found between the upper parts a seventh resolved to a sixth, or a second resolved to a third. Understand the same also of a fourth and fifth occurring together. By means of some portion of this or a similar melodic progression, either outside or within the subject, you can help yourself and prepare the way for the entering subject. Let us therefore proceed to three voices, retaining the subjects of the preceding two-voice compositions and developing them in a texture of three parts. I shall provide the first example, which you are then to imitate in the other modes.", "sources": [ { "pdf_page": 116, "printed_page": 158 }, { "pdf_page": 117, "printed_page": 159, "region": "opening continuation" } ], "exercise": 5, "lesson": 3, "reading_order": 705 }, { "id": "159-h1", "type": "heading", "latin": "Fuga à 3. Modi D.", "english": "Fugue for three voices in mode D.", "sources": [ { "pdf_page": 117, "printed_page": 159 } ], "exercise": 5, "lesson": 3, "reading_order": 706 }, { "id": "159-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 117, "printed_page": 159 } ], "exercise": 5, "lesson": 3, "asset_refs": [ "159-a" ], "playback_status": "ready", "labels": [], "continues_to": { "printed_page": 160, "pdf_page": 118, "block": "160-a" }, "reading_order": 707, "continuation_status": "resolved", "music_asset_refs": [ "159-a" ] }, { "id": "159-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 117, "printed_page": 159 } ], "exercise": 5, "lesson": 3, "asset_refs": [ "159-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 708, "music_asset_refs": [ "159-custos" ] }, { "id": "160-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 118, "printed_page": 160 } ], "exercise": 5, "lesson": 3, "asset_refs": [ "160-a" ], "playback_status": "ready", "labels": [], "continued_from": "159-a", "reading_order": 709, "music_asset_refs": [ "160-a" ] }, { "id": "160-1", "type": "paragraph", "latin": "Principium hujus Fugæ nihil diversi continet ab illa in Bicinio positâ, usque ad tertiæ partis ingressum, ubi durante subjecto, superiorum partium congruâ canendi modulatione Contrapunctum interim instructum est. Quo facto Altus subjectum repetit, alio, quàm incepit intervallo, modulante interim parte fundamentali. Sub id tempus Cantus adjumento pausæ quiescit, atque ad novum ingressum se præparans, diverso, quàm in principio, intervallo intrat, idque in dissonantia valida ad subjecti præsentiam indicandam: clausulaque, sextæ minoris ope, devitatur.", "english": "The beginning of this fugue contains nothing different from the one written for two voices until the entrance of the third part. There, while the subject continues, counterpoint is meanwhile constructed through an appropriate melodic continuation in the upper parts. After this the alto repeats the subject at a different interval from its beginning, while the foundational part continues melodically. During this time the soprano rests, aided by a pause, and, preparing for a new entrance, enters at a different interval from its opening, and in a dissonance strong enough to indicate the presence of the subject; the cadence is avoided with the aid of a minor sixth.", "sources": [ { "pdf_page": 118, "printed_page": 160 } ], "exercise": 5, "lesson": 3, "reading_order": 710 }, { "id": "160-2", "type": "paragraph", "latin": "Observa prætereà rationem, ob quam ibi subjecto finito, positâ trium tactuum pausâ protinus Alto quies data sit: ideò nempe primò, quia parti superiori cum parte inferiore tam cominùs existere contingit, ut in medio locus opportunus Alto non relinquatur. Secundò, quia Alto cum subjecto proximè intrandum est. Neque incuriâ præteriri vellem hunc Alti introitum in Quinta, & Sexta: maximam enim addit vim Compositioni, ejusmodi intrandi modus. Animadverte porrò mox sequentem Tenoris introitum, modulationemque super exstructam.", "english": "Observe also why, when the subject ends there, the alto is immediately given a rest of three measures. First, the upper and lower parts happen to be so close together that no suitable place is left for the alto in the middle. Second, the alto must shortly enter with the subject. Nor would I wish this entrance of the alto with a fifth and sixth to be passed over carelessly, for such a manner of entering adds the greatest force to the composition. Observe further the tenor’s entrance immediately afterward and the melodic continuation built above it.", "sources": [ { "pdf_page": 118, "printed_page": 160 } ], "exercise": 5, "lesson": 3, "reading_order": 711 }, { "id": "160-3", "type": "paragraph", "latin": "Joseph. Haud videtur introitus iste Tenoris ad præscriptum modum esse factus; nec Triade harmonicâ, neque dissonantiâ stipatus, utpote Sextâ duntaxat, & Octavâ constans.", "english": "Joseph. That entrance of the tenor does not seem to have been made in the prescribed manner, being accompanied neither by the harmonic triad nor by a dissonance, but consisting only of a sixth and octave.", "sources": [ { "pdf_page": 118, "printed_page": 160 } ], "exercise": 5, "lesson": 3, "reading_order": 712 }, { "id": "160-4", "type": "paragraph", "latin": "Aloys. Summopere delector mente tuâ ad omnia circumspectâ. Verùm scias oportet, modum illum intrandi, de consilio potiùs, quàm de præcepto esse datum. Deinde, præterquam quod Nota subjecti prima parvi sit momenti, utpote minima, Sexta superimposita per se fortis, auditûque facilis ingressum subjecti haud obscurè prodit, atque defectum Harmoniæ supplet. Estne tibi satisfactum?", "english": "Aloysius. I am greatly pleased by your mind’s attentiveness to everything. But you must know that that manner of entering was given as advice rather than as a precept. Moreover, besides the first note of the subject being of little weight because it is a minim, the sixth placed above it, strong in itself and easily heard, plainly reveals the entrance of the subject and makes up for the lack of harmony. Are you satisfied?", "sources": [ { "pdf_page": 118, "printed_page": 160 } ], "exercise": 5, "lesson": 3, "reading_order": 713 }, { "id": "160-5", "type": "paragraph", "latin": "Joseph. Omninò.", "english": "Joseph. Entirely.", "sources": [ { "pdf_page": 118, "printed_page": 160 } ], "exercise": 5, "lesson": 3, "reading_order": 714 }, { "id": "161-1", "type": "paragraph", "latin": "Aloys. Reliquum igitur examinaturi progrediamur. Considera deinde modulationem supra subjectum exstructam, quâ in superioribus partibus continuatâ, clausulam vides in F. factam, elusam tamen per subjectum in Tenore post pausas intrans. Deinde figuris Notarum nonnihil immutatis, ut singulis in tactibus cuilibet parti cum subjecto intrandi potestas sit; tandem Clausulâ finali Fugæ Finis imponitur.", "english": "Aloysius. Let us proceed, then, to examine the rest. Consider next the melodic continuation built above the subject. As this is continued in the upper parts, you see a cadence made on F, yet evaded by the subject entering in the tenor after rests. Then, with the note forms somewhat altered so that each part can enter with the subject in every measure, the fugue is finally brought to an end with a final cadence.", "sources": [ { "pdf_page": 119, "printed_page": 161 } ], "exercise": 5, "lesson": 3, "reading_order": 715 }, { "id": "161-2", "type": "paragraph", "latin": "Joseph. Ex dictis, factisque colligo, nunquam pausam ponendam esse, nisi immediatè subjectum sequatur.", "english": "Joseph. From what has been said and done, I gather that a rest should never be placed unless the subject follows immediately.", "sources": [ { "pdf_page": 119, "printed_page": 161 } ], "exercise": 5, "lesson": 3, "reading_order": 716 }, { "id": "161-3", "type": "paragraph", "latin": "Aloys. Ità sanè. Aut subjectum vetus, aut certè novum, idque cæteris partibus deinceps repetendum, post pausam induci necesse est: nisi objurgationem in te experiri velis Evangelicam, Math. 22. cap. Amice, quomodo huc intrâsti, non habens vestem nuptialem. Jam modum E. ad manus accipe, Fugamque trium partium eo, vel alio haud multùm dissimili modo conficere tenta: neque hæsitans, quo intervallo clausulas exstruas, dummodo in iis subjecto eleganter intrandi facultas detur. Juvabit autem anteà clausulam finalem hujus Modi monstrare, quæ diversa ab aliis Modis est.", "english": "Aloysius. Indeed. Either the old subject or certainly a new one, to be repeated afterward in the other parts, must be introduced after a rest, unless you wish to experience the Gospel rebuke, Matthew chapter 22: “Friend, how did you enter here without a wedding garment?” Now take up mode E and try to compose a fugue for three parts in this or another not very different manner. Do not hesitate over the interval at which you construct cadences, provided the subject has an opportunity to enter elegantly in them. It will help, however, first to show the final cadence of this mode, which differs from those of the other modes.", "sources": [ { "pdf_page": 119, "printed_page": 161 } ], "exercise": 5, "lesson": 3, "reading_order": 717 }, { "id": "161-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 119, "printed_page": 161 } ], "exercise": 5, "lesson": 3, "asset_refs": [ "161-a" ], "playback_status": "ready", "labels": [], "reading_order": 718, "music_asset_refs": [ "161-a" ] }, { "id": "161-h1", "type": "heading", "latin": "Fuga à 3. Modi E.", "english": "Fugue for three voices in mode E.", "sources": [ { "pdf_page": 119, "printed_page": 161 } ], "exercise": 5, "lesson": 3, "reading_order": 719 }, { "id": "161-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 119, "printed_page": 161 } ], "exercise": 5, "lesson": 3, "asset_refs": [ "161-b" ], "playback_status": "playback not yet available", "labels": [], "continues_to": { "printed_page": 162, "pdf_page": 120, "block": "162-a" }, "reading_order": 720, "continuation_status": "resolved", "music_asset_refs": [ "161-b" ] }, { "id": "161-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 119, "printed_page": 161 } ], "exercise": 5, "lesson": 3, "asset_refs": [ "161-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 721, "music_asset_refs": [ "161-custos" ] }, { "id": "162-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 120, "printed_page": 162 } ], "exercise": 5, "lesson": 3, "asset_refs": [ "162-a" ], "playback_status": "playback not yet available", "labels": [], "continued_from": "161-b", "reading_order": 722, "music_asset_refs": [ "162-a" ] }, { "id": "163-1", "type": "paragraph", "latin": "Joseph. Haud absque timore, Venerande Magister, coram te cum hac Fuga compareo. Vereor etenim, ne clausulam sæpiùs, quàm par est, in A. factam animadvertas.", "english": "Joseph. Not without fear, revered Master, do I appear before you with this fugue. For I fear that you may observe that the cadence has been made on A more often than is proper.", "sources": [ { "pdf_page": 121, "printed_page": 163 } ], "exercise": 5, "lesson": 3, "reading_order": 723 }, { "id": "163-2", "type": "paragraph", "latin": "Aloys. Mitte timorem Josephe. Longè ab reprehensione miror, quod in hac re Tyroni, & subjectum tam scitè intexere, modulationem, Modo tam propriam reperire tibi contigerit. Ad clausulam enim sæpiùs in A. repetitam ipsa subjecti qualitas te induxit: quæ non obest varietati, utpote alio semper, atque alio modo per Notas comitantes variata. Et si quid leporis in modulis Musicis tantopere desiderato deesse videtur, Generis Diatonici restrictioni, maximè autem hujus Modi egestati tribuendum est. Laudo prætereà concinnum partium Cantum, quarum neutra impedita ab altera liberrimè vagatur. Perge nunc proximè ad modum F. & inde ad reliquos.", "english": "Aloysius. Put aside your fear, Joseph. Far from censuring you, I marvel that, as a beginner in this matter, you have managed both to weave the subject so skillfully and to find melodic continuation so proper to the mode. The very character of the subject led you to repeat the cadence on A more often. This does not impair variety, since it is continually varied in different ways by the accompanying notes. If anything seems to lack the charm so much desired in musical phrases, it must be attributed to the restriction of the diatonic genus, and especially to the poverty of this mode. I also praise the graceful melody of the parts, neither impeded by the other, each moving most freely. Proceed now to mode F, and from there to the others.", "sources": [ { "pdf_page": 121, "printed_page": 163 } ], "exercise": 5, "lesson": 3, "reading_order": 724 }, { "id": "163-h1", "type": "heading", "latin": "Fuga à 3. Modi F.", "english": "Fugue for three voices in mode F.", "sources": [ { "pdf_page": 121, "printed_page": 163 } ], "exercise": 5, "lesson": 3, "reading_order": 725 }, { "id": "163-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 121, "printed_page": 163 } ], "exercise": 5, "lesson": 3, "asset_refs": [ "163-a" ], "playback_status": "ready", "labels": [], "continues_to": { "printed_page": 164, "pdf_page": 122, "block": "164-a" }, "reading_order": 726, "continuation_status": "resolved", "music_asset_refs": [ "163-a" ] }, { "id": "163-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 121, "printed_page": 163 } ], "exercise": 5, "lesson": 3, "asset_refs": [ "163-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 727, "music_asset_refs": [ "163-custos" ] }, { "id": "164-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 122, "printed_page": 164 } ], "exercise": 5, "lesson": 3, "asset_refs": [ "164-a" ], "playback_status": "ready", "labels": [], "continued_from": "163-a", "reading_order": 728, "music_asset_refs": [ "164-a" ] }, { "id": "164-1", "type": "paragraph", "latin": "Joseph. Vix non mihi blandior, Fugam hanc non admodùm malè mihi successisse, nisi in modulationem illam animadverteris immixtam subjecto, ubi secundâ vice Altus intrat.", "english": "Joseph. I almost flatter myself that this fugue has not turned out very badly, unless you find fault with that melodic continuation mixed into the subject where the alto enters for the second time.", "sources": [ { "pdf_page": 122, "printed_page": 164 } ], "exercise": 5, "lesson": 3, "reading_order": 729 }, { "id": "164-2", "type": "paragraph", "latin": "Aloys. E contrario valde vafrè, ingeniosèque modulationem illam institutam esse ajo. Etenim cùm, & ob Generis Diatonici, & Modi rigorem omnia tritâ viâ incedere debeant, paululum peregrini, non nisi modulationis præsidio, subjecto immisceri posse, perspicuum est. Admiror prætereà subjectorum ingressum ubique opportuno tempore adhibitum, comitantemque ad Contrapuncti regulas Concordantiam. Perge ad Modum G.", "english": "Aloysius. On the contrary, I say that this melodic continuation has been contrived very shrewdly and ingeniously. For since, because of the strictness both of the diatonic genus and of the mode, everything must proceed along a familiar path, it is clear that a little novelty can be mixed into the subject only with the aid of melodic continuation. I also admire the entrances of the subjects, everywhere employed at a suitable time, and the accompanying concordance according to the rules of counterpoint. Proceed to mode G.", "sources": [ { "pdf_page": 122, "printed_page": 164 } ], "exercise": 5, "lesson": 3, "reading_order": 730 }, { "id": "165-h1", "type": "heading", "latin": "Fuga à 3. Modi G.", "english": "Fugue for three voices in mode G.", "sources": [ { "pdf_page": 123, "printed_page": 165 } ], "exercise": 5, "lesson": 3, "reading_order": 731 }, { "id": "165-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 123, "printed_page": 165 } ], "exercise": 5, "lesson": 3, "asset_refs": [ "165-a" ], "playback_status": "playback not yet available", "labels": [], "continues_to": { "printed_page": 166, "pdf_page": 124, "block": "166-a" }, "reading_order": 732, "continuation_status": "resolved", "music_asset_refs": [ "165-a" ] }, { "id": "166-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 124, "printed_page": 166 } ], "exercise": 5, "lesson": 3, "asset_refs": [ "166-a" ], "playback_status": "playback not yet available", "labels": [], "continued_from": "165-a", "reading_order": 733, "music_asset_refs": [ "166-a" ] }, { "id": "166-h1", "type": "heading", "latin": "Fuga à 3. Modi A.", "english": "Fugue for three voices in mode A.", "sources": [ { "pdf_page": 124, "printed_page": 166 } ], "exercise": 5, "lesson": 3, "reading_order": 734 }, { "id": "166-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 124, "printed_page": 166 } ], "exercise": 5, "lesson": 3, "asset_refs": [ "166-b" ], "playback_status": "ready", "labels": [], "continues_to": { "printed_page": 167, "pdf_page": 125, "block": "167-a" }, "reading_order": 735, "continuation_status": "resolved", "music_asset_refs": [ "166-b" ] }, { "id": "167-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 125, "printed_page": 167 } ], "exercise": 5, "lesson": 3, "asset_refs": [ "167-a" ], "playback_status": "ready", "labels": [], "continued_from": "166-b", "reading_order": 736, "music_asset_refs": [ "167-a" ] }, { "id": "167-h1", "type": "heading", "latin": "Fuga à 3. Modi C.", "english": "Fugue for three voices in mode C.", "sources": [ { "pdf_page": 125, "printed_page": 167 } ], "exercise": 5, "lesson": 3, "reading_order": 737 }, { "id": "167-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 125, "printed_page": 167 } ], "exercise": 5, "lesson": 3, "asset_refs": [ "167-b" ], "playback_status": "ready", "labels": [], "continues_to": { "printed_page": 168, "pdf_page": 126, "block": "168-a" }, "reading_order": 738, "continuation_status": "resolved", "music_asset_refs": [ "167-b" ] }, { "id": "168-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 126, "printed_page": 168 } ], "exercise": 5, "lesson": 3, "asset_refs": [ "168-a" ], "playback_status": "ready", "labels": [], "continued_from": "167-b", "reading_order": 739, "music_asset_refs": [ "168-a" ] }, { "id": "168-1", "type": "paragraph", "latin": "Aloys. Incredibiliter lætor, hac brevi simplicique Fugas componendi methodo te non modo leviter tinctum esse, verùm etiam longiùs jam processisse; id quod partes pulchro canendi modo incedentes, debitoque tempore quiescentes, & opportunè intrantes haud obscurè demonstrant. Ut adeò in hoc Compositionis genere nihil tibi deesse videatur, quàm ut usu per aliquod tempus continuato facilitatem adipiscaris. Da prætereà operam, ut crebris ligaturis jam uni, modò alteri parti insertis compositionem distinguas: vix enim credibile est, quantum condimenti per eas modulis accedat, quò fit, ut quælibet fermè pars, motum disparem nacta, facili ratione perceptibilis auditui reddatur: id quod non solùm in hoc, verùm in omni Compositionis genere tibi dictum volo. Cæterùm, cùm in Trino perfectio existat, te etiam, atque etiam exhortor, ut huic studio privatim ampliùs vacare pergas, experturus inde, quantum emolumenti ad plurium partium Compositionem, quantæque facilitas enascatur. Nunc ad Quatricinium.", "english": "Aloysius. I am incredibly glad that, through this short and simple method of composing fugues, you have not merely acquired a slight acquaintance but have already progressed much further. This is clearly demonstrated by the parts proceeding with beautiful melody, resting at the proper time, and entering opportunely. Thus in this kind of composition nothing seems lacking to you except to acquire facility through continued practice over some time. Take care also to distinguish the composition with frequent ligatures inserted now in one part, now in another. It is scarcely credible how much seasoning they add to musical phrases, enabling almost every part, by acquiring a different motion, to become easily perceptible to the ear. I wish this to apply not only to this but to every kind of composition. Moreover, since perfection exists in three, I urge you again and again to continue devoting more private study to this, through which you will discover how much benefit and facility arise for composition in a greater number of parts. Now to four voices.", "sources": [ { "pdf_page": 126, "printed_page": 168 } ], "exercise": 5, "lesson": 3, "reading_order": 740 }, { "id": "168-h1", "type": "heading", "latin": "EXERCITII V.", "english": "EXERCISE V.", "sources": [ { "pdf_page": 126, "printed_page": 168 } ], "exercise": 5, "lesson": 4, "reading_order": 741 }, { "id": "168-h2", "type": "heading", "latin": "LECTIO QUARTA,", "english": "FOURTH LESSON,", "sources": [ { "pdf_page": 126, "printed_page": 168 } ], "exercise": 5, "lesson": 4, "reading_order": 742 }, { "id": "168-h3", "type": "heading", "latin": "De Fugis quatuor partium.", "english": "On fugues for four parts.", "sources": [ { "pdf_page": 126, "printed_page": 168 } ], "exercise": 5, "lesson": 4, "reading_order": 743 }, { "id": "168-2", "type": "paragraph", "latin": "Quid muneris sit quartæ partis, quemque locum in supplementum Harmoniæ occupare debeat, suprà per totius Exercitii Tertii cursum abunde explanatum, satisque tibi notum esse confido. Superest itaque dicendum, quam ex tribus partibus in Fugis quarta pars intrando sequi debeat. Tametsi hoc prudenti Compositoris judicio relinquendum esse videatur, cujus est indagare, quo modo concentui, aut plus Harmoniæ, aut gratiæ aut varietatis accessurum sit; plerumque tamen usu receptum est, ut Tenor Cantum, Bassus Altum intrando sequatur. Cæterùm crescente partium copiâ, haud exigua tibi cura sit, ne partibus nimis infarcitis, & in angustum contractis ab una alteri liberè vagandi facultas admittatur. Quemadmodum enim per confertam turbam transeunti à dextra, sinistraque, & à fronte impingere contingit; ideòque transitus aut omninò non, aut difficulter succedit: ità pari modo sit in Compositione, quando pars parti obstans liberum incedendi campum non habet, bellèque concinendi facultas tollitur. Quapropter summopere adnitendum est, ut hunc scopulum evadas.", "english": "I trust that the function of the fourth part and the place it should occupy to fill out the harmony have been amply explained throughout Exercise III above and are sufficiently known to you. It therefore remains to say which of the three parts the fourth should follow when entering in fugues. Although this seems a matter to be left to the composer’s prudent judgment, whose task it is to discover how more harmony, grace, or variety may be added to the composition, common practice generally has the tenor follow the soprano in entering, and the bass the alto. As the number of parts increases, take no small care lest, with the parts too densely packed and drawn into a narrow space, one deprive another of freedom to move. Just as someone passing through a crowded throng bumps into others on the right, left, and in front, so that passage is impossible or difficult, so it happens in composition when one part obstructs another and has no free field in which to proceed, and the ability to sing gracefully is taken away. Therefore strive most carefully to avoid this obstacle.", "sources": [ { "pdf_page": 126, "printed_page": 168 }, { "pdf_page": 127, "printed_page": 169, "region": "opening continuation" } ], "exercise": 5, "lesson": 4, "reading_order": 744 }, { "id": "169-1", "type": "paragraph", "latin": "Joseph. Quid verò remedii, quando præter opinionem tale quid contingeret?", "english": "Joseph. But what remedy is there if such a thing should occur unexpectedly?", "sources": [ { "pdf_page": 127, "printed_page": 169 } ], "exercise": 5, "lesson": 4, "reading_order": 745 }, { "id": "169-2", "type": "paragraph", "latin": "Aloys. Aut mutandum modulationis consilium erit, aut parti, cui, nonnisi intrudendæ locus est, adminiculo pausæ silentium impones, usque dum reingrediendi cum subjecto spatium aperiatur. Satiùs tamen est, prævidendo, meditandoque partes ita disponere, ne consilii cœpti paulò post te pœniteat; præstat enim jura intacta relinquere, quàm post vulneratam causam remedium quærere. Opus igitur est, ut, dum uni parti vacas, cæteræ ne memoriâ excidant, neque partibus aliquibus tantum tribuas, ut superstiti nihil aut spatii ad gradiendum, aut concinnitatis ad cantandum maneat. Exemplar tibi considerandum, imitandumque subjiciam, servato primæ trium partium Fugæ themate, aliisque ad quartæ partis introitum.", "english": "Aloysius. Either the plan of the melodic continuation must be changed, or you must silence, by means of a rest, the part for which there is no room except by forcing it in, until space opens for it to reenter with the subject. It is better, however, through foresight and reflection, to arrange the parts so that you do not soon regret the plan you have adopted; for it is better to leave one’s rights intact than to seek a remedy after the case has been damaged. Thus, while attending to one part, you must not forget the others, nor give so much to some parts that the remaining one has neither room to move nor grace in singing. I shall provide an example for you to consider and imitate, retaining the theme of the first fugue for three voices and the other material up to the entrance of the fourth part.", "sources": [ { "pdf_page": 127, "printed_page": 169 } ], "exercise": 5, "lesson": 4, "reading_order": 746 }, { "id": "169-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 127, "printed_page": 169 } ], "exercise": 5, "lesson": 4, "asset_refs": [ "169-a" ], "playback_status": "ready", "labels": [], "continues_to": { "printed_page": 170, "pdf_page": 128, "block": "170-a" }, "reading_order": 747, "continuation_status": "resolved", "music_asset_refs": [ "169-a" ] }, { "id": "170-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 128, "printed_page": 170 } ], "exercise": 5, "lesson": 4, "asset_refs": [ "170-a" ], "playback_status": "ready", "labels": [], "continued_from": "169-a", "reading_order": 748, "music_asset_refs": [ "170-a" ] }, { "id": "170-1", "type": "paragraph", "latin": "Joseph. Videtur haud magnum esse discrimen inter hanc, & trium partium Fugam: rarò enim quatuor partes, nisi ad finem, convenire conspicio; obtruncatâ confestim unâ vel alterâ, ubi quarta pars intrat.", "english": "Joseph. There seems to be no great difference between this fugue and the one for three parts, for I rarely see all four parts sounding together except at the end; one or another is immediately cut off when the fourth part enters.", "sources": [ { "pdf_page": 128, "printed_page": 170 }, { "pdf_page": 129, "printed_page": 171, "region": "opening continuation" } ], "exercise": 5, "lesson": 4, "reading_order": 749 }, { "id": "171-1", "type": "paragraph", "latin": "Aloys. Similitudinem, quam dicis, ex uno eodemque Subjecto resultare constat. Quod autem in hac quatuor partium Fuga ad eundem ferè modum, quò in Tricinio, subjectum ductum sit, ideò factum puta, ut facilior tibi cedat Quatricinii compositio: ob quam causam tantopere Tricinii studium paulò antè tibi commendavi. Neque mirare raram quatuor partium conjunctionem. Præterquam enim quod non multò ante præmonuerim, ut à partibus inopportunè intrudendis abstineres, ad Quatricinium non requiritur, ut semper quatuor partium Harmoniâ compleatur, cui sufficit, si cæteris partibus in actione existentibus, una vel altera interim quiescens subjectum denuò reassumere, & subjecti fini aliquot Notarum appendicem innectendo supplementum Harmoniæ protrahere possit. Cætera Modorum subjecta ad hunc modum pertractanda tibi committo.", "english": "Aloysius. The similarity you mention plainly results from the same subject. Understand that the subject in this four-part fugue has been treated almost as in the three-voice one in order to make four-voice composition easier for you. For this reason I so strongly recommended the study of three voices a little earlier. Nor be surprised that all four parts join only rarely. Besides my warning not long ago to refrain from forcing parts in at unsuitable moments, four-voice composition does not require that it always be filled with the harmony of four parts. It is enough if, while the other parts are active, one or another resting meanwhile can take up the subject again and, attaching a few additional notes to its end, prolong the filling out of the harmony. I entrust to you the treatment of the subjects in the other modes in this manner.", "sources": [ { "pdf_page": 129, "printed_page": 171 } ], "exercise": 5, "lesson": 4, "reading_order": 750 }, { "id": "171-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 129, "printed_page": 171 } ], "exercise": 5, "lesson": 4, "asset_refs": [ "171-a" ], "playback_status": "ready", "labels": [], "continues_to": { "printed_page": 172, "pdf_page": 130, "block": "172-a" }, "reading_order": 751, "continuation_status": "resolved", "music_asset_refs": [ "171-a" ] }, { "id": "172-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 130, "printed_page": 172 } ], "exercise": 5, "lesson": 4, "asset_refs": [ "172-a" ], "playback_status": "ready", "labels": [], "continued_from": "171-a", "reading_order": 752, "music_asset_refs": [ "172-a" ] }, { "id": "172-h1", "type": "heading", "latin": "Fuga à 4. Modi F.", "english": "Fugue for four voices in mode F.", "sources": [ { "pdf_page": 130, "printed_page": 172 } ], "exercise": 5, "lesson": 4, "reading_order": 753 }, { "id": "172-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 130, "printed_page": 172 } ], "exercise": 5, "lesson": 4, "asset_refs": [ "172-b" ], "playback_status": "ready", "labels": [], "continues_to": { "printed_page": 173, "pdf_page": 131, "block": "173-a" }, "reading_order": 754, "continuation_status": "resolved", "music_asset_refs": [ "172-b" ] }, { "id": "173-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 131, "printed_page": 173 } ], "exercise": 5, "lesson": 4, "asset_refs": [ "173-a" ], "playback_status": "ready", "labels": [], "continued_from": "172-b", "continues_to": { "printed_page": 174, "pdf_page": 132, "block": "174-a" }, "reading_order": 755, "continuation_status": "resolved", "music_asset_refs": [ "173-a" ] }, { "id": "173-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 131, "printed_page": 173 } ], "exercise": 5, "lesson": 4, "asset_refs": [ "173-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 756, "music_asset_refs": [ "173-custos" ] }, { "id": "174-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 132, "printed_page": 174 } ], "exercise": 5, "lesson": 4, "asset_refs": [ "174-a" ], "playback_status": "ready", "labels": [], "continued_from": "173-a", "reading_order": 757, "music_asset_refs": [ "174-a" ] }, { "id": "174-1", "type": "paragraph", "latin": "Aloys. Simplici hac methodo satis imbutus mihi videris, id quod exempla commodè facta demonstrant. Relictis itaque reliquis Modis privato studio tuo, ut tempori consulatur, ad Fugam, plurium subjectorum ornamento distinctam, progrediamur. Quum autem absque cognitione Contrapuncti Duplicis id effici nequeat, primò de eo disserendum occurrit.", "english": "Aloysius. You seem to me sufficiently instructed in this simple method, as the well-made examples show. Leaving the other modes to your private study, then, to save time let us proceed to fugue distinguished by the ornament of several subjects. Since this cannot be done without knowledge of double counterpoint, we must first discuss it.", "sources": [ { "pdf_page": 132, "printed_page": 174 } ], "exercise": 5, "lesson": 4, "reading_order": 758 }, { "id": "174-h1", "type": "heading", "latin": "EXERCITII V.", "english": "EXERCISE V.", "sources": [ { "pdf_page": 132, "printed_page": 174 } ], "exercise": 5, "lesson": 5, "reading_order": 759 }, { "id": "174-h2", "type": "heading", "latin": "LECTIO QUINTA.", "english": "FIFTH LESSON.", "sources": [ { "pdf_page": 132, "printed_page": 174 } ], "exercise": 5, "lesson": 5, "reading_order": 760 }, { "id": "174-h3", "type": "heading", "latin": "De Contrapuncto duplici.", "english": "On double counterpoint.", "sources": [ { "pdf_page": 132, "printed_page": 174 } ], "exercise": 5, "lesson": 5, "reading_order": 761 }, { "id": "174-2", "type": "paragraph", "latin": "Per Contrapunctum duplex intelligitur Compositio artificiosa, eoque modo constructa, ut partes ejusdem inter se convertibiles esse possint, & pars, quæ modò superior, nunc per inversionem inferior existat: sic meâ sententiâ dictum, quod præter inversionem partium, cæterùm re nullâ immutatâ, duplicem & ratione acuminis, gravitatisque differentem exhibeat Melodiam. Quam præstans, elegansque Contrapuncto huic sit usus, cùm in omni Compositionis genere, tum maximè in Fugis plurium subjectorum ligamine combinandis, paulò post experientiâ comperies; idcircò uberiori quoque explicatione illustrandum. Variæ Generis hujus species à nonnullis statuuntur; ut: Contrapunctum duplex in Tertia, Quarta, Quinta, Sexta, Octava, Decima, Duodecima, &c. Nos autem relictis, quorum ob angustias aut exiguus usus est, aut cum aliis fermè coincidunt, eas tantummodo prosequemur species, quæ & usitatiores, & in Compositione majoris momenti sunt. V. G. Contrapunctum in Octava, in Decima, in Duodecima: quorum alterutra pars abstinentiâ quarundam Consonantiarum, Dissonantiarumque pro cujusvis qualitate de loco suo proprio in aliud intervallum transferri potest. Antequam de hujus Contrapuncti speciebus disserere exordiar, generalia quædam præmittenda sunt. Primò curandum est, ut subjecta differentes inter se sortiantur motus, quibus facili negotio distingui possint; id quod disparitate figurarum efficitur, tribuendoque alteri subjecto minutiores, alteri majoris valoris figuras: sic discriminis perceptio eminebit, atque confusio evitabitur. Secundò: Ità instituenda subjecta sunt, ne simul, eodemque tempore incipiant; sed alterutrum positione cujusdam pausæ tardiùs intret, necesse est. Tertiò: Non excedantur limites cuilibet Contrapuncti speciei infrà præscribendi. His suppositis fiat initium à Contrapuncto in Octava, utpote & facilitate, & usu præstantiori.", "english": "By double counterpoint is understood an artful composition constructed so that its parts can exchange places with one another, and the part that was just now upper becomes lower through inversion. In my view it is so called because, apart from the inversion of the parts, with nothing else changed, it presents a twofold melody differing in height and depth. You will shortly discover by experience how excellent and elegant is the use of this counterpoint, both in every kind of composition and especially in fugues combining several subjects; for this reason it must also be illustrated with fuller explanation. Some establish various species of this kind: double counterpoint at the third, fourth, fifth, sixth, octave, tenth, twelfth, and so forth. We, however, setting aside those whose narrow constraints make them of little use or which almost coincide with others, shall pursue only those species that are both more usual and of greater importance in composition: for example, counterpoint at the octave, tenth, and twelfth. In these, either part, by avoiding certain consonances and dissonances according to the nature of each kind, can be transferred from its own position to another interval. Before I begin to discuss the species of this counterpoint, some general matters must be stated. First, care must be taken that the subjects have different motions by which they may easily be distinguished. This is achieved by differing note forms, assigning smaller values to one subject and larger values to the other; their distinction will thus be clear and confusion avoided. Second, the subjects must be arranged so that they do not begin together at the same time; one must enter later through the placing of a rest. Third, the bounds to be prescribed below for each species of counterpoint must not be exceeded. With these things assumed, let us begin with counterpoint at the octave, as superior both in ease and usefulness.", "sources": [ { "pdf_page": 132, "printed_page": 174 }, { "pdf_page": 133, "printed_page": 175, "region": "opening continuation" } ], "exercise": 5, "lesson": 5, "reading_order": 762 }, { "id": "175-1", "type": "paragraph", "latin": "Contrapunctum igitur in Octava est Compositio, ita instituta, ut inversâ alterutra parte in Octavam acutam, aut gravem, variam reddat Harmoniam; nihilominùs rectè regularum rationi consentaneam. Ut autem hoc evenire posse, extra dubium sis Josephe, Primò: à Quinta abstinendum est. Secundò: Non procedatur in Octavam saltando. Tertiò: infrà limites Octavæ te contineas oportet. Ad clariorem hujus rei intelligentiam, & in quasnam Consonantias, dissonantiasque, factâ inversione, immutentur priores, sequentes contra se positi numeri declarabunt.", "english": "Counterpoint at the octave, then, is a composition arranged so that, when either part is inverted an octave upward or downward, it produces varied harmony that nevertheless agrees correctly with the rules. Joseph, so that you may have no doubt how this can be achieved: first, the fifth must be avoided; second, one must not proceed to the octave by leap; third, one must remain within the bounds of the octave. For a clearer understanding of this matter, the following numbers placed opposite one another will show into which consonances and dissonances the original ones are changed by inversion.", "sources": [ { "pdf_page": 133, "printed_page": 175 } ], "exercise": 5, "lesson": 5, "reading_order": 763 }, { "id": "175-table", "type": "music", "latin": "1. 2. 3. 4. 5. 6. 7. 8.\n8. 7. 6. 5. 4. 3. 2. 1.", "english": "1. 2. 3. 4. 5. 6. 7. 8.\n8. 7. 6. 5. 4. 3. 2. 1.", "sources": [ { "pdf_page": 133, "printed_page": 175 } ], "exercise": 5, "lesson": 5, "asset_refs": [ "175-table" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 764, "music_asset_refs": [ "175-table" ] }, { "id": "175-2", "type": "paragraph", "latin": "Patet itaque, Unisonum per inversionem Octavam fieri: Secundam in Septimam inverti: ex inversâ Tertia Sextam resultare: ex Quinta Quartam: & sic de cæteris. Unde ratio, ob quam hoc in Contrapuncto Quinta prohibeatur, in promptu est: quia inversa dissonantiam, nempe Quartam efficit. E. G.", "english": "It is therefore clear that a unison becomes an octave by inversion; a second inverts to a seventh; an inverted third produces a sixth; a fifth produces a fourth; and so with the rest. Hence the reason why the fifth is forbidden in this counterpoint is plain: inverted, it produces a dissonance, namely a fourth. For example:", "sources": [ { "pdf_page": 133, "printed_page": 175 } ], "exercise": 5, "lesson": 5, "reading_order": 765 }, { "id": "176-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 134, "printed_page": 176 } ], "exercise": 5, "lesson": 5, "asset_refs": [ "176-a" ], "playback_status": "ready", "labels": [ { "latin": "Inversio in Octavam acutam. Inversio in Octavam gravem.", "english": "Inversion an octave upward. Inversion an octave downward." } ], "reading_order": 766, "music_asset_refs": [ "176-a" ] }, { "id": "176-1", "type": "paragraph", "latin": "Usurpata tamen cum ligatura locum habet. E. G.", "english": "Used with a ligature, however, it has a place. For example:", "sources": [ { "pdf_page": 134, "printed_page": 176 } ], "exercise": 5, "lesson": 5, "reading_order": 767 }, { "id": "176-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 134, "printed_page": 176 } ], "exercise": 5, "lesson": 5, "asset_refs": [ "176-b" ], "playback_status": "ready", "labels": [ { "latin": "Inversio.", "english": "Inversion." } ], "reading_order": 768, "music_asset_refs": [ "176-b" ] }, { "id": "176-2", "type": "paragraph", "latin": "Joseph. Comprehensis hucusque dictis, restat explanare causam, ob quam in Octavam per saltum illicitus sit progressus, & cur Octavæ limites excedere non liceat: Ut citò facias, te Venerande Magister etiam atque etiam rogo: omnis enim mora patientiam meam tentat; quod hoc Contrapuncti genus permagno crebriùs encomio efferri audiverim, ideoque cupido videndi exempla pridem jam animum incesserit.", "english": "Joseph. Having understood what has been said thus far, it remains to explain why progression to the octave by leap is forbidden and why one may not exceed the bounds of the octave. I beg you again and again, revered Master, to do so quickly, for every delay tries my patience. I have often heard this kind of counterpoint extolled with very great praise, and the desire to see examples has long since entered my mind.", "sources": [ { "pdf_page": 134, "printed_page": 176 } ], "exercise": 5, "lesson": 5, "reading_order": 769 }, { "id": "176-3", "type": "paragraph", "latin": "Aloys. Faciam absque mora. Ex Octava per inversionem Unisonum fieri, suprà contra se positi numeri ante oculos ponunt: in Unisonum verò per saltum, nisi per modum clausulæ, non ritè procedi, sæpiùs jam dictum est. In exemplo:", "english": "Aloysius. I shall do so without delay. The numbers placed opposite one another above show plainly that an octave becomes a unison by inversion. It has already often been said that one does not correctly proceed to a unison by leap except in the manner of a cadence. In the example:", "sources": [ { "pdf_page": 134, "printed_page": 176 } ], "exercise": 5, "lesson": 5, "reading_order": 770 }, { "id": "176-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 134, "printed_page": 176 } ], "exercise": 5, "lesson": 5, "asset_refs": [ "176-c" ], "playback_status": "ready", "labels": [ { "latin": "Inversio.", "english": "Inversion." } ], "reading_order": 771, "music_asset_refs": [ "176-c" ] }, { "id": "176-4", "type": "paragraph", "latin": "Quod Octavam in Thesi prorsùs evitaveris, rectiùs fecisti; nam hæc per inversionem Unisonus fit, qui nisi per Syncopen minùs rectè, ut jam dictum est, usurpatur. Non excedendorum Octavæ limitum ratio est, quia Contrapuncti duplicis munus est, efficere variam, differentemque per inversionem Harmoniam: si autem Octavæ terminos egressus fueris, licet Consonantiæ compositæ in simplices mutentur, eadem resultabit Harmonia, nec tam naturâ, quàm situ tantùm discrepans: ut sequens exemplum demonstrat. E. G.", "english": "You will have done better to avoid the octave on the thesis altogether, for by inversion it becomes a unison, which, as already said, is less properly used except through syncopation. The reason for not exceeding the bounds of the octave is that the function of double counterpoint is to produce varied and different harmony through inversion. But if you pass beyond the bounds of the octave, although compound consonances are changed into simple ones, the same harmony results, differing not so much in nature as only in position, as the following example demonstrates. For example:", "sources": [ { "pdf_page": 134, "printed_page": 176 }, { "pdf_page": 135, "printed_page": 177, "region": "opening continuation" } ], "exercise": 5, "lesson": 5, "reading_order": 772 }, { "id": "177-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 135, "printed_page": 177 } ], "exercise": 5, "lesson": 5, "asset_refs": [ "177-a" ], "playback_status": "ready", "labels": [ { "latin": "Inversio.", "english": "Inversion." } ], "reading_order": 773, "music_asset_refs": [ "177-a" ] }, { "id": "177-1", "type": "paragraph", "latin": "Ubi vides, ex Decima, utpote Tertia compositâ per inversionem fieri Tertiam simplicem: ex Nona, Secundâ compositâ oriri secundam simplicem, & sic de cæteris. Inter Consonantias enim compositas, & simplices haud alia, quàm loci differentia intercedit.", "english": "Here you see that a tenth, being a compound third, becomes a simple third by inversion; from a ninth, a compound second, arises a simple second; and so with the rest. For between compound and simple consonances there is no difference other than position.", "sources": [ { "pdf_page": 135, "printed_page": 177 } ], "exercise": 5, "lesson": 5, "reading_order": 774 }, { "id": "177-2", "type": "paragraph", "latin": "Joseph. Jam omnibus animo perceptis, quantum quidem mihi videtur, ne Paradigmata oculis subjicere, diutiùs morere, te iterum, atque iterum obtestor.", "english": "Joseph. Now that I have grasped everything in my mind, at least as it seems to me, I implore you again and again not to delay any longer in placing examples before my eyes.", "sources": [ { "pdf_page": 135, "printed_page": 177 } ], "exercise": 5, "lesson": 5, "asset_refs": [ "177-text-annotation" ], "reading_order": 775, "music_asset_refs": [ "177-text-annotation" ], "playback_status": "playback not yet available" }, { "id": "177-3", "type": "paragraph", "latin": "Aloys. En exemplum primum obligatione Cantûs firmi obstrictum:", "english": "Aloysius. Here is the first example, bound by the requirement of a cantus firmus:", "sources": [ { "pdf_page": 135, "printed_page": 177 } ], "exercise": 5, "lesson": 5, "reading_order": 776 }, { "id": "177-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 135, "printed_page": 177 } ], "exercise": 5, "lesson": 5, "asset_refs": [ "177-b" ], "playback_status": "ready", "labels": [ { "latin": "Inversio in Octavam inferiùs.", "english": "Inversion an octave downward." } ], "continues_to": { "printed_page": 178, "pdf_page": 136, "block": "178-a" }, "reading_order": 777, "continuation_status": "resolved", "music_asset_refs": [ "177-b" ] }, { "id": "177-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 135, "printed_page": 177 } ], "exercise": 5, "lesson": 5, "asset_refs": [ "177-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 778, "music_asset_refs": [ "177-custos" ] }, { "id": "178-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 136, "printed_page": 178 } ], "exercise": 5, "lesson": 5, "asset_refs": [ "178-a" ], "playback_status": "ready", "labels": [], "continued_from": "177-b", "reading_order": 779, "music_asset_refs": [ "178-a" ] }, { "id": "178-1", "type": "paragraph", "latin": "Sequitur Paradigma absque Cantûs firmi obligatione expressum:", "english": "There follows an example written without the obligation of a cantus firmus:", "sources": [ { "pdf_page": 136, "printed_page": 178 } ], "exercise": 5, "lesson": 5, "reading_order": 780 }, { "id": "178-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 136, "printed_page": 178 } ], "exercise": 5, "lesson": 5, "asset_refs": [ "178-b" ], "playback_status": "ready", "labels": [ { "latin": "Inversio.", "english": "Inversion." } ], "reading_order": 781, "music_asset_refs": [ "178-b" ] }, { "id": "178-2", "type": "paragraph", "latin": "Ex quibus Paradigmatibus perspicuum est, observatis hucusque dictis inversionem infallibilem esse, necessariòque rectæ Compositionis præceptis consentaneam evenire.", "english": "From these examples it is clear that, if what has been said thus far is observed, inversion is unfailing and necessarily accords with the precepts of correct composition.", "sources": [ { "pdf_page": 136, "printed_page": 178 } ], "exercise": 5, "lesson": 5, "reading_order": 782 }, { "id": "178-3", "type": "paragraph", "latin": "Primi exempli Contrapunctum, si ità instituatur, ut omnis Thesis aut motum contrarium, aut obliquum obtineat, etiam tribus vocibus decantari potest, accedente parte tertiâ cum translatione Contrapuncti in Decimam inferiùs. E. G.", "english": "The counterpoint of the first example, if arranged so that every thesis has either contrary or oblique motion, can also be sung by three voices, with a third part added by transposing the counterpoint a tenth downward. For example:", "sources": [ { "pdf_page": 136, "printed_page": 178 } ], "exercise": 5, "lesson": 5, "reading_order": 783 }, { "id": "178-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 136, "printed_page": 178 } ], "exercise": 5, "lesson": 5, "asset_refs": [ "178-c" ], "playback_status": "ready", "labels": [], "reading_order": 784, "music_asset_refs": [ "178-c" ] }, { "id": "179-1", "type": "paragraph", "latin": "In hujus Contrapuncti exemplo, omnis Thesis, sive principium tactûs aut motum contrarium, aut motum obliquum obtinet, ideò in Tricinium verti potest describendo de Nota ad Notam Contrapunctum, idque collocando in Decima inferiùs.", "english": "In this example of counterpoint, every thesis, or beginning of a measure, has either contrary or oblique motion. It can therefore be turned into three voices by copying the counterpoint note for note and placing it a tenth lower.", "sources": [ { "pdf_page": 137, "printed_page": 179 } ], "exercise": 5, "lesson": 5, "reading_order": 785 }, { "id": "179-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 137, "printed_page": 179 } ], "exercise": 5, "lesson": 5, "asset_refs": [ "179-a" ], "playback_status": "ready", "labels": [], "reading_order": 786, "music_asset_refs": [ "179-a" ] }, { "id": "179-2", "type": "paragraph", "latin": "Joseph. Mirificè delector Contrapuncti hujus artificio, maximâque jam pridem cupiditate sciendi impulsus à te flagito, quo modo Paradigmata hæc in actum practicum redigenda sint?", "english": "Joseph. I am wonderfully delighted by the artifice of this counterpoint and, driven by a very great desire to know that I have long felt, I ask you how these examples are to be put into practical use.", "sources": [ { "pdf_page": 137, "printed_page": 179 } ], "exercise": 5, "lesson": 5, "reading_order": 787 }, { "id": "179-3", "type": "paragraph", "latin": "Aloys. Quanquam & reliquas hujus generis species primò pertractandi mihi animus fuit, tamen, ut desiderio tuo morem geram, accipiam Fugæ primæ subjectum in Modo primo usurpatum, illique contrasubjectum intexendo demonstrabo, qua ratione id instituendum, ac per totum Fugæ cursum perducendum sit.", "english": "Aloysius. Although I intended first to deal with the remaining species of this kind, to comply with your desire I shall take the subject of the first fugue used in the first mode and, weaving a countersubject into it, demonstrate how it is to be arranged and carried through the whole course of the fugue.", "sources": [ { "pdf_page": 137, "printed_page": 179 } ], "exercise": 5, "lesson": 5, "reading_order": 788 }, { "id": "179-h1", "type": "heading", "latin": "Fuga à 4. Contrasubjecti artificio expressa: fundata in Contrapuncto duplici, cum inversione in Octavam.", "english": "Fugue for four voices, worked out with the artifice of a countersubject, founded on double counterpoint with inversion at the octave.", "sources": [ { "pdf_page": 137, "printed_page": 179 } ], "exercise": 5, "lesson": 5, "reading_order": 789 }, { "id": "179-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 137, "printed_page": 179 } ], "exercise": 5, "lesson": 5, "asset_refs": [ "179-b" ], "playback_status": "ready", "labels": [], "continues_to": { "printed_page": 180, "pdf_page": 138, "block": "180-a" }, "reading_order": 790, "continuation_status": "resolved", "music_asset_refs": [ "179-b" ] }, { "id": "180-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 138, "printed_page": 180 } ], "exercise": 5, "lesson": 5, "asset_refs": [ "180-a" ], "playback_status": "ready", "labels": [], "continued_from": "179-b", "continues_to": { "printed_page": 181, "pdf_page": 139, "block": "181-a" }, "reading_order": 791, "continuation_status": "resolved", "music_asset_refs": [ "180-a" ] }, { "id": "180-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 138, "printed_page": 180 } ], "exercise": 5, "lesson": 5, "asset_refs": [ "180-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 792, "music_asset_refs": [ "180-custos" ] }, { "id": "181-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 139, "printed_page": 181 } ], "exercise": 5, "lesson": 5, "asset_refs": [ "181-a" ], "playback_status": "ready", "labels": [], "continued_from": "180-a", "reading_order": 793, "music_asset_refs": [ "181-a" ] }, { "id": "181-1", "type": "paragraph", "latin": "Aloys. En usum hujus Contrapuncti duplicis, & exemplar impatientiâ tuâ extortum. Observa Primò, Contrasubjectum positâ dimidiæ mensuræ pausâ in Unisono instructum; atque per subjectorum inversionem in Octavam resolvi, ut N.º 1. 2. 3. 4. 5. videre licet, ubi Contrasubjectum modò in partibus extremis repertum, modò in parte media, semper in Octava respondet subjecto suo principali, ex qua immutatione diversa semper oritur Harmonia.", "english": "Aloysius. Here is the use of this double counterpoint, and the example extracted by your impatience. Observe first that the countersubject is constructed at the unison after a rest of half a measure and is transformed into the octave through inversion of the subjects, as may be seen at numbers 1, 2, 3, 4, and 5. There the countersubject, found now in the outer parts and now in a middle part, always answers its principal subject at the octave; from this interchange a different harmony continually arises.", "sources": [ { "pdf_page": 139, "printed_page": 181 } ], "exercise": 5, "lesson": 5, "reading_order": 794 }, { "id": "181-2", "type": "paragraph", "latin": "Joseph. Hîc loci NB. Unisonum non in Octavam, verùm in Quintam decimam inverti apparet.", "english": "Joseph. Here, at NB, the unison appears to invert not to an octave but to a fifteenth.", "sources": [ { "pdf_page": 139, "printed_page": 181 } ], "exercise": 5, "lesson": 5, "reading_order": 795 }, { "id": "181-3", "type": "paragraph", "latin": "Aloys. Eandem esse rationem intervallorum compositorum quoad usum cum intervallis simplicibus jam antè dictum est. Unde hæc translatio, ut partibus mediis locus detur, haud absque industriâ nonnunquam conceditur. Porrò animadvertes, quomodo varietatis gratiâ, sub N.º 6. relicto subjecto principali partes cum Contrasubjecto solo artificiosè ludant, idque in arctum contrahant.", "english": "Aloysius. It has already been said that compound intervals have the same principle of use as simple intervals. Hence, in order to provide room for the middle parts, this transposition is sometimes allowed, and not without artifice. Observe further how, for the sake of variety, at number 6 the parts leave the principal subject and play artfully with the countersubject alone, drawing it into close overlap.", "sources": [ { "pdf_page": 139, "printed_page": 181 }, { "pdf_page": 140, "printed_page": 182, "region": "opening continuation" } ], "exercise": 5, "lesson": 5, "reading_order": 796 }, { "id": "182-1", "type": "paragraph", "latin": "Joseph. Cum stupore hanc partium combinationem admiror: verùm non potuisset fieri hæc partium coarctatio cum utroque subjecto, & ita clausulâ finali concludi.", "english": "Joseph. I admire this combination of parts with astonishment. But could this close joining of the parts not have been made with both subjects and then concluded with a final cadence?", "sources": [ { "pdf_page": 140, "printed_page": 182 } ], "exercise": 5, "lesson": 5, "reading_order": 797 }, { "id": "182-2", "type": "paragraph", "latin": "Aloys. Potuisset, mutato unius, alteriusve figuræ valore, hoc modo:", "english": "Aloysius. It could, by changing the value of one or another note form, in this way:", "sources": [ { "pdf_page": 140, "printed_page": 182 } ], "exercise": 5, "lesson": 5, "reading_order": 798 }, { "id": "182-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 140, "printed_page": 182 } ], "exercise": 5, "lesson": 5, "asset_refs": [ "182-a" ], "playback_status": "ready", "labels": [], "reading_order": 799, "music_asset_refs": [ "182-a" ] }, { "id": "182-3", "type": "paragraph", "latin": "Aloys. Observa hoc signum: NB. ubi loco duarum Semibrevium, duæ Semiminimæ positæ, quod aliàs usuvenire non potuisset, Tenori, & Basso in tertio subjecti tactu intrandi potestatem faciunt. Similis itaque figurarum fractio, hanc ob causam adhibita non solùm conceditur, verùm etiam haud parvam Compositori industriæ pariet existimationem. Hæc igitur subjectorum convertibilitas Contrapuncti duplicis beneficio in acceptis referenda est, cujus operâ, si subjecta ritè instituta sint, facili negotio Fuga instrui, ac in longum protrahi potest. Tuum nunc est, Josephe, cæteras ordine Modorum Fugas pari ratione tractando persequi. Verùm ut varietati consultum sit, non semper uno modo, id est, in primo subjecti tactu Contrasubjectum introducendum est: sed pro qualitate subjecti principalis, in secundo, vel tertio tactu Contrasubjecti introitus fieri potest: ut sequens principium Fugæ secundi Modi à te ad finem perducendum demonstrabit.", "english": "Aloysius. Observe this sign, NB, where two semiminims placed instead of two semibreves give the tenor and bass the opportunity to enter in the third measure of the subject, which could not otherwise have happened. A similar breaking up of note forms, used for this reason, is therefore not only permitted but will also win the composer no small reputation for ingenuity. This interchangeability of subjects must thus be credited to the benefit of double counterpoint, by whose aid, if the subjects are properly constructed, a fugue can easily be built and extended at length. It is now your task, Joseph, to pursue the other fugues in the order of the modes, treating them in the same way. But to provide variety, the countersubject should not always be introduced in the same manner, that is, in the first measure of the subject. Depending on the character of the principal subject, the countersubject may enter in the second or third measure, as the following beginning of a fugue in the second mode, which you are to carry to its conclusion, will demonstrate.", "sources": [ { "pdf_page": 140, "printed_page": 182 } ], "exercise": 5, "lesson": 5, "reading_order": 800 }, { "id": "183-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 141, "printed_page": 183 } ], "exercise": 5, "lesson": 5, "asset_refs": [ "183-a" ], "playback_status": "ready", "labels": [], "reading_order": 801, "music_asset_refs": [ "183-a" ] }, { "id": "183-1", "type": "paragraph", "latin": "Hanc itaque Fugam, cæterasque Contrasubjectis proprio ingenio inveniendis elaboratas ad corrigendum mihi feres.", "english": "You will therefore bring me this fugue, and the others worked out with countersubjects of your own invention, for correction.", "sources": [ { "pdf_page": 141, "printed_page": 183 } ], "exercise": 5, "lesson": 5, "reading_order": 802 }, { "id": "183-2", "type": "paragraph", "latin": "Joseph. Nihil prætereà peculiare in hoc Compositionis genere observandum occurrit?", "english": "Joseph. Is there nothing else particular to observe in this kind of composition?", "sources": [ { "pdf_page": 141, "printed_page": 183 } ], "exercise": 5, "lesson": 5, "reading_order": 803 }, { "id": "183-3", "type": "paragraph", "latin": "Aloys. Cætera ex dictis de Fugis simplicibus, deque communibus Contrapuncti regulis petenda sunt. Peculiarem autem esse cuilibet Modo & modulandi, & protrahendi rationem, propter varium Semitonii situm, ex sæpiùs jam dictis tibi constare suppono. Porrò relicto pro nunc hoc Contrapuncto, domi tuæ per reliquos Modos te exercendo, ad Contrapunctum duplex cum translatione in Decimam pergamus.", "english": "Aloysius. The rest is to be sought in what has been said about simple fugues and the common rules of counterpoint. I suppose it is clear to you from what has often been said that each mode has its own manner of melodic continuation and development because of the different position of the semitone. Now, leaving this counterpoint for the present, for you to practice in the remaining modes at home, let us proceed to double counterpoint with transposition at the tenth.", "sources": [ { "pdf_page": 141, "printed_page": 183 } ], "exercise": 5, "lesson": 5, "reading_order": 804 }, { "id": "184-h1", "type": "heading", "latin": "EXERCITII V.", "english": "EXERCISE V.", "sources": [ { "pdf_page": 142, "printed_page": 184 } ], "exercise": 5, "lesson": 6, "reading_order": 805 }, { "id": "184-h2", "type": "heading", "latin": "LECTIO SEXTA,", "english": "SIXTH LESSON,", "sources": [ { "pdf_page": 142, "printed_page": 184 } ], "exercise": 5, "lesson": 6, "reading_order": 806 }, { "id": "184-h3", "type": "heading", "latin": "De Contrapuncto Duplici cum Translatione in Decimam.", "english": "On double counterpoint with transposition at the tenth.", "sources": [ { "pdf_page": 142, "printed_page": 184 } ], "exercise": 5, "lesson": 6, "reading_order": 807 }, { "id": "184-1", "type": "paragraph", "latin": "Contrapunctum duplex ut sic, Genus esse, proinde complures complecti Species, earumque differentias exoriri pro varia partium translatione ex paulò antè dictis colligendum est.", "english": "From what was said a little earlier it must be understood that double counterpoint as such is a genus, and therefore comprises several species, whose differences arise from the varying transposition of the parts.", "sources": [ { "pdf_page": 142, "printed_page": 184 } ], "exercise": 5, "lesson": 6, "reading_order": 808 }, { "id": "184-2", "type": "paragraph", "latin": "De prima Specie: nempe de Contrapuncto in Octava satis actum puto.", "english": "I think enough has been said about the first species, namely counterpoint at the octave.", "sources": [ { "pdf_page": 142, "printed_page": 184 } ], "exercise": 5, "lesson": 6, "reading_order": 809 }, { "id": "184-3", "type": "paragraph", "latin": "Porrò ad secundam Speciem, nempe Contrapunctum in Decima progrediendum est; ità dictum, quia omissis quibusdam Consonantiis, & Dissonantiis pars alterutra in Decimam vel acutam, vel gravem transponi potest: manentibus iisdem prorsus figuris. A quibus autem intervallis abstinendum sit, ex numeris sequentibus contra se positis perspicuum est.", "english": "We must now proceed to the second species, namely counterpoint at the tenth, so called because, with certain consonances and dissonances omitted, either part may be transposed a tenth upward or downward, the note forms remaining exactly the same. Which intervals must be avoided is clear from the following numbers placed opposite one another.", "sources": [ { "pdf_page": 142, "printed_page": 184 } ], "exercise": 5, "lesson": 6, "reading_order": 810 }, { "id": "184-table", "type": "music", "latin": "1. 2. 3. 4. 5. 6. 7. 8. 9. 10.\n10. 9. 8. 7. 6. 5. 4. 3. 2. 1.", "english": "1. 2. 3. 4. 5. 6. 7. 8. 9. 10.\n10. 9. 8. 7. 6. 5. 4. 3. 2. 1.", "sources": [ { "pdf_page": 142, "printed_page": 184 } ], "exercise": 5, "lesson": 6, "asset_refs": [ "184-table" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 811, "music_asset_refs": [ "184-table" ] }, { "id": "184-4", "type": "paragraph", "latin": "Inde colligitur, duas Tertias, duasque Decimas, per motum rectum se invicem sequi non posse: quia ex illis duæ Octavæ: ex istis duo Unisoni per diversionem resultarent. Pari modo prohibentur duæ Sextæ, eò quod earum inversio in Decimam duas Quintas exhiberet. Porrò abstinendum est à Quarta ligata in parte superiori; quia inversa efficit Septimam usu non receptam, ut alibi jam demonstratum est. Postremò non excedatur Decima. Vide sis exemplum, Cantu firmo hucusque usurpato obstrictum.", "english": "From this it follows that two thirds or two tenths cannot follow one another by similar motion, because the former would produce two octaves and the latter two unisons through inversion. In the same way two sixths are forbidden, because their inversion at the tenth would produce two fifths. Furthermore, one must avoid a tied fourth in the upper part, because inverted it produces a seventh not accepted in practice, as has already been demonstrated elsewhere. Finally, the tenth must not be exceeded. Please examine an example bound to the cantus firmus used thus far.", "sources": [ { "pdf_page": 142, "printed_page": 184 } ], "exercise": 5, "lesson": 6, "reading_order": 812 }, { "id": "184-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 142, "printed_page": 184 } ], "exercise": 5, "lesson": 6, "asset_refs": [ "184-a" ], "playback_status": "ready", "labels": [], "reading_order": 813, "music_asset_refs": [ "184-a" ] }, { "id": "185-1", "type": "caption", "latin": "Inversio in Decimam, manente eodem Cantu firmo in loco suo.", "english": "Inversion at the tenth, with the same cantus firmus remaining in its place.", "sources": [ { "pdf_page": 143, "printed_page": 185 } ], "exercise": 5, "lesson": 6, "reading_order": 814 }, { "id": "185-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 143, "printed_page": 185 } ], "exercise": 5, "lesson": 6, "asset_refs": [ "185-a" ], "playback_status": "ready", "labels": [], "reading_order": 815, "music_asset_refs": [ "185-a" ] }, { "id": "185-2", "type": "paragraph", "latin": "Idem usuvenit, si Cantus firmus in una Tertia exaltetur, Contrapuncto in Octavam gravem translato. Ratio perspicua est: quia duo toni ad Octavam additi æquè Decimam efficiunt.", "english": "The same occurs if the cantus firmus is raised a third and the counterpoint transposed an octave downward. The reason is clear: two tones added to the octave likewise make a tenth.", "sources": [ { "pdf_page": 143, "printed_page": 185 } ], "exercise": 5, "lesson": 6, "reading_order": 816 }, { "id": "185-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 143, "printed_page": 185 } ], "exercise": 5, "lesson": 6, "asset_refs": [ "185-b" ], "playback_status": "ready", "labels": [], "reading_order": 817, "music_asset_refs": [ "185-b" ] }, { "id": "185-3", "type": "paragraph", "latin": "Hoc idem Contrapunctum à tribus vocibus decantari potest, si Cantus firmus de Nota ad Notam descriptus in Decimam inferiùs ponatur, manentibus duabus partibus.", "english": "This same counterpoint can be sung by three voices if the cantus firmus, copied note for note, is placed a tenth lower while the two parts remain.", "sources": [ { "pdf_page": 143, "printed_page": 185 } ], "exercise": 5, "lesson": 6, "reading_order": 818 }, { "id": "185-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 143, "printed_page": 185 } ], "exercise": 5, "lesson": 6, "asset_refs": [ "185-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 819, "music_asset_refs": [ "185-custos" ] }, { "id": "186-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 144, "printed_page": 186 } ], "exercise": 5, "lesson": 6, "asset_refs": [ "186-a" ], "playback_status": "ready", "labels": [], "reading_order": 820, "music_asset_refs": [ "186-a" ] }, { "id": "186-1", "type": "paragraph", "latin": "Quod pari modo intelligendum est de primo hujus Contrapuncti exemplo, transcribendo Contrapunctum in Decimam, inferiùs manentibus reliquis partibus.", "english": "The same is to be understood of the first example of this counterpoint, by transcribing the counterpoint a tenth lower while the remaining parts stay in place.", "sources": [ { "pdf_page": 144, "printed_page": 186 } ], "exercise": 5, "lesson": 6, "reading_order": 821 }, { "id": "186-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 144, "printed_page": 186 } ], "exercise": 5, "lesson": 6, "asset_refs": [ "186-b" ], "playback_status": "ready", "labels": [], "reading_order": 822, "music_asset_refs": [ "186-b" ] }, { "id": "187-1", "type": "paragraph", "latin": "Joseph. Quam mirabile Contrapuncti hujus artificium est, cujus operâ tertia pars describendo conficitur! Sed potestne omne speciei hujus Bicinium in Tricinium converti?", "english": "Joseph. How wonderful is the artifice of this counterpoint, by whose means a third part is made by copying! But can every two-voice composition of this species be turned into three voices?", "sources": [ { "pdf_page": 145, "printed_page": 187 } ], "exercise": 5, "lesson": 6, "reading_order": 823 }, { "id": "187-2", "type": "paragraph", "latin": "Aloys. Potest omninò: si præter ea, quæ de hac Specie præcepta sunt, quamvis Thesim, aut motum contrarium, aut obliquum obtinere contingat: ut in præcedentibus exemplis.", "english": "Aloysius. Certainly, if, besides observing the precepts given for this species, every thesis has either contrary or oblique motion, as in the preceding examples.", "sources": [ { "pdf_page": 145, "printed_page": 187 } ], "exercise": 5, "lesson": 6, "reading_order": 824 }, { "id": "187-3", "type": "paragraph", "latin": "Nunc absque Cantûs firmi obligatione duo exempla apponam, ut nihil eorum quæ circa Contrapunctum hoc occurrunt, te lateat.", "english": "I shall now add two examples without the obligation of a cantus firmus, so that nothing concerning this counterpoint may remain unknown to you.", "sources": [ { "pdf_page": 145, "printed_page": 187 } ], "exercise": 5, "lesson": 6, "reading_order": 825 }, { "id": "187-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 145, "printed_page": 187 } ], "exercise": 5, "lesson": 6, "asset_refs": [ "187-a" ], "playback_status": "ready", "labels": [], "reading_order": 826, "music_asset_refs": [ "187-a" ] }, { "id": "187-4", "type": "paragraph", "latin": "Describendo de Nota ad Notam Cantûs partem in Decimam inferiùs, habebis Tricinium omnibus præceptis absolutum.", "english": "By copying the soprano part note for note a tenth lower, you will have a three-voice composition complete according to all the precepts.", "sources": [ { "pdf_page": 145, "printed_page": 187 } ], "exercise": 5, "lesson": 6, "reading_order": 827 }, { "id": "187-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 145, "printed_page": 187 } ], "exercise": 5, "lesson": 6, "asset_refs": [ "187-b" ], "playback_status": "ready", "labels": [], "reading_order": 828, "music_asset_refs": [ "187-b" ] }, { "id": "187-5", "type": "paragraph", "latin": "Sequentis exempli Cantus in Octavam inferiùs, & in Tertiam superiùs transpositus perfectum efficiet Tricinium.", "english": "The soprano of the following example, transposed an octave lower and a third higher, will produce a complete three-voice composition.", "sources": [ { "pdf_page": 145, "printed_page": 187 } ], "exercise": 5, "lesson": 6, "reading_order": 829 }, { "id": "187-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 145, "printed_page": 187 } ], "exercise": 5, "lesson": 6, "asset_refs": [ "187-c" ], "playback_status": "ready", "labels": [], "reading_order": 830, "music_asset_refs": [ "187-c" ] }, { "id": "187-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 145, "printed_page": 187 } ], "exercise": 5, "lesson": 6, "asset_refs": [ "187-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 831, "music_asset_refs": [ "187-custos" ] }, { "id": "188-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 146, "printed_page": 188 } ], "exercise": 5, "lesson": 6, "asset_refs": [ "188-a" ], "playback_status": "ready", "labels": [], "reading_order": 832, "music_asset_refs": [ "188-a" ] }, { "id": "188-1", "type": "paragraph", "latin": "Hæc sunt, quæ ad Contrapunctum conficiendum meo quidem arbitratu requiruntur: quod tibi per aliquod tempus exercendum committo, donec ejusdem usus facilis tibi eveniat. Si quid prætereà dubii tibi superest, propone sis.", "english": "These are the things which, in my judgment, are required for constructing this counterpoint. I entrust it to you to practice for some time until its use becomes easy for you. If any further doubt remains, please put it forward.", "sources": [ { "pdf_page": 146, "printed_page": 188 } ], "exercise": 5, "lesson": 6, "reading_order": 833 }, { "id": "188-2", "type": "paragraph", "latin": "Joseph. Videtur, primum Cantûs firmi exemplum per inversionem extra limites Modi exire & in principio, & in fine.", "english": "Joseph. It seems that the first example with the cantus firmus, through inversion, passes outside the bounds of the mode both at the beginning and at the end.", "sources": [ { "pdf_page": 146, "printed_page": 188 } ], "exercise": 5, "lesson": 6, "reading_order": 834 }, { "id": "188-3", "type": "paragraph", "latin": "Aloys. Exit quidem: sed in Modum, Modo, quo inchoatum est, minimè inimicum. Prætereà Paradigmata ista non tam usûs, quàm inversionis gratiâ hîc proponuntur: neque inversio statim in principio adhibenda, neque ad finem usque protrahenda est: sed post subjectum Modo congruum, aliud subjectum per Decimam convertibile introduci potest, quod deinde loco opportuno, Compositoris judicio invertendum est: quemadmodum in Fuga paulò post in exemplum proponenda demonstrabo. Quod si autem inversionem in principio Compositionis instituere libuerit, à Tertia, vel Unisono Modi principium sumendum est; quo casu pars inversa intrà Modi limites se continebit: ut præcedentia absque Cantu firmo exempla demonstrant.", "english": "Aloysius. It does pass outside them, but into a mode by no means hostile to the one in which it began. Moreover, these examples are offered here less for practical use than for the sake of inversion. The inversion need not be used immediately at the beginning or continued to the end. Rather, after a subject suited to the mode, another subject invertible at the tenth may be introduced and then inverted at a suitable place according to the composer’s judgment, as I shall demonstrate in a fugue to be given shortly as an example. But if one wishes to establish the inversion at the beginning of a composition, the beginning must be taken from the third or unison of the mode; in that case the inverted part will remain within the bounds of the mode, as the preceding examples without a cantus firmus demonstrate.", "sources": [ { "pdf_page": 146, "printed_page": 188 } ], "exercise": 5, "lesson": 6, "reading_order": 835 }, { "id": "188-4", "type": "paragraph", "latin": "Joseph. Quid, si Contrapunctum hoc in Compositione quatuor partium adhibeatur, quartæ parti faciendum?", "english": "Joseph. If this counterpoint is used in composition for four parts, what must the fourth part do?", "sources": [ { "pdf_page": 146, "printed_page": 188 } ], "exercise": 5, "lesson": 6, "reading_order": 836 }, { "id": "188-5", "type": "paragraph", "latin": "Aloys. Aut interim quiescere, aut modulatione protractâ spatium, quod vacat, implere; aut cum subjecto per motum contrarium, vel alio licito modo intrare potest. Exemplum tibi sit præcedens Paradigma in Quatricinium versum.", "english": "Aloysius. It may either rest meanwhile, fill the vacant space with extended melodic continuation, or enter with the subject by contrary motion or in another permissible way. Let the preceding example turned into four voices serve as an example for you.", "sources": [ { "pdf_page": 146, "printed_page": 188 } ], "exercise": 5, "lesson": 6, "reading_order": 837 }, { "id": "188-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 146, "printed_page": 188 } ], "exercise": 5, "lesson": 6, "asset_refs": [ "188-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 838, "music_asset_refs": [ "188-custos" ] }, { "id": "189-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 147, "printed_page": 189 } ], "exercise": 5, "lesson": 6, "asset_refs": [ "189-a" ], "playback_status": "ready", "labels": [], "reading_order": 839, "music_asset_refs": [ "189-a" ] }, { "id": "189-1", "type": "paragraph", "latin": "Jam demonstrare restat, quo modo Contrapunctum hoc in usum componendo redigendum sit: quod faciam assumendo Subjectum primi Modi in Fugis simplicibus, & aliàs hucusque usurpatum.", "english": "It now remains to demonstrate how this counterpoint is to be put to use in composing. I shall do this by taking the subject of the first mode used in the simple fugues and elsewhere thus far.", "sources": [ { "pdf_page": 147, "printed_page": 189 } ], "exercise": 5, "lesson": 6, "reading_order": 840 }, { "id": "189-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 147, "printed_page": 189 } ], "exercise": 5, "lesson": 6, "asset_refs": [ "189-b" ], "playback_status": "ready", "labels": [], "reading_order": 841, "music_asset_refs": [ "189-b" ] }, { "id": "189-2", "type": "paragraph", "latin": "Joseph. Non vitio mihi verte, venerande Magister, si interpellare te ausim.", "english": "Joseph. Do not hold it against me, revered Master, if I dare to interrupt you.", "sources": [ { "pdf_page": 147, "printed_page": 189 } ], "exercise": 5, "lesson": 6, "reading_order": 842 }, { "id": "189-3", "type": "paragraph", "latin": "Aloys. Perge edicere.", "english": "Aloysius. Go on, speak.", "sources": [ { "pdf_page": 147, "printed_page": 189 } ], "exercise": 5, "lesson": 6, "reading_order": 843 }, { "id": "189-4", "type": "paragraph", "latin": "Joseph. Hoc Contrasubjectum in Octavam inverti posse conspicio: ideòque ad Contrapunctum in Octava pertinere videtur.", "english": "Joseph. I see that this countersubject can be inverted at the octave, and therefore it seems to belong to counterpoint at the octave.", "sources": [ { "pdf_page": 147, "printed_page": 189 } ], "exercise": 5, "lesson": 6, "reading_order": 844 }, { "id": "189-5", "type": "paragraph", "latin": "Aloys. Ex eo, quod subjectum hoc etiam in Octavam inverti possit, huc non pertinere malè judicas. Contrapuncta ista, nempe in Octava, & Decima, conjungi posse ex ultimo Paradigmate Contrapuncti in Octava, tibi constare deberet, & ex ultimis exemplis hujus Speciei, in qua nunc versamur. Ut autem dictum subjectum etiam in Decimam inverti posse, tibi demonstrem, antequàm ulteriùs progrediar, sequens exemplum inspice.", "english": "Aloysius. You judge wrongly that it does not belong here because this subject can also be inverted at the octave. It should be clear to you from the last example of counterpoint at the octave, and from the last examples of the species in which we are now engaged, that these kinds of counterpoint, namely at the octave and tenth, can be combined. But to demonstrate to you that this subject can also be inverted at the tenth, examine the following example before I proceed further.", "sources": [ { "pdf_page": 147, "printed_page": 189 } ], "exercise": 5, "lesson": 6, "reading_order": 845 }, { "id": "189-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 147, "printed_page": 189 } ], "exercise": 5, "lesson": 6, "asset_refs": [ "189-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 846, "music_asset_refs": [ "189-custos" ] }, { "id": "190-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 148, "printed_page": 190 } ], "exercise": 5, "lesson": 6, "asset_refs": [ "190-a" ], "playback_status": "ready", "labels": [], "reading_order": 847, "music_asset_refs": [ "190-a" ] }, { "id": "190-1", "type": "paragraph", "latin": "Ubi vides, Altum cum Bassi Contrasubjecto per meras Decimas incedere, Triciniumque efficere: quod idem usuvenit, si Contrasubjectum unâ Octavâ elevatum, unâque Tertiâ depressum fuerit: juxta Paradoxum de hac Contrapuncti Specie datum. E. G.", "english": "Here you see the alto proceeding with the bass countersubject entirely in tenths and producing a three-voice composition. The same occurs if the countersubject is raised an octave and lowered a third, according to the paradox given for this species of counterpoint. For example:", "sources": [ { "pdf_page": 148, "printed_page": 190 } ], "exercise": 5, "lesson": 6, "reading_order": 848 }, { "id": "190-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 148, "printed_page": 190 } ], "exercise": 5, "lesson": 6, "asset_refs": [ "190-b" ], "playback_status": "ready", "labels": [], "reading_order": 849, "music_asset_refs": [ "190-b" ] }, { "id": "190-2", "type": "paragraph", "latin": "Joseph. Grates tibi Magister quàm maximas rependo, quod in memoriam revocaris, quæ antè jam dicta sunt, atque denuò exemplis tam claris dubio me solveris. Nunc quæso, Fugam istam iterum ad manus accipe, incepto modo perducendam.", "english": "Joseph. I give you the greatest thanks, Master, for recalling to my memory what has already been said and again freeing me from doubt with such clear examples. Now, please, take this fugue in hand again and carry it on in the manner begun.", "sources": [ { "pdf_page": 148, "printed_page": 190 } ], "exercise": 5, "lesson": 6, "reading_order": 850 }, { "id": "190-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 148, "printed_page": 190 } ], "exercise": 5, "lesson": 6, "asset_refs": [ "190-c" ], "playback_status": "playback not yet available", "labels": [], "continues_to": { "printed_page": 191, "pdf_page": 149, "block": "191-a" }, "reading_order": 851, "continuation_status": "resolved", "music_asset_refs": [ "190-c" ] }, { "id": "190-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 148, "printed_page": 190 } ], "exercise": 5, "lesson": 6, "asset_refs": [ "190-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 852, "music_asset_refs": [ "190-custos" ] }, { "id": "191-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 149, "printed_page": 191 } ], "exercise": 5, "lesson": 6, "asset_refs": [ "191-a" ], "playback_status": "playback not yet available", "labels": [], "continued_from": "190-c", "continues_to": { "printed_page": 192, "pdf_page": 150, "block": "192-a" }, "reading_order": 853, "continuation_status": "resolved", "music_asset_refs": [ "191-a" ] }, { "id": "191-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 149, "printed_page": 191 } ], "exercise": 5, "lesson": 6, "asset_refs": [ "191-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 854, "music_asset_refs": [ "191-custos" ] }, { "id": "192-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 150, "printed_page": 192 } ], "exercise": 5, "lesson": 6, "asset_refs": [ "192-a" ], "playback_status": "playback not yet available", "labels": [], "continued_from": "191-a", "reading_order": 855, "music_asset_refs": [ "192-a" ] }, { "id": "192-1", "type": "paragraph", "latin": "En Fugam breviter, & potiùs in gratiam hujus Contrapuncti in Decima factam, quàm in exemplum Fugæ omnibus artificiis instructæ: ad quam normam reliquos quinque Modos tibi componendos relinquo, subjectis ex Fugis simplicibus cujusvis Modi assumptis. Interim examina Fugæ hujus omnia loca, ubi translatio extat: & si quid extra captum tuum offendes, indica.", "english": "Here is a fugue made briefly, and more for the sake of this counterpoint at the tenth than as an example of a fugue furnished with every artifice. I leave you to compose in the remaining five modes on this model, taking subjects from the simple fugues of each mode. Meanwhile, examine all the places in this fugue where transposition occurs, and if you encounter anything beyond your understanding, point it out.", "sources": [ { "pdf_page": 150, "printed_page": 192 } ], "exercise": 5, "lesson": 6, "reading_order": 856 }, { "id": "192-2", "type": "paragraph", "latin": "Joseph. Exempla N.º 1. 2. & 3. mihi videntur naturæ Contrapuncti in Decima non esse consentanea; quia Contrasubjecta non per Decimas, ut natura hujus Contrapuncti fert, sed per Tertias, & Sextas incedere conspiciuntur.", "english": "Joseph. Examples numbered 1, 2, and 3 seem to me not to accord with the nature of counterpoint at the tenth, because the countersubjects are seen to proceed not in tenths, as the nature of this counterpoint requires, but in thirds and sixths.", "sources": [ { "pdf_page": 150, "printed_page": 192 } ], "exercise": 5, "lesson": 6, "reading_order": 857 }, { "id": "192-3", "type": "paragraph", "latin": "Aloys. Haud obesse ajo, quo minùs exempla illa in recta Contrapuncti hujus ratione fundata sint. Quia, si exempla sequenti modo ponerentur, ad amussim huic Contrapuncto responsura fore, quis non videt?", "english": "Aloysius. I say that this does not prevent those examples from being founded on the correct principle of this counterpoint. For who does not see that, if the examples were placed in the following manner, they would correspond exactly to this counterpoint?", "sources": [ { "pdf_page": 150, "printed_page": 192 } ], "exercise": 5, "lesson": 6, "reading_order": 858 }, { "id": "192-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 150, "printed_page": 192 } ], "exercise": 5, "lesson": 6, "asset_refs": [ "192-b" ], "playback_status": "ready", "labels": [ { "latin": "N. 1. N. 2.", "english": "No. 1. No. 2." } ], "reading_order": 859, "music_asset_refs": [ "192-b" ] }, { "id": "192-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 150, "printed_page": 192 } ], "exercise": 5, "lesson": 6, "asset_refs": [ "192-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 860, "music_asset_refs": [ "192-custos" ] }, { "id": "193-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 151, "printed_page": 193 } ], "exercise": 5, "lesson": 6, "asset_refs": [ "193-a" ], "playback_status": "playback not yet available", "labels": [ { "latin": "N. 3.", "english": "No. 3." } ], "reading_order": 861, "music_asset_refs": [ "193-a" ] }, { "id": "193-1", "type": "paragraph", "latin": "Quum autem Num. 1. Tenor, & Num. 2. Altus ad Decimam usque pertingere nequeant, partibus illis Tertiam inferiùs dari necesse fuerat. Hypothesis Num. 3. ob arctiorem partium conjunctionem ità instruenda visa est: quod idem de Num. 6. intelligendum puto. Quid dubii occurrit circa Numerum 4. & 5.?", "english": "But since the tenor at number 1 and the alto at number 2 cannot reach as far as the tenth, it was necessary to give those parts a third lower. The case at number 3 seemed best arranged in this way because of the closer joining of the parts; I think the same should be understood of number 6. What doubt arises concerning numbers 4 and 5?", "sources": [ { "pdf_page": 151, "printed_page": 193 } ], "exercise": 5, "lesson": 6, "reading_order": 862 }, { "id": "193-2", "type": "paragraph", "latin": "Joseph. Memini, te alibi dixisse, post pausam subjectum necessariò reassumendum esse, id, quod locis illis factum esse, non apparet.", "english": "Joseph. I remember that you said elsewhere that the subject must necessarily be taken up again after a rest, which does not appear to have been done in those places.", "sources": [ { "pdf_page": 151, "printed_page": 193 } ], "exercise": 5, "lesson": 6, "reading_order": 863 }, { "id": "193-3", "type": "paragraph", "latin": "Aloys. Dixi; subjecta, aut recta, aut inversa introduci debere. Non vides, Contrasubjectum ibi inversum, vel contrarium esse? quod non solùm conceditur, verùm haud exiguam Compositioni tribuit varietatem. Cæterùm admonitum te volo, magno in hac compositione opus esse judicio: ut præter ea, quæ ad naturam hujus Contrapuncti pertinent, partes ità disponantur, ne nimis extra linearum limites exeant, vel aliâ ratione Compositio Harmoniâ vacua reddatur.", "english": "Aloysius. I said that subjects must be introduced either in their original form or inverted. Do you not see that the countersubject there is inverted, or in contrary motion? This is not only permitted but gives no little variety to the composition. Moreover, I wish to warn you that great judgment is needed in this composition: besides observing what belongs to the nature of this counterpoint, the parts must be so arranged that they do not pass too far beyond the bounds of the staff or otherwise leave the composition empty of harmony.", "sources": [ { "pdf_page": 151, "printed_page": 193 } ], "exercise": 5, "lesson": 6, "reading_order": 864 }, { "id": "193-h1", "type": "heading", "latin": "EXERCITII V.", "english": "EXERCISE V.", "sources": [ { "pdf_page": 151, "printed_page": 193 } ], "exercise": 5, "lesson": 7, "reading_order": 865 }, { "id": "193-h2", "type": "heading", "latin": "LECTIO SEPTIMA,", "english": "SEVENTH LESSON,", "sources": [ { "pdf_page": 151, "printed_page": 193 } ], "exercise": 5, "lesson": 7, "reading_order": 866 }, { "id": "193-h3", "type": "heading", "latin": "De Contrapuncto duplici in Duodecima.", "english": "On double counterpoint at the twelfth.", "sources": [ { "pdf_page": 151, "printed_page": 193 } ], "exercise": 5, "lesson": 7, "reading_order": 867 }, { "id": "193-4", "type": "paragraph", "latin": "Contrapunctum in Duodecima compositio est, cujus una duarum, vel plurium partium in Duodecimam aut acutam, aut gravem transferri potest. Quæ intervalla adhiberi possint, & à quibus abstineri debeat, sequens numerorum series demonstrat.", "english": "Counterpoint at the twelfth is a composition in which one of two or more parts may be transferred a twelfth upward or downward. The following series of numbers shows which intervals may be used and which must be avoided.", "sources": [ { "pdf_page": 151, "printed_page": 193 } ], "exercise": 5, "lesson": 7, "reading_order": 868 }, { "id": "193-table", "type": "music", "latin": "1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12.\n12. 11. 10. 9. 8. 7. 6. 5. 4. 3. 2. 1.", "english": "1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12.\n12. 11. 10. 9. 8. 7. 6. 5. 4. 3. 2. 1.", "sources": [ { "pdf_page": 151, "printed_page": 193 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "193-table" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 869, "music_asset_refs": [ "193-table" ] }, { "id": "193-5", "type": "paragraph", "latin": "Hæc itaque Tabula exhibet omnia intervalla præter Sextam & Septimam in Sextam resolutam huic Contrapuncto usui esse. Cæterùm ultrà Duodecimam non exeundum est.", "english": "This table therefore shows that all intervals except the sixth and a seventh resolved to a sixth are usable in this counterpoint. Furthermore, one must not go beyond the twelfth.", "sources": [ { "pdf_page": 151, "printed_page": 193 } ], "exercise": 5, "lesson": 7, "reading_order": 870 }, { "id": "194-1", "type": "paragraph", "latin": "Porrò cùm hoc Contrapunctum duabus, tribus, imò quatuor partibus, variisque modis decantari possit, singulis quoque peculiaria Præcepta præscribenda sunt.", "english": "Furthermore, since this counterpoint can be sung in two, three, and even four parts, and in various ways, particular precepts must also be given for each.", "sources": [ { "pdf_page": 152, "printed_page": 194 } ], "exercise": 5, "lesson": 7, "reading_order": 871 }, { "id": "194-h1", "type": "heading", "latin": "Contrapunctum in Duodecima duarum partium.", "english": "Counterpoint at the twelfth for two parts.", "sources": [ { "pdf_page": 152, "printed_page": 194 } ], "exercise": 5, "lesson": 7, "reading_order": 872 }, { "id": "194-2", "type": "paragraph", "latin": "Nihil de Contrapuncto hoc peculiare occurrit, præter ea, quæ jam dicta sunt: nempe de Sexta, & Septima in Sextam resolutâ non adhibendâ. Omnes prætereà motus, id est, rectus, contrarius, & obliquus usui esse possunt. Videatur exemplum cum obligatione Cantûs firmi.", "english": "Nothing particular arises concerning this counterpoint beyond what has already been said: namely, that the sixth and a seventh resolved to a sixth are not to be used. Otherwise all motions, that is, similar, contrary, and oblique, may be employed. Let us examine an example with the obligation of a cantus firmus.", "sources": [ { "pdf_page": 152, "printed_page": 194 } ], "exercise": 5, "lesson": 7, "reading_order": 873 }, { "id": "194-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 152, "printed_page": 194 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "194-a" ], "playback_status": "ready", "labels": [], "reading_order": 874, "music_asset_refs": [ "194-a" ] }, { "id": "194-3", "type": "paragraph", "latin": "Joseph. Quare Cantûs partem in Quinta terminâsti, & non in Octava?", "english": "Joseph. Why did you end the soprano part on a fifth rather than an octave?", "sources": [ { "pdf_page": 152, "printed_page": 194 } ], "exercise": 5, "lesson": 7, "reading_order": 875 }, { "id": "194-4", "type": "paragraph", "latin": "Aloys. Id ideò factum puta, ut translatio Contrapuncti in Duodecimam congruentiùs Modo suo terminari contingat: quamvis non obsit Contrapuncto duplici partem translatam extra Modum evagari. Nunc non movendo Cantum firmum, Contrapunctum, id est, Cantûs partem in Duodecimam gravem transpone; positione nonnunquam b. mollis efficiendo, ut intervalla per omnia Contrapuncto primo ritè respondeant.", "english": "Aloysius. Understand that this was done so that the transposition of the counterpoint at the twelfth may end more suitably in its mode, although it does not harm double counterpoint for the transposed part to stray outside the mode. Now, without moving the cantus firmus, transpose the counterpoint, that is, the soprano part, a twelfth downward, sometimes placing a flat so that the intervals correspond throughout correctly to the first counterpoint.", "sources": [ { "pdf_page": 152, "printed_page": 194 } ], "exercise": 5, "lesson": 7, "reading_order": 876 }, { "id": "194-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 152, "printed_page": 194 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "194-b" ], "playback_status": "ready", "labels": [], "continues_to": { "printed_page": 195, "pdf_page": 153, "block": "195-a" }, "reading_order": 877, "continuation_status": "resolved", "music_asset_refs": [ "194-b" ] }, { "id": "195-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 153, "printed_page": 195 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "195-a" ], "playback_status": "ready", "labels": [], "continued_from": "194-b", "reading_order": 878, "music_asset_refs": [ "195-a" ] }, { "id": "195-1", "type": "paragraph", "latin": "Translatio ista jure facta est. Verùm alio quoque modo fieri potest, transponendo Contrapunctum in Octavam gravem, & Cantum firmum in Quintam acutam, in sequentem modum.", "english": "This transposition has been correctly made. But it can also be done in another way, by transposing the counterpoint an octave downward and the cantus firmus a fifth upward, in the following manner.", "sources": [ { "pdf_page": 153, "printed_page": 195 } ], "exercise": 5, "lesson": 7, "reading_order": 879 }, { "id": "195-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 153, "printed_page": 195 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "195-b" ], "playback_status": "ready", "labels": [], "reading_order": 880, "music_asset_refs": [ "195-b" ] }, { "id": "195-2", "type": "paragraph", "latin": "Joseph. Apparet hac translatione Compositionem in Modum planè differentem immutari.", "english": "Joseph. It appears that this transposition changes the composition into an entirely different mode.", "sources": [ { "pdf_page": 153, "printed_page": 195 } ], "exercise": 5, "lesson": 7, "reading_order": 881 }, { "id": "195-3", "type": "paragraph", "latin": "Aloys. Præterquam, quod paulò ante dixerim, istud Contrapunctum privilegium hoc sibi vindicare, & A. intervallum Modo D. haud improprium esse, ajo, in compositione deinde practicâ plurium partium, clausulam formalem posse congruenter Modo suo formari, quadam modulationis appendice, finito Cantu firmo ad finem protractæ. E. G.", "english": "Aloysius. Besides what I said a little earlier, that this counterpoint claims this privilege, and that the pitch A is not foreign to mode D, I say that in the subsequent practical composition for several parts a formal cadence may be formed suitably to its mode by adding some melodic continuation after the cantus firmus has finished and carrying it to the end. For example:", "sources": [ { "pdf_page": 153, "printed_page": 195 } ], "exercise": 5, "lesson": 7, "reading_order": 882 }, { "id": "195-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 153, "printed_page": 195 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "195-c" ], "playback_status": "playback not yet available", "labels": [], "continues_to": { "printed_page": 196, "pdf_page": 154, "block": "196-a" }, "reading_order": 883, "continuation_status": "resolved", "music_asset_refs": [ "195-c" ] }, { "id": "196-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 154, "printed_page": 196 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "196-a" ], "playback_status": "playback not yet available", "labels": [], "continued_from": "195-c", "reading_order": 884, "music_asset_refs": [ "196-a" ] }, { "id": "196-h1", "type": "heading", "latin": "Paradigma Contrapuncti in Duodecima, in Tricinium vertibile, adjuncto Contrapuncto in Decima.", "english": "Example of counterpoint at the twelfth, convertible into three voices by adding counterpoint at the tenth.", "sources": [ { "pdf_page": 154, "printed_page": 196 } ], "exercise": 5, "lesson": 7, "reading_order": 885 }, { "id": "196-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 154, "printed_page": 196 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "196-b" ], "playback_status": "ready", "labels": [], "reading_order": 886, "music_asset_refs": [ "196-b" ] }, { "id": "196-1", "type": "paragraph", "latin": "Nunc manente Cantu firmo transpone Contrapunctum in Duodecimam gravem; idemque Contrapunctum in Decimam acutam transferendo, & habebis Tricinium. E. G.", "english": "Now, with the cantus firmus remaining in place, transpose the counterpoint a twelfth downward; and by transferring the same counterpoint a tenth upward, you will have three voices. For example:", "sources": [ { "pdf_page": 154, "printed_page": 196 } ], "exercise": 5, "lesson": 7, "reading_order": 887 }, { "id": "196-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 154, "printed_page": 196 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "196-c" ], "playback_status": "ready", "labels": [], "continues_to": { "printed_page": 197, "pdf_page": 155, "block": "197-a" }, "reading_order": 888, "continuation_status": "resolved", "music_asset_refs": [ "196-c" ] }, { "id": "196-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 154, "printed_page": 196 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "196-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 889, "music_asset_refs": [ "196-custos" ] }, { "id": "197-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 155, "printed_page": 197 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "197-a" ], "playback_status": "ready", "labels": [], "continued_from": "196-c", "reading_order": 890, "music_asset_refs": [ "197-a" ] }, { "id": "197-1", "type": "paragraph", "latin": "Joseph. Quid in hoc duarum partium Contrapuncto observandum est, ut inde Tricinium effici possit?", "english": "Joseph. What must be observed in this two-part counterpoint so that three voices may be made from it?", "sources": [ { "pdf_page": 155, "printed_page": 197 } ], "exercise": 5, "lesson": 7, "reading_order": 891 }, { "id": "197-2", "type": "paragraph", "latin": "Aloys. Præter cæteras hujus Contrapuncti regulas, ut pars in Duodecimam translata infrà Modi limites se contineat, fiat principium, & finis in Quinta. Procedatur per motum contrarium, vel obliquum. Evitentur ligaturæ dissonantiarum: quo pacto Tricinium habebis.", "english": "Aloysius. Besides the other rules of this counterpoint, so that the part transposed at the twelfth may remain within the bounds of the mode, let the beginning and end be on a fifth. Proceed by contrary or oblique motion. Avoid ligatures of dissonances. In this way you will have three voices.", "sources": [ { "pdf_page": 155, "printed_page": 197 } ], "exercise": 5, "lesson": 7, "reading_order": 892 }, { "id": "197-3", "type": "paragraph", "latin": "Joseph. Præsentium exemplorum Modulatio quid duri habere videtur.", "english": "Joseph. The melodic course of the present examples seems to have something harsh about it.", "sources": [ { "pdf_page": 155, "printed_page": 197 } ], "exercise": 5, "lesson": 7, "reading_order": 893 }, { "id": "197-4", "type": "paragraph", "latin": "Aloys. Æquè judicas. Sed hoc accidit fermè Modis, quibus inest Tertia minor, ubi in translatione partium, & Cantûs firmi rigore propter asperam mi contra fa relationem Modulatio minùs grata resultat; quod ob Cantûs firmi, Modique naturam tolerandum est. Secùs evenit in Compositione libera, Cantu firmo sublato: uti in exemplo sequenti conspicitur.", "english": "Aloysius. You judge rightly. But this generally happens in modes containing a minor third, where transposition of the parts and the strict constraint of the cantus firmus produce a less agreeable melodic course because of the harsh relation of mi against fa. This must be tolerated because of the nature of the cantus firmus and the mode. Matters are different in free composition, with the cantus firmus removed, as can be seen in the following example.", "sources": [ { "pdf_page": 155, "printed_page": 197 } ], "exercise": 5, "lesson": 7, "reading_order": 894 }, { "id": "197-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 155, "printed_page": 197 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "197-b" ], "playback_status": "ready", "labels": [ { "latin": "à 2.", "english": "for two." } ], "reading_order": 895, "music_asset_refs": [ "197-b" ] }, { "id": "198-1", "type": "paragraph", "latin": "Translatione partium, in modum, quo priori exemplo demonstratum est, in Tricinium convertitur.", "english": "By transposing the parts in the manner demonstrated in the preceding example, it is converted into three voices.", "sources": [ { "pdf_page": 156, "printed_page": 198 } ], "exercise": 5, "lesson": 7, "reading_order": 896 }, { "id": "198-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 156, "printed_page": 198 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "198-a" ], "playback_status": "ready", "labels": [ { "latin": "à 3.", "english": "for three." } ], "reading_order": 897, "music_asset_refs": [ "198-a" ] }, { "id": "198-2", "type": "paragraph", "latin": "In mentem nunc venit, dictum esse in principio hujus Contrapuncti, id fieri non posse, nisi cum exclusione Sextæ: quod de Sexta soluta, seu non ligata intellige. Etenim Sextam Syncopatam adhiberi posse, sequens exemplum manifestum facit. E. G.", "english": "It now comes to mind that at the beginning of this counterpoint it was said that it cannot be made unless the sixth is excluded. Understand this of an untied sixth. For the following example makes clear that a syncopated sixth may be used. For example:", "sources": [ { "pdf_page": 156, "printed_page": 198 } ], "exercise": 5, "lesson": 7, "reading_order": 898 }, { "id": "198-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 156, "printed_page": 198 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "198-b" ], "playback_status": "ready", "labels": [ { "latin": "Translatio in Duodecimam inferiùs.", "english": "Transposition a twelfth downward." } ], "reading_order": 899, "music_asset_refs": [ "198-b" ] }, { "id": "199-1", "type": "paragraph", "latin": "Posteaquàm de tribus Contrapuncti duplicis Speciebus seorsim tractatum est, exemplo haud vulgari monstrabo, quo modo præfatæ Species unitæ, duarum, trium, & quatuor partium conceptum, & Harmoniam quàm multifariam efficere possint.", "english": "After treating the three species of double counterpoint separately, I shall show by an uncommon example how these species united can produce a conception for two, three, and four parts, and harmony of the greatest variety.", "sources": [ { "pdf_page": 157, "printed_page": 199 } ], "exercise": 5, "lesson": 7, "reading_order": 900 }, { "id": "199-h1", "type": "heading", "latin": "Primò in Duodecima à 2.", "english": "First, at the twelfth, for two voices.", "sources": [ { "pdf_page": 157, "printed_page": 199 } ], "exercise": 5, "lesson": 7, "reading_order": 901 }, { "id": "199-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 157, "printed_page": 199 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "199-a" ], "playback_status": "ready", "labels": [ { "latin": "à 2.", "english": "for two." } ], "reading_order": 902, "music_asset_refs": [ "199-a" ] }, { "id": "199-h2", "type": "caption", "latin": "Pars Cantûs translata in duodecimam gravem.", "english": "The soprano part transposed a twelfth downward.", "sources": [ { "pdf_page": 157, "printed_page": 199 } ], "exercise": 5, "lesson": 7, "reading_order": 903 }, { "id": "199-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 157, "printed_page": 199 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "199-b" ], "playback_status": "ready", "labels": [ { "latin": "à 2.", "english": "for two." } ], "reading_order": 904, "music_asset_refs": [ "199-b" ] }, { "id": "199-h3", "type": "caption", "latin": "Pars Cantûs translata in Decimam gravem.", "english": "The soprano part transposed a tenth downward.", "sources": [ { "pdf_page": 157, "printed_page": 199 } ], "exercise": 5, "lesson": 7, "reading_order": 905 }, { "id": "199-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 157, "printed_page": 199 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "199-c" ], "playback_status": "playback not yet available", "labels": [ { "latin": "à 3.", "english": "for three." } ], "continues_to": { "printed_page": 200, "pdf_page": 158, "block": "200-a" }, "reading_order": 906, "continuation_status": "resolved", "music_asset_refs": [ "199-c" ] }, { "id": "200-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 158, "printed_page": 200 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "200-a" ], "playback_status": "playback not yet available", "labels": [], "continued_from": "199-c", "reading_order": 907, "music_asset_refs": [ "200-a" ] }, { "id": "200-1", "type": "paragraph", "latin": "Pars Cantûs translata in Decimam gravem, quæ transportata in Octavam acutam idem Tricinium Harmoniâ nonnihil differente producit.", "english": "The soprano part is transposed a tenth downward; when transported an octave upward, it produces the same three-voice composition with somewhat different harmony.", "sources": [ { "pdf_page": 158, "printed_page": 200 } ], "exercise": 5, "lesson": 7, "reading_order": 908 }, { "id": "200-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 158, "printed_page": 200 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "200-b" ], "playback_status": "ready", "labels": [ { "latin": "à 3.", "english": "for three." } ], "reading_order": 909, "music_asset_refs": [ "200-b" ] }, { "id": "200-h1", "type": "caption", "latin": "Alio modo.", "english": "In another way.", "sources": [ { "pdf_page": 158, "printed_page": 200 } ], "exercise": 5, "lesson": 7, "reading_order": 910 }, { "id": "200-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 158, "printed_page": 200 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "200-c" ], "playback_status": "ready", "labels": [ { "latin": "à 3.", "english": "for three." } ], "continues_to": { "printed_page": 201, "pdf_page": 159, "block": "201-a" }, "reading_order": 911, "continuation_status": "resolved", "music_asset_refs": [ "200-c" ] }, { "id": "201-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 159, "printed_page": 201 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "201-a" ], "playback_status": "ready", "labels": [], "continued_from": "200-c", "reading_order": 912, "music_asset_refs": [ "201-a" ] }, { "id": "201-h1", "type": "caption", "latin": "Alio modo.", "english": "In another way.", "sources": [ { "pdf_page": 159, "printed_page": 201 } ], "exercise": 5, "lesson": 7, "reading_order": 913 }, { "id": "201-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 159, "printed_page": 201 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "201-b" ], "playback_status": "ready", "labels": [ { "latin": "à 3.", "english": "for three." } ], "reading_order": 914, "music_asset_refs": [ "201-b" ] }, { "id": "201-h2", "type": "caption", "latin": "Alio modo.", "english": "In another way.", "sources": [ { "pdf_page": 159, "printed_page": 201 } ], "exercise": 5, "lesson": 7, "reading_order": 915 }, { "id": "201-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 159, "printed_page": 201 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "201-c" ], "playback_status": "ready", "labels": [ { "latin": "à 3.", "english": "for three." } ], "continues_to": { "printed_page": 202, "pdf_page": 160, "block": "202-a" }, "reading_order": 916, "continuation_status": "resolved", "music_asset_refs": [ "201-c" ] }, { "id": "202-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 160, "printed_page": 202 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "202-a" ], "playback_status": "ready", "labels": [], "continued_from": "201-c", "reading_order": 917, "music_asset_refs": [ "202-a" ] }, { "id": "202-1", "type": "paragraph", "latin": "Joseph. Quousque tandem procedes, amo te, Venerande Magister, multifariâ variatione tuâ?", "english": "Joseph. How far will you go, I pray you, revered Master, with your manifold variation?", "sources": [ { "pdf_page": 160, "printed_page": 202 } ], "exercise": 5, "lesson": 7, "reading_order": 918 }, { "id": "202-2", "type": "paragraph", "latin": "Aloys. Ut monstrem tibi, quantus, quàmque præstans sit Contrapuncti duplicis usus, cui mira hæc varietas in acceptis referenda est: quod evenit, si Contrapuncto in Duodecima non alia fermè Consonantia, quàm Quinta, & Octava detur, idque per motum contrarium; & Tertia per motum obliquum. Quo facto, ex Contrapuncto in Duodecima Contrapuncta in Octava, & Decima extrahi possunt, ejusmodi luculentæ variationis beneficio. E. G.", "english": "Aloysius. To show you how great and excellent is the usefulness of double counterpoint, to which this wonderful variety must be credited. This occurs if counterpoint at the twelfth is given almost no consonance other than a fifth and octave, and those by contrary motion, and a third by oblique motion. When this is done, counterpoint at the octave and tenth can be drawn from counterpoint at the twelfth, with the benefit of such splendid variation. For example:", "sources": [ { "pdf_page": 160, "printed_page": 202 } ], "exercise": 5, "lesson": 7, "reading_order": 919 }, { "id": "202-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 160, "printed_page": 202 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "202-b" ], "playback_status": "ready", "labels": [ { "latin": "à 2. in Octava. à 2. in Octava inferiùs.", "english": "For two voices, at the octave. For two voices, an octave downward." } ], "reading_order": 920, "music_asset_refs": [ "202-b" ] }, { "id": "202-3", "type": "paragraph", "latin": "Porrò, si primum Cantum cum Tenore, & secundum Cantum cum Basso in Decima incedere facies, perfectum habebis Quatricinium. E. G.", "english": "Furthermore, if you make the first soprano proceed with the tenor at a tenth and the second soprano with the bass at a tenth, you will have a complete four-voice composition. For example:", "sources": [ { "pdf_page": 160, "printed_page": 202 } ], "exercise": 5, "lesson": 7, "reading_order": 921 }, { "id": "202-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 160, "printed_page": 202 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "202-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 922, "music_asset_refs": [ "202-custos" ] }, { "id": "203-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 161, "printed_page": 203 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "203-a" ], "playback_status": "ready", "labels": [ { "latin": "à 4.", "english": "for four." } ], "reading_order": 923, "music_asset_refs": [ "203-a" ] }, { "id": "203-h1", "type": "caption", "latin": "Alio modo.", "english": "In another way.", "sources": [ { "pdf_page": 161, "printed_page": 203 } ], "exercise": 5, "lesson": 7, "reading_order": 924 }, { "id": "203-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 161, "printed_page": 203 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "203-b" ], "playback_status": "ready", "labels": [ { "latin": "à 4.", "english": "for four." } ], "continues_to": { "printed_page": 204, "pdf_page": 162, "block": "204-a" }, "reading_order": 925, "continuation_status": "resolved", "music_asset_refs": [ "203-b" ] }, { "id": "204-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 162, "printed_page": 204 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "204-a" ], "playback_status": "ready", "labels": [], "continued_from": "203-b", "reading_order": 926, "music_asset_refs": [ "204-a" ] }, { "id": "204-1", "type": "paragraph", "latin": "Vides itaque Josephe, quanti momenti hujus generis Contrapuncta sint, quorum beneficio ex duabus partibus ritè institutis Tricinium, & Quatricinium emanat. Si eorum præstantia in admirationem raperis, exinde collige, quanto conatu in eorundem studium incumbere operæ pretium sit.", "english": "You see, then, Joseph, how important counterpoints of this kind are, by whose benefit three- and four-voice compositions arise from two properly constructed parts. If their excellence fills you with admiration, infer from this how worthwhile it is to apply yourself to their study with great effort.", "sources": [ { "pdf_page": 162, "printed_page": 204 } ], "exercise": 5, "lesson": 7, "reading_order": 927 }, { "id": "204-2", "type": "paragraph", "latin": "Joseph. Totis viribus tam miro artificio adipiscendo operam dabo: ad hoc me stimulant, utilitas, varietasque, & tam mirabilis operis amor.", "english": "Joseph. I shall devote all my strength to acquiring so wonderful an artifice. Its usefulness and variety, and love of so marvelous a work, spur me to this.", "sources": [ { "pdf_page": 162, "printed_page": 204 } ], "exercise": 5, "lesson": 7, "reading_order": 928 }, { "id": "204-3", "type": "paragraph", "latin": "Aloys. Amor, Josephe mi, duntaxat calcar esse potest, laboris hujus suscipiendi, superandique. Etenim cupidine honoris allectum, ac spe facultatum; aut tædio superatum, aut labore frustratum iri, alibi jam te admonui.", "english": "Aloysius. Love alone, my Joseph, can be the spur to undertaking and overcoming this labor. For I have already warned you elsewhere that one drawn by a desire for honor and hope of riches will either be overcome by weariness or frustrated by the labor.", "sources": [ { "pdf_page": 162, "printed_page": 204 } ], "exercise": 5, "lesson": 7, "reading_order": 929 }, { "id": "204-4", "type": "paragraph", "latin": "Hîc loci præterire non debeo, qua ratione Compositio ligaturis dissonantiarum destituta per contrarium inverti possit. Duobus modis hæc inversio fieri potest: per contrarium simplex, & per contrarium reversum. Contrarium simplex fit, quando Notæ per contrarium simpliciter invertuntur, ut, quæ modò ascendendo incedebant, descendendo progrediantur: nullâ habitâ Semitoniorum ratione. Exemplum videatur in trito hucusque subjecto:", "english": "Here I must not pass over how a composition without ligatures of dissonances may be inverted by contrary motion. This inversion can be made in two ways: by simple contrary motion and by reversed contrary motion. Simple contrary motion occurs when the notes are simply inverted, so that those which previously moved upward proceed downward, without regard to semitones. Let us examine an example in the subject familiar thus far:", "sources": [ { "pdf_page": 162, "printed_page": 204 } ], "exercise": 5, "lesson": 7, "reading_order": 930 }, { "id": "204-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 162, "printed_page": 204 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "204-b" ], "playback_status": "ready", "labels": [ { "latin": "Rectum. Contrarium. Simplex.", "english": "Direct. Contrary. Simple." } ], "reading_order": 931, "music_asset_refs": [ "204-b" ] }, { "id": "204-5", "type": "paragraph", "latin": "Contrarium autem reversum efficitur ita invertendis Notis, ut ubique mi contra fa eveniat. Quo modo autem sit instituendum, sequens Notarum Diagramma te docebit.", "english": "Reversed contrary motion, however, is produced by inverting the notes so that mi everywhere corresponds to fa. The following diagram of notes will teach you how it is to be arranged.", "sources": [ { "pdf_page": 162, "printed_page": 204 } ], "exercise": 5, "lesson": 7, "reading_order": 932 }, { "id": "205-diagram", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 163, "printed_page": 205 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "205-diagram" ], "playback_status": "ready", "labels": [], "reading_order": 933, "music_asset_refs": [ "205-diagram" ] }, { "id": "205-1", "type": "paragraph", "latin": "Æquiparentur Notæ à sinistris ascendendo, cum illis à dextris descendendo, & reperies, D. per inversionem nihilominùs D. manere: E. in C., F. in B. mi, G. in A. inverti, ut in eodem subjecto videndum est.", "english": "Match the notes ascending from the left with those descending from the right, and you will find that D nevertheless remains D through inversion, E inverts to C, F to B mi, and G to A, as may be seen in the same subject.", "sources": [ { "pdf_page": 163, "printed_page": 205 } ], "exercise": 5, "lesson": 7, "reading_order": 934 }, { "id": "205-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 163, "printed_page": 205 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "205-a" ], "playback_status": "ready", "labels": [ { "latin": "Rectum. Contrarium. Reversum.", "english": "Direct. Contrary. Reversed." } ], "reading_order": 935, "music_asset_refs": [ "205-a" ] }, { "id": "205-2", "type": "paragraph", "latin": "Ut autem inversio ista per motum contrarium reversum clarior tibi eveniat, relicto contrario simplici, haud tanti momenti, & difficultatis, invertam Tricinium suprà in exemplum tertium adductum, sequenti modo:", "english": "To make this inversion by reversed contrary motion clearer to you, leaving aside simple contrary motion, which is of less importance and difficulty, I shall invert the three-voice composition given above as the third example, in the following way:", "sources": [ { "pdf_page": 163, "printed_page": 205 } ], "exercise": 5, "lesson": 7, "reading_order": 936 }, { "id": "205-h1", "type": "heading", "latin": "Contrarium reversum.", "english": "Reversed contrary motion.", "sources": [ { "pdf_page": 163, "printed_page": 205 } ], "exercise": 5, "lesson": 7, "reading_order": 937 }, { "id": "205-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 163, "printed_page": 205 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "205-b" ], "playback_status": "ready", "labels": [ { "latin": "à 3.", "english": "for three." } ], "reading_order": 938, "music_asset_refs": [ "205-b" ] }, { "id": "206-1", "type": "paragraph", "latin": "Joseph. Planè mirabilis est hæc inversio. Potestne quælibet indistinctè Compositio ità inverti?", "english": "Joseph. This inversion is truly remarkable. Can any composition without distinction be inverted in this way?", "sources": [ { "pdf_page": 164, "printed_page": 206 } ], "exercise": 5, "lesson": 7, "reading_order": 939 }, { "id": "206-2", "type": "paragraph", "latin": "Aloys. Illa duntaxat, cui, ut jam dixi, ligatura non inest, dissonantiâ constans. Quum autem pro Modorum, Subjectorumque natura, translatio, ac inversio, quædam benè, quædam malè cedat, in utendo permagnâ opus est cautelâ, judicioque: ne opinione grandis artificii concentus expectatæ amœnitatis detrimentum patiatur: quemadmodum in Fuga sequenti accidit, adductâ potiùs in gratiam Contrapuncti in Duodecima, quàm in gratæ modulationis exemplum.", "english": "Aloysius. Only one which, as I have already said, contains no ligature consisting of a dissonance. But since, according to the nature of the modes and subjects, some transpositions and inversions turn out well and others badly, great caution and judgment are needed in using them, lest a composition suffer a loss of its expected pleasantness through the pursuit of grand artifice. This happens in the following fugue, offered more for the sake of counterpoint at the twelfth than as an example of agreeable melodic writing.", "sources": [ { "pdf_page": 164, "printed_page": 206 } ], "exercise": 5, "lesson": 7, "reading_order": 940 }, { "id": "206-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 164, "printed_page": 206 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "206-a" ], "playback_status": "ready", "labels": [], "continues_to": { "printed_page": 207, "pdf_page": 165, "block": "207-a" }, "reading_order": 941, "continuation_status": "resolved", "music_asset_refs": [ "206-a" ] }, { "id": "206-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 164, "printed_page": 206 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "206-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 942, "music_asset_refs": [ "206-custos" ] }, { "id": "207-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 165, "printed_page": 207 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "207-a" ], "playback_status": "ready", "labels": [], "continued_from": "206-a", "continues_to": { "printed_page": 208, "pdf_page": 166, "block": "208-a" }, "reading_order": 943, "continuation_status": "resolved", "music_asset_refs": [ "207-a" ] }, { "id": "207-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 165, "printed_page": 207 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "207-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 944, "music_asset_refs": [ "207-custos" ] }, { "id": "208-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 166, "printed_page": 208 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "208-a" ], "playback_status": "ready", "labels": [], "continued_from": "207-a", "reading_order": 945, "music_asset_refs": [ "208-a" ] }, { "id": "208-1", "type": "paragraph", "latin": "Quomodo translationes partium, subjectorumque commutationes in ista Fuga factæ sint, haud opus esse arbitror ulteriori explicatione; siquidem ex præcedentibus, & effusè dictis, & opulentis exemplis nihil eorum te latere suppono. Hæc sunt itaque, quæ de hoc genere Contrapuncti tradere, mihi visum est, cujus utilitatem deprædicare, tibique denuò commendare, superfluum judico. Etenim, quam aliam viam inibis, Compositionem pluribus subjectis, iisque convertibilibus distinguere cupiens, si à Contrapuncti duplicis usu recesseris? Sine qua subjectorum mixtura, Compositio, præsertim Ecclesiastica simplex evadit, maximoque caret ornamento.", "english": "I do not think further explanation is needed of how the transpositions of the parts and interchanges of subjects were made in this fugue, since, from the preceding extensive explanations and abundant examples, I suppose none of these things remains unknown to you. These, then, are the things I have thought fit to teach about this kind of counterpoint, whose usefulness I consider it superfluous to extol and commend to you again. For what other path will you take if you wish to distinguish a composition with several interchangeable subjects and depart from the use of double counterpoint? Without such a mixture of subjects, a composition, especially an ecclesiastical one, becomes simple and lacks its greatest ornament.", "sources": [ { "pdf_page": 166, "printed_page": 208 } ], "exercise": 5, "lesson": 7, "reading_order": 946 }, { "id": "208-2", "type": "paragraph", "latin": "Joseph. Spe delusus sum; sperabam enim, te contrarium cum recto immixturum, subjectorumque vicissitudines demonstraturum.", "english": "Joseph. I am disappointed in my hope, for I expected you to mix contrary motion with direct motion and demonstrate the interchanges of the subjects.", "sources": [ { "pdf_page": 166, "printed_page": 208 } ], "exercise": 5, "lesson": 7, "reading_order": 947 }, { "id": "209-1", "type": "paragraph", "latin": "Aloys. Fecissem utique, si subjecti aptitudo tulisset, ac Compositioni per hoc gratia quædam accedere potuisset: quod faciendum est, si subjecti, proprio consilio inveniendi facultas datur; quo casu ita parandum est, ut ejus contrarium haud absque lepore quodam adhiberi possit: cujus rei paulò pòst exemplum adducam, cùm primò demonstravero, quo modo Cantui firmo Fuga, aut Imitatio immisceri, ac per totum ejus cursum continuari possit. E. G.", "english": "Aloysius. I certainly would have done so if the suitability of the subject had allowed it and some grace could thereby have been added to the composition. This should be done when one has the freedom to invent a subject by one’s own design. In that case it must be prepared so that its contrary form can be used with a certain charm. I shall give an example of this shortly, after first demonstrating how fugue or imitation may be mixed with a cantus firmus and continued throughout its course. For example:", "sources": [ { "pdf_page": 167, "printed_page": 209 } ], "exercise": 5, "lesson": 7, "reading_order": 948 }, { "id": "209-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 167, "printed_page": 209 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "209-a" ], "playback_status": "ready", "labels": [], "continues_to": { "printed_page": 210, "pdf_page": 168, "block": "210-a" }, "reading_order": 949, "continuation_status": "resolved", "music_asset_refs": [ "209-a" ] }, { "id": "209-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 167, "printed_page": 209 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "209-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 950, "music_asset_refs": [ "209-custos" ] }, { "id": "210-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 168, "printed_page": 210 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "210-a" ], "playback_status": "ready", "labels": [], "continued_from": "209-a", "reading_order": 951, "music_asset_refs": [ "210-a" ] }, { "id": "211-1", "type": "paragraph", "latin": "Joseph. Proh Deum immortalem! quam stupeo, concentum hunc tam admirandâ industriâ contextum! vix non animo cado, tale quid assequendi, considerans hujus artificii magnitudinem. Quo consilio, amabo, rem instituisti, ut primo subjecto ubique per totum Cantûs firmi cursum intrandi copia detur?", "english": "Joseph. By the immortal God! How I marvel at this harmony woven with such admirable ingenuity! Considering the greatness of this artifice, I almost lose heart at ever achieving anything like it. By what plan, I pray, did you arrange it so that the first subject has the opportunity to enter everywhere throughout the course of the cantus firmus?", "sources": [ { "pdf_page": 169, "printed_page": 211 } ], "exercise": 5, "lesson": 7, "reading_order": 952 }, { "id": "211-2", "type": "paragraph", "latin": "Aloys. Haud abs re, Josephe, stupes. Est enim res ista cujusdam, sed non tantæ difficultatis, quanta quidem tibi videtur. Etenim qui hucusque dicta, & intellecta perbene menti impressa tenet, omnesque Lectiones sedulâ exercitatione percurrit, non tanto opere laborabit in simili quopiam conficiendo. Verùm, antequàm subjectum, Cantui firmo intexendum animo concipias, necesse est, omnes Cantûs firmi tactus, & oculis, & animo perlustrare, an subjectum illud, aut rectum, aut contrarium, si non in omni tactu, saltem in quàm plurimis Cantui firmo applicari possit: observatis prætereà, & Contrapuncti legibus, & modulationis amœnitate. Est autem & alius subjecti eligendi modus, assumptus ex ipso Cantu firmo de Nota ad Notam, aut ad ejus similitudinem: immutatâ, aut syncopatâ nonnullâ figurâ; ut ex sequenti Paradigmate proposito apparet:", "english": "Aloysius. Your astonishment is not without reason, Joseph. This matter is indeed of some difficulty, but not as much as it seems to you. For anyone who keeps what has been said and understood thus far firmly impressed on the mind and works through all the lessons with diligent practice will not labor so greatly in making something similar. But before conceiving a subject to be woven into a cantus firmus, one must examine every measure of the cantus firmus with both eye and mind, to see whether that subject, either direct or contrary, can be fitted to it, if not in every measure, at least in as many as possible, while also observing the laws of counterpoint and the pleasantness of the melodic course. There is another way of choosing a subject: take it from the cantus firmus itself, note for note, or in its likeness, changing or syncopating some note form, as appears in the following example:", "sources": [ { "pdf_page": 169, "printed_page": 211 } ], "exercise": 5, "lesson": 7, "reading_order": 953 }, { "id": "211-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 169, "printed_page": 211 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "211-a" ], "playback_status": "ready", "labels": [], "reading_order": 954, "music_asset_refs": [ "211-a" ] }, { "id": "211-3", "type": "paragraph", "latin": "His itaque modis, aliisque pro Cantûs firmi qualitate subjectum intrudendum est, præviâ mentis, ut dixi, perlustratione, quando, & quo loco, qua parte Cantûs firmi introitus tempestivè fieri possit. Hucusque te, aut Cantûs firmi fastidio, aut subjecti præscripti vinculo, inopisque generis Diatonici limitibus implicatum detinui; atque per aspera, & confragosa incedere jussi: sine qua tamen viâ nunquam ad perfectam hujus artis agnitionem perventurus esses. Tempus nunc est, ut de spinoso generis hujus labore in amœniorem studii campum flosculis abundantem evagari te sinam: teque tibimet ipsi relinquam: atque subjecta arbitrio tuo seligendi, Ideas formandi, ac per genus mixtum, haud tantis angustiis circumscriptum excurrendi facultatem concedam: prætereà omnis generis temporibus, ternario, quaternario ad remissiorem mensuram, minutioribusque figuris, subjectis irregularibus, ac Modis transpositis utendi tibi deinceps arbitrium erit.", "english": "In these ways, then, and others according to the character of the cantus firmus, the subject must be introduced, after first considering in the mind, as I said, when, where, and in which portion of the cantus firmus an entrance can suitably be made. Thus far I have kept you entangled either in the tedium of the cantus firmus or in the bond of a prescribed subject and the narrow bounds of the impoverished diatonic genus, and have bidden you travel through rough and rugged places. Yet without this path you would never have arrived at a complete understanding of this art. It is now time to let you range from the thorny labor of this genus into a more pleasant field of study abounding in flowers; to leave you to yourself and allow you to choose subjects at your discretion, form ideas, and range through the mixed genus, not circumscribed by such narrow bounds. Henceforth you will also be free to use time of every kind, triple and quadruple in a more relaxed measure, smaller note forms, irregular subjects, and transposed modes.", "sources": [ { "pdf_page": 169, "printed_page": 211 }, { "pdf_page": 170, "printed_page": 212, "region": "opening continuation" } ], "exercise": 5, "lesson": 7, "reading_order": 955 }, { "id": "212-1", "type": "paragraph", "latin": "Joseph. Mirum in modum lætor, tandem me vinculis solutum fore: quo fiet, ut me, ingeniumque meum mihi experiri liceat. Verùm antequàm progrediar, memini, te paulò ante demonstraturum promisisse, quâ ratione subjectum Rectum cum suo contrario Reverso promiscuè retinendum sit, quod, ut quàm primùm facias, te etiam, atque etiam rogo.", "english": "Joseph. I am wonderfully glad that at last I shall be released from bonds, so that I may be permitted to test myself and my own ingenuity. But before I proceed, I remember that you promised a little earlier to demonstrate how a direct subject is to be maintained in combination with its reversed contrary form. I ask you again and again to do this as soon as possible.", "sources": [ { "pdf_page": 170, "printed_page": 212 } ], "exercise": 5, "lesson": 7, "reading_order": 956 }, { "id": "212-2", "type": "paragraph", "latin": "Aloys. Tempestivè me mones. Non solùm petitioni tuæ morem geram, verùm etiam ultrò plus præstabo: demonstrando aliam quoque extra genus Diatonicum invertendorum subjectorum rationem fore, quàm, quæ non multùm ante in Paradigmate proposita est. Dicam prætereà, quo modo tria disparia subjecta in Compositione combinanda sint. Item, in quantum stylo vulgari per figurarum variationis, à communibus Contrapuncti legibus, usu recepto, recedere liceat. Dico itaque, ad formandum Contrarium Reversum in genere mixto sufficere, si mi contra fa, & vicissim fa contra mi ubique resultet, non habitâ attentione ad regulam supra pro genere Diatonico præscriptam. Exemplis res manifesta fiet.", "english": "Aloysius. You remind me at the right time. I shall not only comply with your request but freely provide more, by showing that outside the diatonic genus there is another way of inverting subjects than the one proposed in an example not long ago. I shall also explain how three different subjects are to be combined in a composition, and how far customary practice in the common style permits departure from the ordinary laws of counterpoint through variation of note forms. I say, then, that to form reversed contrary motion in the mixed genus it is enough for mi everywhere to correspond to fa and, conversely, fa to mi, without regard to the rule prescribed above for the diatonic genus. Examples will make the matter plain.", "sources": [ { "pdf_page": 170, "printed_page": 212 } ], "exercise": 5, "lesson": 7, "reading_order": 957 }, { "id": "212-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 170, "printed_page": 212 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "212-a" ], "playback_status": "ready", "labels": [], "reading_order": 958, "music_asset_refs": [ "212-a" ] }, { "id": "212-3", "type": "paragraph", "latin": "Vi regulæ, pro genere Diatonico supra datæ præsens thema in Contrarium Reversum sequenti modo invertendum esset:", "english": "By the rule given above for the diatonic genus, the present theme would have to be inverted into reversed contrary motion in the following way:", "sources": [ { "pdf_page": 170, "printed_page": 212 } ], "exercise": 5, "lesson": 7, "reading_order": 959 }, { "id": "212-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 170, "printed_page": 212 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "212-b" ], "playback_status": "ready", "labels": [], "reading_order": 960, "music_asset_refs": [ "212-b" ] }, { "id": "212-4", "type": "paragraph", "latin": "Verùm sequens invertendi ratio, Modo, cui subjectum hoc mancipatum est, longè congruentior evenit. E. G.", "english": "But the following manner of inversion is far more suited to the mode to which this subject belongs. For example:", "sources": [ { "pdf_page": 170, "printed_page": 212 } ], "exercise": 5, "lesson": 7, "reading_order": 961 }, { "id": "213-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 171, "printed_page": 213 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "213-a" ], "playback_status": "ready", "labels": [], "reading_order": 962, "music_asset_refs": [ "213-a" ] }, { "id": "213-1", "type": "paragraph", "latin": "Cujus Contrarii reversi principium, & finis intrà Modi limites consistunt; ad ejusmodi normam, delineationem Fugæ oculis tuis subjiciam. E. G.", "english": "The beginning and end of this reversed contrary form lie within the bounds of the mode. I shall place before your eyes a sketch of a fugue following this model. For example:", "sources": [ { "pdf_page": 171, "printed_page": 213 } ], "exercise": 5, "lesson": 7, "reading_order": 963 }, { "id": "213-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 171, "printed_page": 213 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "213-b" ], "playback_status": "ready", "labels": [], "continues_to": { "printed_page": 214, "pdf_page": 172, "block": "214-a" }, "reading_order": 964, "continuation_status": "resolved", "music_asset_refs": [ "213-b" ] }, { "id": "214-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 172, "printed_page": 214 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "214-a" ], "playback_status": "ready", "labels": [], "continued_from": "213-b", "reading_order": 965, "music_asset_refs": [ "214-a" ] }, { "id": "215-1", "type": "paragraph", "latin": "Ità subjecta alternando, intellige, Rectum, & Contrarium, haud inanem varietate concentui tam necessariâ Compositionem efficies. Observabis prætereà industriam, quâ minutis nonnullis figuris Recto cum Contrario simul incedendi copia facta sit. Nonnunquam Compositores relicto Contrario, cum Recto solo ad medium usque fermè procedunt; & ibi primò Contrarium inducunt: quod cujusvis arbitrio relinquitur.", "english": "By alternating the subjects in this way—that is, the direct and contrary forms—you will make a composition not lacking the variety so necessary to harmony. Observe also the device by which shortening some note values makes it possible for the direct and contrary forms to proceed together. Sometimes composers leave aside the contrary form and proceed with the direct form alone almost to the middle, introducing the contrary form only there. This is left to each person’s discretion.", "sources": [ { "pdf_page": 173, "printed_page": 215 } ], "exercise": 5, "lesson": 7, "reading_order": 966 }, { "id": "215-2", "type": "paragraph", "latin": "Joseph. Non apparet, Fugam præsentem in Contrapuncto duplici fundatam esse.", "english": "Joseph. The present fugue does not appear to be founded on double counterpoint.", "sources": [ { "pdf_page": 173, "printed_page": 215 } ], "exercise": 5, "lesson": 7, "reading_order": 967 }, { "id": "215-3", "type": "paragraph", "latin": "Aloys. Minimè, satis enim, ut opinor, copiosè materiam illam, abundeque tractavimus. Hîc loci duntaxat in animo fuit demonstrare, quo modo Rectum cum Contrario suo combinandum sit. Si quis autem pluribus subjectis, & naturâ, valoreque distinctis Compositionem adornare cupit, id haud alia ratione, quàm beneficio Contrapuncti duplicis effici potest: quemadmodum in sequenti Paradigmate videndum est:", "english": "Aloysius. By no means, for I think we have treated that material quite fully and abundantly. Here I intended only to demonstrate how a direct form is to be combined with its contrary. But if someone wishes to adorn a composition with several subjects distinct in character and note value, this cannot be achieved except through the aid of double counterpoint, as may be seen in the following example:", "sources": [ { "pdf_page": 173, "printed_page": 215 } ], "exercise": 5, "lesson": 7, "reading_order": 968 }, { "id": "215-h1", "type": "heading", "latin": "Fuga tribus subjectis instructa.", "english": "Fugue furnished with three subjects.", "sources": [ { "pdf_page": 173, "printed_page": 215 } ], "exercise": 5, "lesson": 7, "reading_order": 969 }, { "id": "215-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 173, "printed_page": 215 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "215-a" ], "playback_status": "playback not yet available", "labels": [], "continues_to": { "printed_page": 216, "pdf_page": 174, "block": "216-a" }, "reading_order": 970, "continuation_status": "resolved", "music_asset_refs": [ "215-a" ] }, { "id": "216-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 174, "printed_page": 216 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "216-a" ], "playback_status": "playback not yet available", "labels": [], "continued_from": "215-a", "continues_to": { "printed_page": 217, "pdf_page": 175, "block": "217-a" }, "reading_order": 971, "continuation_status": "resolved", "music_asset_refs": [ "216-a" ] }, { "id": "216-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 174, "printed_page": 216 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "216-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 972, "music_asset_refs": [ "216-custos" ] }, { "id": "217-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 175, "printed_page": 217 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "217-a" ], "playback_status": "playback not yet available", "labels": [], "continued_from": "216-a", "reading_order": 973, "music_asset_refs": [ "217-a" ] }, { "id": "217-1", "type": "paragraph", "latin": "Hic itaque modus est, Fugam tribus instruendi subjectis, quorum secundum in Contrapuncto in Octava, tertium in Duodecima fundatum est. Ubi primò observandum occurrit, quodlibet subjectum Notarum valore ideò distingui, ut ob varium motum perceptu faciliora reddantur. Secundò cavendum est, ubi subjectum in Duodecima intravit, ne cæteræ item partes inter se Sextam efficiant, secùs enim translatio non subsisteret. Tertiò animadvertes, aut ob alterius subjecti introitum, aut modulationis præstantiam, non ubique semper integrum subjectum servatum, & ad finem perductum esse: quod ob dictam rationem tolerandum est. Verùm hujusmodi trium subjectorum Compositio fermè quintam partem requirit, quo pacto, & alternatio, quia non omnis semper pars occupata est, facilior redditur, & majus temporis spatium ad quiescendum partes adipiscuntur.", "english": "This, then, is the manner of furnishing a fugue with three subjects, the second of which is founded on counterpoint at the octave and the third at the twelfth. First, observe that each subject is distinguished by note value so that the different motions make them easier to perceive. Second, where the subject at the twelfth has entered, care must be taken that the other parts do not also form a sixth with one another, for otherwise the transposition would not hold. Third, observe that, either because of another subject’s entrance or for the excellence of the melodic course, the entire subject is not always preserved and carried to its end everywhere. This is to be tolerated for the reason given. A composition of this kind with three subjects, however, generally requires a fifth part. In that way alternation becomes easier, because not every part is always occupied, and the parts gain more time to rest.", "sources": [ { "pdf_page": 175, "printed_page": 217 } ], "exercise": 5, "lesson": 7, "reading_order": 974 }, { "id": "217-2", "type": "paragraph", "latin": "Joseph. Observo, & miror artificium. Verùm longiori ad bene conficiendum tempore opus est, quod, ne in præsenti tibi fastidio sim, domi meæ exequar. Interim admoneri Magister patiare, te suprà mentionem fecisse de Figura Variationis: de Fugis irregularibus: de Modis transpositis: nunc si ordini non repugnat, quid eæ sint, explanare lubeat.", "english": "Joseph. I observe and admire the artifice. But more time is needed to carry it out well, which I shall do at home, so as not to weary you at present. Meanwhile, Master, allow me to remind you that you mentioned above the figure of variation, irregular fugues, and transposed modes. Now, if it does not conflict with the order of instruction, please explain what they are.", "sources": [ { "pdf_page": 175, "printed_page": 217 } ], "exercise": 5, "lesson": 7, "reading_order": 975 }, { "id": "217-3", "type": "paragraph", "latin": "Aloys. Haud morabor. Et primò quidem", "english": "Aloysius. I shall not delay. And first,", "sources": [ { "pdf_page": 175, "printed_page": 217 } ], "exercise": 5, "lesson": 7, "reading_order": 976 }, { "id": "217-h1", "type": "heading", "latin": "De Figura Variationis, & Anticipationis.", "english": "On the figures of variation and anticipation.", "sources": [ { "pdf_page": 175, "printed_page": 217 } ], "exercise": 5, "lesson": 7, "reading_order": 977 }, { "id": "217-4", "type": "paragraph", "latin": "Variatio aliud non est, quàm Diminutio irregularis. Distinguitur à Diminutione regulari, quod hæc in Notis per saltum Tertiæ progredientibus duntaxat locum habeat. E. G.", "english": "Variation is nothing other than irregular diminution. It is distinguished from regular diminution in that the latter has a place only in notes proceeding by the leap of a third. For example:", "sources": [ { "pdf_page": 175, "printed_page": 217 } ], "exercise": 5, "lesson": 7, "reading_order": 978 }, { "id": "218-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 176, "printed_page": 218 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "218-a" ], "playback_status": "ready", "labels": [ { "latin": "Diminutio.", "english": "Diminution." } ], "reading_order": 979, "music_asset_refs": [ "218-a" ] }, { "id": "218-1", "type": "paragraph", "latin": "Illa autem, Variatio nempe, in Notis per gradum incedentibus. E. G.", "english": "The former, namely variation, occurs in notes proceeding by step. For example:", "sources": [ { "pdf_page": 176, "printed_page": 218 } ], "exercise": 5, "lesson": 7, "reading_order": 980 }, { "id": "218-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 176, "printed_page": 218 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "218-b" ], "playback_status": "ready", "labels": [ { "latin": "Variatio.", "english": "Variation." } ], "reading_order": 981, "music_asset_refs": [ "218-b" ] }, { "id": "218-2", "type": "paragraph", "latin": "Exemplum hoc clarè demonstrat, Variationem à communibus Contrapuncti regulis aberrare, quia de Consonantia in dissonantiam, de dissonantia rursus in dissonantiam saltando proceditur: quod utique in Contrapuncto non admittitur: in Compositione verò vulgari conceditur. En plura Variationis exempla.", "english": "This example clearly demonstrates that variation departs from the common rules of counterpoint, because one proceeds by leap from a consonance to a dissonance and again from a dissonance to a dissonance. This is certainly not admitted in counterpoint, but is allowed in common composition. Here are further examples of variation.", "sources": [ { "pdf_page": 176, "printed_page": 218 } ], "exercise": 5, "lesson": 7, "reading_order": 982 }, { "id": "218-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 176, "printed_page": 218 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "218-c" ], "playback_status": "ready", "labels": [ { "latin": "Variatio.", "english": "Variation." } ], "reading_order": 983, "music_asset_refs": [ "218-c" ] }, { "id": "219-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 177, "printed_page": 219 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "219-a" ], "playback_status": "ready", "labels": [ { "latin": "Variatio.", "english": "Variation." } ], "reading_order": 984, "music_asset_refs": [ "219-a" ] }, { "id": "219-1", "type": "paragraph", "latin": "Ejusmodi, aliæque non multò dissimiles Variationes, substantiam haud immutantes in Compositione vulgari valere possunt. Ejusmodi quoque sunt. E. G.", "english": "Variations of this kind, and others not very dissimilar, which do not alter the substance, may be valid in common composition. The following are also of this kind. For example:", "sources": [ { "pdf_page": 177, "printed_page": 219 } ], "exercise": 5, "lesson": 7, "reading_order": 985 }, { "id": "219-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 177, "printed_page": 219 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "219-b" ], "playback_status": "ready", "labels": [ { "latin": "Variatio. Variatio.", "english": "Variation. Variation." } ], "reading_order": 986, "music_asset_refs": [ "219-b" ] }, { "id": "219-2", "type": "paragraph", "latin": "Figura Anticipationis fit, quando medietas valoris antecedentis Notæ, ablata sequenti adjicitur. E. G.", "english": "The figure of anticipation occurs when half the value of the preceding note is taken away and added to the following one. For example:", "sources": [ { "pdf_page": 177, "printed_page": 219 } ], "exercise": 5, "lesson": 7, "reading_order": 987 }, { "id": "219-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 177, "printed_page": 219 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "219-c" ], "playback_status": "ready", "labels": [ { "latin": "Anticipatio. Anticipatio. Anticipatio.", "english": "Anticipation. Anticipation. Anticipation." } ], "reading_order": 988, "music_asset_refs": [ "219-c" ] }, { "id": "220-1", "type": "paragraph", "latin": "Hæc pauca exempla sufficiant. Neque opus est hodie Compositori variationibus inserendis: Ultrò enim nimiùm, quàm sat est, à Musicis exequentibus ad nauseam audiuntur; adeò ut gargarizantibus similiores, quàm Cantantibus appareant.", "english": "Let these few examples suffice. Nor is there any need today for a composer to insert variations, for performers already supply far more than enough of them, until one hears them to the point of nausea, so that they seem more like people gargling than singing.", "sources": [ { "pdf_page": 178, "printed_page": 220 } ], "exercise": 5, "lesson": 7, "reading_order": 989 }, { "id": "220-2", "type": "paragraph", "latin": "Joseph. Unde ejusmodi variationes, aberrationesque de Contrapuncti regulis originem suam traxerunt?", "english": "Joseph. From where did such variations and departures from the rules of counterpoint take their origin?", "sources": [ { "pdf_page": 178, "printed_page": 220 } ], "exercise": 5, "lesson": 7, "reading_order": 990 }, { "id": "220-3", "type": "paragraph", "latin": "Aloys. Ex proximè dictis perspicuum est, Cantores Auctores fuisse; qui minimè contenti diminutionibus regularibus, cupidique vocis flexibilitatem jactandi, variationes ejusmodi adinvenerunt. Utinam hæc variandi cupido intrà modestiæ limites permansisset, ut Musici quidem variarent, verùm haud immutarent substantiam. Quàm fortunati forent Compositores! verùm, proh dolor! eò processit hæc insatiabilis variandi libido, & audacia, ut non solùm Harmoniæ substantia (cujus tam sollicitè, ac cum sudore ratio habita est) susque, deque invertatur, verùm etiam in agnoscendo concentu suo Compositor habeat, quod laboret. Magis reprehensione digni, aut irridendi sunt Musici illi, qui etsi nullo præditi talento, eâdem tamen impulsi variandi luxuriâ, os torqueant in mille formas, ut ne Roscii gestus tam varii sint, ac loco unius, quinque vocalium soni simul audiantur. Imò in eam abiit excessum hæc perversitas: ut gloriæ sibi ducant certamen, uter ità rotandis Notis, ut neque Musica, neque textus percipiatur, palmam reportet. Sed quis contra torrentem? temporum, atque morum vitium est, ut omnia principio bene instituta tractu temporis in pejus delabantur.", "english": "Aloysius. It is clear from what has just been said that singers were their originators. Dissatisfied with regular diminutions and eager to display the flexibility of their voices, they invented such variations. Would that this desire to vary had remained within the bounds of moderation, so that musicians might indeed vary things without altering their substance! How fortunate composers would be! But alas, this insatiable appetite and boldness for variation has gone so far that not only is the substance of the harmony, so carefully and laboriously considered, turned upside down, but the composer himself has difficulty recognizing his own composition. Still more deserving of censure or ridicule are those musicians who, though endowed with no talent, are nevertheless driven by the same extravagance of variation to twist their mouths into a thousand shapes, so that not even the gestures of Roscius are so varied, and the sounds of five vowels are heard together instead of one. Indeed, this perversity has gone to such excess that they take pride in competing to see who can win the palm by rolling the notes so that neither the music nor the text can be understood. But who can stand against the torrent? It is the fault of the times and customs that everything well established at the beginning slides into something worse with the passage of time.", "sources": [ { "pdf_page": 178, "printed_page": 220 } ], "exercise": 5, "lesson": 7, "reading_order": 991 }, { "id": "220-4", "type": "paragraph", "latin": "Joseph. Etsi mihi in tyrocinio adhuc existenti judicare de hac re non licet, tamen affirmare ausim, ejusmodi Harmoniæ ruinam nunquam mihi placuisse. Interim, quid Variationes, quo modo faciendæ sint, satis intellexisse mihi videor. Nunc restat dicendum de Modis transpositis, deque Fugis irregularibus.", "english": "Joseph. Although, still being an apprentice, I am not entitled to judge this matter, I would nevertheless dare affirm that such destruction of harmony has never pleased me. Meanwhile, I think I have sufficiently understood what variations are and how they should be made. It remains now to speak of transposed modes and irregular fugues.", "sources": [ { "pdf_page": 178, "printed_page": 220 } ], "exercise": 5, "lesson": 7, "reading_order": 992 }, { "id": "220-5", "type": "paragraph", "latin": "Aloys. Notitiam Modorum transpositorum præcedere primò debet perfecta Modorum naturalium intelligentia, quam materiam, quia suprà de Fugis simplicibus, non nisi modicum attigi, hîc loci fusiùs, & in tantum, quantum sufficere videbitur, tractandam assumam.", "english": "Aloysius. A complete understanding of natural modes must first precede knowledge of transposed modes. Since I touched only briefly on this subject above when discussing simple fugues, I shall now undertake to treat it more fully, as far as seems sufficient.", "sources": [ { "pdf_page": 178, "printed_page": 220 } ], "exercise": 5, "lesson": 7, "reading_order": 993 }, { "id": "221-h1", "type": "heading", "latin": "De Modis.", "english": "On modes.", "sources": [ { "pdf_page": 179, "printed_page": 221 } ], "exercise": 5, "lesson": 7, "reading_order": 994 }, { "id": "221-1", "type": "paragraph", "latin": "Ad Modorum materiam tractandam adniti, perinde est, ac antiquum chaos in ordinem redigere. Tanta enim opinionum diversitas inter Auctores, cùm antiquos, tum recentiores reperitur, ut fermè quot capita tot sententiæ fuisse videantur. Nec me tenet tanta admiratio Græcorum Auctorum; etenim extra controversiam est, Musicam illorum principio pauperem admodum intervallis fuisse, teste Platone in Timæum. Unde mirum non est, procedente tempore acquisitis plurium Tetrachordorum, Octavarumque speciebus, numerum quoque Modorum accrevisse. Quamvis Modi Græcorum denominationes suas, & numerum non tam ab Octavarum speciebus, quàm à populorum diversitate, genio, & stylo sortiti sunt: ut Modus Dorius, Hypodorius, Phrygius, Lydius, &c. quibus nominibus diversum nationum genium, ac stylum, quo quivis populus more patrio utebatur, indicaverant: perinde ac hodiè dicimus: Aria Italiana, Gallica, Anglica, &c. Postquam autem vix umbra de Musica Græca nobis ampliùs superest, non satis mirari possum, existere etiamnum aliquos, qui hodiernæ Musicæ nostræ Modis peregrina hæc vocabula attribuere, & rem ex se satis intricatam, vanis nominibus obscurare audeant. Nobis, relictis aut jam obsoletis, aut magis ad Musicam historicam pertinentibus, recentiorum, & quidem eorum Sententia discutienda est, qui duodecim statuunt Modos: sex Authenticos, sive Principales: & sex Plagios, sive Plagales, vel Collaterales.", "english": "To undertake the treatment of modes is much like bringing the ancient chaos into order. For so great a diversity of opinions is found among both ancient and more recent authors that there seem almost to have been as many opinions as heads. Nor am I so greatly held by admiration for the Greek authors, for it is beyond dispute that their music was at first very poor in intervals, as Plato testifies in the Timaeus. It is therefore not surprising that, as time passed and more species of tetrachords and octaves were acquired, the number of modes also increased. Yet the Greek modes took their names and number not so much from the species of octaves as from the diversity, character, and style of peoples: thus Dorian, Hypodorian, Phrygian, Lydian, and so forth. By these names they indicated the differing character and style of nations, which each people used according to its native custom, just as today we say Italian, French, or English aria, and so forth. But now that scarcely a shadow of Greek music remains to us, I cannot sufficiently marvel that there are still some who dare assign these foreign words to the modes of our modern music and obscure a matter already intricate enough with empty names. Leaving aside what is now obsolete or belongs more to musical history, we must examine the opinion of more recent authors, particularly those who establish twelve modes: six authentic or principal, and six plagal or collateral.", "sources": [ { "pdf_page": 179, "printed_page": 221 } ], "exercise": 5, "lesson": 7, "reading_order": 995 }, { "id": "221-2", "type": "paragraph", "latin": "Joseph. Omnesne moderni Professores hanc duodecim Modorum Sententiam tenent?", "english": "Joseph. Do all modern practitioners hold this opinion of twelve modes?", "sources": [ { "pdf_page": 179, "printed_page": 221 } ], "exercise": 5, "lesson": 7, "reading_order": 996 }, { "id": "221-3", "type": "paragraph", "latin": "Aloys. Nequaquam. Reperiuntur enim nonnulli, quibus inductis fortè à Cantu chorali, octo; alii, quibus plures, vel pauciores videntur Modi.", "english": "Aloysius. By no means. For there are some, perhaps led by chant, who recognize eight modes, and others who recognize more or fewer.", "sources": [ { "pdf_page": 179, "printed_page": 221 } ], "exercise": 5, "lesson": 7, "reading_order": 997 }, { "id": "221-4", "type": "paragraph", "latin": "Quanti istorum opiniones æstimandæ sint, ex jam dicendis, nostrâque paulò pòst subjiciendâ Sententiâ manifestabitur.", "english": "How much these opinions are to be valued will become clear from what is now to be said and from our own view, which will be presented shortly.", "sources": [ { "pdf_page": 179, "printed_page": 221 } ], "exercise": 5, "lesson": 7, "reading_order": 998 }, { "id": "221-5", "type": "paragraph", "latin": "Huc in memoriam revocanda sunt, quæ suprà de Fugis simplicibus asseruimus: sex nempe reperiri pro vario Semitonii situ differentes Octavarum Species, totidemque per consequens esse Modos principales: nempe D. E. F. G. A. C. quarum Diagramma, licet citato loco jam positum, ordine ità postulante, denuò repetere haud supervacaneum existimo.", "english": "Here we must recall what we asserted above about simple fugues: namely, that six different species of octave are found according to the varying position of the semitone, and consequently there are as many principal modes, namely D, E, F, G, A, and C; although their diagram has already been given in the cited place, I do not consider it superfluous to repeat it here, as the order of the discussion requires.", "sources": [ { "pdf_page": 179, "printed_page": 221 }, { "pdf_page": 180, "printed_page": 222, "region": "opening continuation" } ], "exercise": 5, "lesson": 7, "reading_order": 999 }, { "id": "222-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 180, "printed_page": 222 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "222-a" ], "playback_status": "ready", "labels": [], "reading_order": 1000, "music_asset_refs": [ "222-a" ] }, { "id": "222-1", "type": "paragraph", "latin": "Tot itaque specie differentes Octavæ reperiuntur; quia toties Semitonia differentibus locis incipiendo, à quovis Sistematis prima Nota reperiuntur. Totidem ergo Modi principales, & non plures necessariò statuendi sunt. Cætera enim Octavarum Sistemata excogitatu possibilia ad unam harum Speciem, tanquam Modi transpositi reducenda sunt.", "english": "So many octaves differing in species are found because the semitones occur in that many different positions when counted from the first note of each system. Therefore exactly that many principal modes, and no more, must necessarily be established. For all other conceivable octave systems must be referred to one of these species as transposed modes.", "sources": [ { "pdf_page": 180, "printed_page": 222 } ], "exercise": 5, "lesson": 7, "reading_order": 1001 }, { "id": "222-h1", "type": "heading", "latin": "Modi transpositi ad primum Modum D. pertinentes.", "english": "Transposed modes belonging to the first mode, D.", "sources": [ { "pdf_page": 180, "printed_page": 222 } ], "exercise": 5, "lesson": 7, "reading_order": 1002 }, { "id": "222-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 180, "printed_page": 222 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "222-b" ], "playback_status": "ready", "labels": [], "continues_to": { "printed_page": 223, "pdf_page": 181, "block": "223-a" }, "reading_order": 1003, "continuation_status": "resolved", "music_asset_refs": [ "222-b" ] }, { "id": "223-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 181, "printed_page": 223 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "223-a" ], "playback_status": "ready", "labels": [], "continued_from": "222-b", "reading_order": 1004, "music_asset_refs": [ "223-a" ] }, { "id": "223-1", "type": "paragraph", "latin": "Hi ergo sunt Modi transpositi primi Modi D., quia eorum Semitonia iisdem prorsus locis cum illis coincidunt; proinde quoque eandem solmisationem conservantes situ quidem, verùm specie nequaquam differunt.", "english": "These, then, are the transposed forms of the first mode, D, because their semitones fall in precisely the same positions as its semitones. Consequently, preserving the same solmization, they differ in position but not at all in species.", "sources": [ { "pdf_page": 181, "printed_page": 223 } ], "exercise": 5, "lesson": 7, "reading_order": 1005 }, { "id": "223-h1", "type": "heading", "latin": "Modi transpositi secundi Modi E.", "english": "Transposed forms of the second mode, E.", "sources": [ { "pdf_page": 181, "printed_page": 223 } ], "exercise": 5, "lesson": 7, "reading_order": 1006 }, { "id": "223-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 181, "printed_page": 223 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "223-b" ], "playback_status": "ready", "labels": [], "reading_order": 1007, "music_asset_refs": [ "223-b" ] }, { "id": "223-2", "type": "paragraph", "latin": "Et nonnulli alii haud magni usûs.", "english": "And some others of no great use.", "sources": [ { "pdf_page": 181, "printed_page": 223 } ], "exercise": 5, "lesson": 7, "reading_order": 1008 }, { "id": "223-h2", "type": "heading", "latin": "Modi transpositi Modi tertii F.", "english": "Transposed forms of the third mode, F.", "sources": [ { "pdf_page": 181, "printed_page": 223 } ], "exercise": 5, "lesson": 7, "reading_order": 1009 }, { "id": "223-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 181, "printed_page": 223 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "223-c" ], "playback_status": "ready", "labels": [], "reading_order": 1010, "music_asset_refs": [ "223-c" ] }, { "id": "224-1", "type": "paragraph", "latin": "Et si qui alii adminiculo b., vel ♯ effici possunt, parùm usitati.", "english": "And any others that can be produced with the aid of a flat or sharp are little used.", "sources": [ { "pdf_page": 182, "printed_page": 224 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "224-signs" ], "reading_order": 1011, "music_asset_refs": [ "224-signs" ], "playback_status": "playback not yet available" }, { "id": "224-h1", "type": "heading", "latin": "Modi transpositi quarti Modi G.", "english": "Transposed forms of the fourth mode, G.", "sources": [ { "pdf_page": 182, "printed_page": 224 } ], "exercise": 5, "lesson": 7, "reading_order": 1012 }, { "id": "224-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 182, "printed_page": 224 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "224-a" ], "playback_status": "ready", "labels": [], "reading_order": 1013, "music_asset_refs": [ "224-a" ] }, { "id": "224-h2", "type": "heading", "latin": "Modi transpositi ad quintum Modum A. pertinentes.", "english": "Transposed modes belonging to the fifth mode, A.", "sources": [ { "pdf_page": 182, "printed_page": 224 } ], "exercise": 5, "lesson": 7, "reading_order": 1014 }, { "id": "224-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 182, "printed_page": 224 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "224-b" ], "playback_status": "ready", "labels": [], "continues_to": { "printed_page": 225, "pdf_page": 183, "block": "225-a" }, "reading_order": 1015, "continuation_status": "resolved", "music_asset_refs": [ "224-b" ] }, { "id": "224-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 182, "printed_page": 224 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "224-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 1016, "music_asset_refs": [ "224-custos" ] }, { "id": "225-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 183, "printed_page": 225 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "225-a" ], "playback_status": "ready", "labels": [], "continued_from": "224-b", "reading_order": 1017, "music_asset_refs": [ "225-a" ] }, { "id": "225-h1", "type": "heading", "latin": "Modi transpositi ad Modum sextum C. pertinentes.", "english": "Transposed modes belonging to the sixth mode, C.", "sources": [ { "pdf_page": 183, "printed_page": 225 } ], "exercise": 5, "lesson": 7, "reading_order": 1018 }, { "id": "225-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 183, "printed_page": 225 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "225-b" ], "playback_status": "ready", "labels": [], "continues_to": { "printed_page": 226, "pdf_page": 184, "block": "226-a" }, "reading_order": 1019, "continuation_status": "resolved", "music_asset_refs": [ "225-b" ] }, { "id": "225-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 183, "printed_page": 225 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "225-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 1020, "music_asset_refs": [ "225-custos" ] }, { "id": "226-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 184, "printed_page": 226 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "226-a" ], "playback_status": "ready", "labels": [], "continued_from": "225-b", "reading_order": 1021, "music_asset_refs": [ "226-a" ] }, { "id": "226-1", "type": "paragraph", "latin": "Joseph. Ex hucusque dictis demonstratis infero, sex duntaxat esse Modos naturales.", "english": "Joseph. From what has been said and demonstrated thus far, I infer that there are only six natural modes.", "sources": [ { "pdf_page": 184, "printed_page": 226 } ], "exercise": 5, "lesson": 7, "reading_order": 1022 }, { "id": "226-2", "type": "paragraph", "latin": "Aloys. Suspende paulisper, Josephe, judicium tuum, & in memoriam revoca, quæ Libro Primo de Octavæ divisione dicta sunt: duplici nempe modo eam dividi posse: harmonicè, & arithmeticè: per harmonicam divisionem Quintam collocari in parte gravi, & Quartam in parte acuta. Per arithmeticam divisionem Quartam in parte gravi, & Quintam in parte acuta obtineri. Qua ratione duplex hæc divisio instituenda sit, quia Lib. 1. explanatum est, hîc repetere supersedeo.", "english": "Aloysius. Suspend your judgment for a little while, Joseph, and recall what was said in Book One about the division of the octave: it may be divided in two ways, harmonically and arithmetically. By harmonic division the fifth is placed in the lower portion and the fourth in the upper; by arithmetic division the fourth is obtained in the lower portion and the fifth in the upper. Since the manner of making this twofold division was explained in Book One, I refrain from repeating it here.", "sources": [ { "pdf_page": 184, "printed_page": 226 } ], "exercise": 5, "lesson": 7, "reading_order": 1023 }, { "id": "226-3", "type": "paragraph", "latin": "Jam ex ista duplici Octavæ divisione oriuntur duo specie differentia Octavarum sistemata, ergo duo etiam specie differentes Modi, quorum unum producit harmonica divisio, qui Authenticus, alterum divisio arithmetica, qui Plagalis nuncupatur. Ex quo infertur, quia duodecim Octavarum specie differentia oriuntur sistemata, totidem statuendos esse Modos.", "english": "Now from this twofold division of the octave arise two octave systems differing in species, and therefore also two modes differing in species: harmonic division produces one, called authentic, and arithmetic division the other, called plagal. From this it is inferred that, because twelve octave systems differing in species arise, as many modes must be established.", "sources": [ { "pdf_page": 184, "printed_page": 226 } ], "exercise": 5, "lesson": 7, "reading_order": 1024 }, { "id": "226-h1", "type": "heading", "latin": "Octavæ harmonicè divisæ, & Modi inde oriundi.", "english": "Octaves divided harmonically, and the modes arising from them.", "sources": [ { "pdf_page": 184, "printed_page": 226 } ], "exercise": 5, "lesson": 7, "reading_order": 1025 }, { "id": "226-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 184, "printed_page": 226 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "226-b" ], "playback_status": "ready", "labels": [], "reading_order": 1026, "music_asset_refs": [ "226-b" ] }, { "id": "226-4", "type": "paragraph", "latin": "Hæc sistemata ex divisione harmonicè factâ produci, nullum est dubium. An autem sequentia à Josepho Zarlino, plerisque aliis ad formationem Modorum Plagalium exhibita, ab arithmeticâ divisione gignantur, maxima est Controversia.", "english": "There is no doubt that these systems are produced by harmonic division. But whether the following systems, presented by Joseph Zarlino and many others for the formation of plagal modes, arise from arithmetic division is a matter of the greatest controversy.", "sources": [ { "pdf_page": 184, "printed_page": 226 } ], "exercise": 5, "lesson": 7, "reading_order": 1027 }, { "id": "226-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 184, "printed_page": 226 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "226-c" ], "playback_status": "ready", "labels": [], "reading_order": 1028, "music_asset_refs": [ "226-c" ] }, { "id": "226-5", "type": "paragraph", "latin": "Quum ipse Zarlinus Part. 4. Cap. 9. de Modis, ex Octava C. sequens sistema ponat.", "english": "For Zarlino himself, in Part Four, Chapter Nine, on modes, sets out the following system from the octave C.", "sources": [ { "pdf_page": 184, "printed_page": 226 } ], "exercise": 5, "lesson": 7, "reading_order": 1029 }, { "id": "227-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 185, "printed_page": 227 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "227-a" ], "playback_status": "ready", "labels": [], "reading_order": 1030, "music_asset_refs": [ "227-a" ] }, { "id": "227-1", "type": "paragraph", "latin": "Ubi chorda gravissima manet; quod verum productum est arithmeticæ divisionis. Si itaque Modi Plagales ex divisione arithmeticâ gignuntur, uti revera est, eorum formatio sequentibus sistematibus exprimenda est.", "english": "Here the lowest pitch remains, which is the true product of arithmetic division. If, therefore, plagal modes arise from arithmetic division, as indeed they do, their formation must be expressed by the following systems.", "sources": [ { "pdf_page": 185, "printed_page": 227 } ], "exercise": 5, "lesson": 7, "reading_order": 1031 }, { "id": "227-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 185, "printed_page": 227 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "227-b" ], "playback_status": "ready", "labels": [], "reading_order": 1032, "music_asset_refs": [ "227-b" ] }, { "id": "227-2", "type": "paragraph", "latin": "Joseph. Hoc modo quinque duntaxat existerent Modi Plagales.", "english": "Joseph. In this way there would be only five plagal modes.", "sources": [ { "pdf_page": 185, "printed_page": 227 } ], "exercise": 5, "lesson": 7, "reading_order": 1033 }, { "id": "227-3", "type": "paragraph", "latin": "Aloys. Ità sanè. Quum Octava F. f. ob Tritonum inde oriundum arithmeticè dividi non possit; ut alibi jam dixi.", "english": "Aloysius. Indeed. For the octave F–f cannot be divided arithmetically because of the tritone arising from it, as I have already said elsewhere.", "sources": [ { "pdf_page": 185, "printed_page": 227 } ], "exercise": 5, "lesson": 7, "reading_order": 1034 }, { "id": "227-4", "type": "paragraph", "latin": "Joseph. Quid ergo in tanta rei perplexitate amplectendum?", "english": "Joseph. What, then, is to be accepted in such perplexity?", "sources": [ { "pdf_page": 185, "printed_page": 227 } ], "exercise": 5, "lesson": 7, "reading_order": 1035 }, { "id": "227-5", "type": "paragraph", "latin": "Aloys. Dicam. Postquam usum, differentiamque Modorum, tam Authenticorum, quàm Plagalium examinaverimus.", "english": "Aloysius. I shall tell you after we have examined the use and distinction of modes, both authentic and plagal.", "sources": [ { "pdf_page": 185, "printed_page": 227 } ], "exercise": 5, "lesson": 7, "reading_order": 1036 }, { "id": "227-6", "type": "paragraph", "latin": "Præsupponendum est ex Zarlini Sententia, principium, & finem, clausulasque utrique Modo fore communes: ut adeò differentia nulla sit, nisi, quod modulatio Modi Authentici in acuto, Plagalis verò in gravi existentiam suam habere debeat. Nec requirit hîc Auctor, ut subjecta Modi Authentici ascendendo semper, Plagalis contra descendendo procedant: quod Paradigmata ejus demonstrant.", "english": "According to Zarlino’s opinion, it must be assumed that the beginning, ending, and cadences are common to both modes, so that there is no difference except that the melodic course of the authentic mode must occupy the higher range, and that of the plagal the lower. Nor does this author require that subjects of the authentic mode always proceed upward and those of the plagal downward, as his examples demonstrate.", "sources": [ { "pdf_page": 185, "printed_page": 227 } ], "exercise": 5, "lesson": 7, "reading_order": 1037 }, { "id": "227-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 185, "printed_page": 227 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "227-c" ], "playback_status": "ready", "labels": [ { "latin": "Authenticus. Plagalis.", "english": "Authentic. Plagal." } ], "reading_order": 1038, "music_asset_refs": [ "227-c" ] }, { "id": "228-1", "type": "paragraph", "latin": "Ex quibus exemplis perspicuum est, aliud discrimen inter duos istos Modos non esse, quam, quod Plagalis modulatio gravior sit, & subjectum ejus in intervallo collaterali, nempe E. & B. ♮ terminetur. Joannes Maria Bononcinus præter modulationem gravem, & ob hanc causam, clavium mutationem ad naturam Modi Plagalis vult subjecta in Quartam descendere.", "english": "From these examples it is clear that there is no other distinction between these two modes than that the plagal melodic course is lower and its subject ends on a collateral interval, namely E and B natural. Besides a low melodic course and, for that reason, a change of clefs, Giovanni Maria Bononcini requires subjects to descend a fourth according to the nature of the plagal mode.", "sources": [ { "pdf_page": 186, "printed_page": 228 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "228-signs" ], "reading_order": 1039, "music_asset_refs": [ "228-signs" ], "playback_status": "playback not yet available" }, { "id": "228-2", "type": "paragraph", "latin": "Angelus Berardus haud aspernandus aliàs Auctor videtur solo duntaxat nomine distinguere Modum Authenticum à Plagali: absque respectu subjectorum ascendentium, vel descendentium: & modulationis acutæ, vel gravis: imò graviorem instituit modulationem in Modo Authentico, quàm in Plagali: ut exempla ejus declarant.", "english": "Angelo Berardi, otherwise an author of no mean standing, seems to distinguish the authentic mode from the plagal only by name, without regard to subjects ascending or descending or to a high or low melodic range. Indeed, he places the melodic course lower in the authentic mode than in the plagal, as his examples show.", "sources": [ { "pdf_page": 186, "printed_page": 228 } ], "exercise": 5, "lesson": 7, "reading_order": 1040 }, { "id": "228-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 186, "printed_page": 228 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "228-a" ], "playback_status": "playback not yet available", "labels": [ { "latin": "Authenticus. &c.", "english": "Authentic. etc." } ], "reading_order": 1041, "music_asset_refs": [ "228-a" ] }, { "id": "228-3", "type": "paragraph", "latin": "Quis Musicæ gnarus, aliorumque Auctorum Sententiam callens, hoc ultimum Paradigma Modo Plagali attribuet? quum subjecti natura, & modulatio formationi Modi Authentici magis convenire videantur. Magis mirandus est sequens concentus ab eodem Auctore in exemplum Modi tertii, sive E e, adductus, quem integrum, ut magis mireris, hîc apponam.", "english": "Who, knowledgeable in music and acquainted with the opinions of other authors, would assign this last example to the plagal mode, when the nature of its subject and its melodic course seem more suited to the formation of the authentic mode? Still more remarkable is the following composition, given by the same author as an example of the third mode, or E–e, which I shall set out here in full so that you may marvel all the more.", "sources": [ { "pdf_page": 186, "printed_page": 228 } ], "exercise": 5, "lesson": 7, "reading_order": 1042 }, { "id": "228-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 186, "printed_page": 228 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "228-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 1043, "music_asset_refs": [ "228-custos" ] }, { "id": "229-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 187, "printed_page": 229 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "229-a" ], "playback_status": "ready", "labels": [], "continues_to": { "printed_page": 230, "pdf_page": 188, "block": "230-a" }, "reading_order": 1044, "continuation_status": "resolved", "music_asset_refs": [ "229-a" ] }, { "id": "229-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 187, "printed_page": 229 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "229-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 1045, "music_asset_refs": [ "229-custos" ] }, { "id": "230-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 188, "printed_page": 230 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "230-a" ], "playback_status": "ready", "labels": [], "continued_from": "229-a", "reading_order": 1046, "music_asset_refs": [ "230-a" ] }, { "id": "230-1", "type": "paragraph", "latin": "Viden’ Formationi huic præpositæ nec Tenorem intrantem, nec Clausulam finalem respondere? Adeò ut nihil impediat, quò minùs Concentus hic A., sive Hyperphrygio, tanquam Modo suo proprio applicari debeat. Haud pauca exempla adducere possem ex Aloysio Prænestino, quibus demonstratur, rem Modorum neque præstantissimo Viro huic magnæ fuisse curæ. Hanc rem animo volutans, nisi auctoritas obstaret, ferè crederem, ipsosmet claros aliàs Auctores nescivisse, quid certi de Modis statuerent; aut si qua distinctio inter Authenticos, & Plagales existit, certè tam parvi momenti existimâsse, ut ejus curam habere operæ pretium non duxerint. Olim, ubi auditus non adeò adhuc delicatus, iisdem angustiis contineri poterat, fortè valuit. Verùm hâc ætate nostrâ, quâ insatiabilis aurium aviditas vix rationabilibus terminis circumscribi se patitur, quæ hujus opinionis, Musicæ amplitudinem restringentis, hodiè habenda sit, facilè est judicare.", "english": "Do you see that neither the entering tenor nor the final cadence corresponds to the arrangement prefixed here? Thus nothing prevents this composition from being assigned to A, or Hyperphrygian, as its proper mode. I could bring forward not a few examples from Aloysius of Palestrina showing that the matter of modes was not of great concern even to this most excellent man. Reflecting on this matter, were authority not an obstacle, I should almost believe that these otherwise distinguished authors themselves did not know what definite conclusion to establish about modes; or, if there is any distinction between authentic and plagal, they certainly thought it so insignificant that they did not consider it worthwhile to attend to it. Perhaps it had force formerly, when hearing was not yet so delicate and could be contained within those same narrow bounds. But in our age, when the insatiable appetite of the ears scarcely allows itself to be confined within reasonable limits, it is easy to judge what value should today be placed on this opinion that restricts the breadth of music.", "sources": [ { "pdf_page": 188, "printed_page": 230 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "230-hand" ], "reading_order": 1047, "music_asset_refs": [ "230-hand" ], "playback_status": "playback not yet available" }, { "id": "230-2", "type": "paragraph", "latin": "Joseph. Quid itaque consilii in tanta Auctorum discrepantia, reique ambiguitate?", "english": "Joseph. What course should be taken, then, amid such disagreement among authors and ambiguity in the matter?", "sources": [ { "pdf_page": 188, "printed_page": 230 } ], "exercise": 5, "lesson": 7, "reading_order": 1048 }, { "id": "230-3", "type": "paragraph", "latin": "Aloys. Dicam tibi Josephe, non tam de præcepto, quàm de consilio. Missis Plagalibus, utere sex Modis D. E. F. G. A. C. cum eorum transpositis, eo modo, quo suprà de Fugis simplicibus edoctus es, & etiamnum edoceberis, longè, latèque per intervalla propria, & Modo, in quo versaris, amica modulando: tibique persuadeas, Compositionem ad Harmoniæ regulas elaboratam, cæterùm vagam, & lepore refertam, satis esse authenticam, his verò rebus vacuam nimis esse Plagalem.", "english": "Aloysius. I shall tell you, Joseph, not so much as a precept as by way of advice. Leaving aside plagal modes, use the six modes D, E, F, G, A, C with their transpositions, in the manner you were taught above concerning simple fugues and will be taught further, ranging far and wide melodically through intervals proper and congenial to the mode in which you are working. Be persuaded that a composition worked out according to the rules of harmony, otherwise freely ranging and full of charm, is sufficiently authentic, whereas one devoid of these things is all too plagal.", "sources": [ { "pdf_page": 188, "printed_page": 230 } ], "exercise": 5, "lesson": 7, "reading_order": 1049 }, { "id": "231-1", "type": "paragraph", "latin": "Joseph. Fortè in Compositione ad Cantum Choralem, Plagalium Modorum usu opus erit?", "english": "Joseph. Perhaps plagal modes will be needed in composition upon a chant melody?", "sources": [ { "pdf_page": 189, "printed_page": 231 } ], "exercise": 5, "lesson": 7, "reading_order": 1050 }, { "id": "231-2", "type": "paragraph", "latin": "Aloys. Neutiquam. Sufficit enim rationem habere intonationum, Modorumque Ecclesiasticorum (quorum cognitionem à Choralistis pete) & in modulando sequere consilium paulò ante datum absque Modi Plagalis restrictione, & opus haud pœnitendum perficies.", "english": "Aloysius. Not at all. It is enough to take account of the intonations and ecclesiastical modes—knowledge of which you should seek from chant specialists—and in melodic writing to follow the advice just given without the restriction of a plagal mode. You will complete a work you need not regret.", "sources": [ { "pdf_page": 189, "printed_page": 231 } ], "exercise": 5, "lesson": 7, "reading_order": 1051 }, { "id": "231-3", "type": "paragraph", "latin": "Joseph. Postquam ex te intellexi, sex duntaxat Modorum figuralium curam tibi esse, scire expedit, quem ordinem teneas, quemque primum, secundum, & tertium, &c. statuas?", "english": "Joseph. Since I have understood from you that you are concerned with only six modes for figured music, it would be useful to know what order you follow, and which you establish as first, second, third, and so forth.", "sources": [ { "pdf_page": 189, "printed_page": 231 } ], "exercise": 5, "lesson": 7, "reading_order": 1052 }, { "id": "231-4", "type": "paragraph", "latin": "Aloys. Josephus Zarlinus, & plerique alii ætate illâ C., sive Dorium pro primo Modo habuerunt. Recentiores posteà Practici ferè omnes D. olim Phrygio nuncupato principem locum tribuerunt. Nobis sufficit demonstrâsse, sex duntaxat existere Modos specie differentes; parumque admodum refert, quem ordinem quisque teneat. Quòd si tamen, Josephe, malis morem consuetum sequi, nihil impedio, nominibus usu receptis eos compellare.", "english": "Aloysius. Joseph Zarlino and most others of that age regarded C, or Dorian, as the first mode. Later, almost all more recent practitioners assigned the first place to D, formerly called Phrygian. It is enough for us to have demonstrated that only six modes differing in species exist; it matters very little what order anyone follows. If, however, Joseph, you prefer to follow established custom, I do not prevent you from calling them by the names received in use.", "sources": [ { "pdf_page": 189, "printed_page": 231 } ], "exercise": 5, "lesson": 7, "reading_order": 1053 }, { "id": "231-h1", "type": "heading", "latin": "De variis Fugarum Subjectis.", "english": "On various fugue subjects.", "sources": [ { "pdf_page": 189, "printed_page": 231 } ], "exercise": 5, "lesson": 7, "reading_order": 1054 }, { "id": "231-5", "type": "paragraph", "latin": "Non multùm antè mentio facta est de Fugis, sive Subjectis irregularibus; quam tamen irregularitatem intellectam volo, respectu Subjectorum, quorum pars consequens absque auxilio ♯, vel b. parti incipienti ritè respondet, ut in Subjectis Generi Diatonico adaptatis. Aliàs enim abstrahendo ab Generis Diatonici rigore, si ad Modi rationem instituta sint ejusmodi Subjecta, de quibus nobis hîc sermo est, nihilominùs suam regularitatem habere possunt. Tibi, Josephe, nunc incumbit, varia, ab iisque diversa, quibus hucusque usi sumus, inventione propriâ proponere.", "english": "Not long ago mention was made of irregular fugues or subjects. I wish this irregularity to be understood in relation to subjects whose following part answers the beginning part correctly without the aid of a sharp or flat, as in subjects adapted to the diatonic genus. Otherwise, apart from the strictness of the diatonic genus, subjects of the kind we are discussing here can nevertheless have their own regularity if they are constructed according to the mode. It is now your task, Joseph, to propose various subjects of your own invention, different from those we have used thus far.", "sources": [ { "pdf_page": 189, "printed_page": 231 } ], "exercise": 5, "lesson": 7, "reading_order": 1055 }, { "id": "231-6", "type": "paragraph", "latin": "Joseph. Faciam indistinctè, uti mihi in mentem venient.", "english": "Joseph. I shall do so without selection, as they come to mind.", "sources": [ { "pdf_page": 189, "printed_page": 231 } ], "exercise": 5, "lesson": 7, "reading_order": 1056 }, { "id": "231-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 189, "printed_page": 231 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "231-a" ], "playback_status": "ready", "labels": [], "reading_order": 1057, "music_asset_refs": [ "231-a" ] }, { "id": "231-7", "type": "paragraph", "latin": "Aloys. In quem modum formabis partem respondentem?", "english": "Aloysius. In what manner will you form the answering part?", "sources": [ { "pdf_page": 189, "printed_page": 231 } ], "exercise": 5, "lesson": 7, "reading_order": 1058 }, { "id": "231-8", "type": "paragraph", "latin": "Joseph. Meo levi judicio, duplici modo fieri posse existimo. Uno: quo ultima partis respondentis Nota Modo congruenter desinat. Altero: Solmisationem sequendo. E. G.", "english": "Joseph. In my slight judgment, I think it can be done in two ways. One is to have the final note of the answering part end suitably to the mode; the other is to follow the solmization. For example:", "sources": [ { "pdf_page": 189, "printed_page": 231 } ], "exercise": 5, "lesson": 7, "reading_order": 1059 }, { "id": "232-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 190, "printed_page": 232 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "232-a" ], "playback_status": "ready", "labels": [ { "latin": "Primo modo. Secundo modo.", "english": "First way. Second way." } ], "reading_order": 1060, "music_asset_refs": [ "232-a" ] }, { "id": "232-1", "type": "paragraph", "latin": "Aloys. Uterque Modus, sub diversa tamen ratione legitimus est. Primus, quia in chorda Modi ultimâ suâ Notâ rectè incidit. Secundus, quia ultimâ Notâ suâ Solmisationis rationem habuit.", "english": "Aloysius. Both ways are legitimate, though on different grounds. The first because its final note falls correctly on a pitch of the mode; the second because its final note takes account of solmization.", "sources": [ { "pdf_page": 190, "printed_page": 232 } ], "exercise": 5, "lesson": 7, "reading_order": 1061 }, { "id": "232-2", "type": "paragraph", "latin": "Joseph. Qui autem probatior tibi videtur?", "english": "Joseph. Which seems preferable to you?", "sources": [ { "pdf_page": 190, "printed_page": 232 } ], "exercise": 5, "lesson": 7, "reading_order": 1062 }, { "id": "232-3", "type": "paragraph", "latin": "Aloys. Secundus respondendi Modus ob duas rationes haud aspernandus. Primò, quia sic canendi rationi magis consultum est. Secundò, quia ab Subjecti tenore non adeò receditur. Et firmum tibi sit, ut abrumpendo Subjecto, nisi gravi ratione postulante, quoad fieri potest, abstineas: potior est enim ratio Cantûs, quàm Modi: quia defectus Modi facilè suppleri potest modulando cum altera parte; tenendoque Notam aliquam ad Modum pertinentem, supra illam extra Modi chordam existentem. E. G.", "english": "Aloysius. The second way of answering is not to be disdained for two reasons. First, it gives greater consideration to the melodic line; second, it does not depart so far from the course of the subject. Make it a firm principle to refrain, as far as possible, from breaking off a subject unless a weighty reason requires it, for consideration of the melody takes precedence over that of the mode. A deficiency in the mode can easily be made up by melodic writing in the other part and by holding a note belonging to the mode above the note lying outside its pitches. For example:", "sources": [ { "pdf_page": 190, "printed_page": 232 } ], "exercise": 5, "lesson": 7, "reading_order": 1063 }, { "id": "232-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 190, "printed_page": 232 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "232-b" ], "playback_status": "ready", "labels": [ { "latin": "&c.", "english": "etc." } ], "reading_order": 1064, "music_asset_refs": [ "232-b" ] }, { "id": "232-4", "type": "paragraph", "latin": "Idem judicium sit de Subjecto sequenti. E. G.", "english": "Let the same judgment apply to the following subject. For example:", "sources": [ { "pdf_page": 190, "printed_page": 232 } ], "exercise": 5, "lesson": 7, "reading_order": 1065 }, { "id": "232-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 190, "printed_page": 232 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "232-c" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 1066, "music_asset_refs": [ "232-c" ] }, { "id": "232-5", "type": "paragraph", "latin": "Hæc duo subjecta sub diverso respectu regularia, irregularia dici possunt. Irregularia, quia non in proprio Modo suo collocata sunt, ideòque Semitonium illud in parte superiori utrobique existens, beneficio b. mollis efficiendum erat. Regularia dici possunt respectu generis mixti hodie quàm maximè usitati.", "english": "These two subjects may be called regular or irregular in different respects. They are irregular because they are not placed in their own proper mode, and therefore the semitone occurring in the upper part in both cases had to be produced with the aid of a flat. They may be called regular in relation to the mixed genus, which is most widely used today.", "sources": [ { "pdf_page": 190, "printed_page": 232 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "232-hand" ], "reading_order": 1067, "music_asset_refs": [ "232-hand" ], "playback_status": "playback not yet available" }, { "id": "233-1", "type": "paragraph", "latin": "Joseph. Quid est, quod dicis, Subjecta non esse in proprio Modo collocata?", "english": "Joseph. What do you mean when you say that the subjects are not placed in their proper mode?", "sources": [ { "pdf_page": 191, "printed_page": 233 } ], "exercise": 5, "lesson": 7, "reading_order": 1068 }, { "id": "233-2", "type": "paragraph", "latin": "Aloys. Si tibi Modum demonstravero, in quo illud Semitonium absque b. molli haberi potest, nonne signum evidens erit, Subjecta illò pertinere?", "english": "Aloysius. If I show you a mode in which that semitone can be obtained without a flat, will that not be clear evidence that the subjects belong there?", "sources": [ { "pdf_page": 191, "printed_page": 233 } ], "exercise": 5, "lesson": 7, "reading_order": 1069 }, { "id": "233-3", "type": "paragraph", "latin": "Joseph. Ità sanè mihi videtur. Sed qualis est ille Modus?", "english": "Joseph. Indeed it seems so to me. But what is that mode?", "sources": [ { "pdf_page": 191, "printed_page": 233 } ], "exercise": 5, "lesson": 7, "reading_order": 1070 }, { "id": "233-4", "type": "paragraph", "latin": "Aloys. Modus A. E. G.", "english": "Aloysius. Mode A. For example:", "sources": [ { "pdf_page": 191, "printed_page": 233 } ], "exercise": 5, "lesson": 7, "reading_order": 1071 }, { "id": "233-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 191, "printed_page": 233 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "233-a" ], "playback_status": "ready", "labels": [ { "latin": "1. &c.", "english": "1. etc." } ], "reading_order": 1072, "music_asset_refs": [ "233-a" ] }, { "id": "233-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 191, "printed_page": 233 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "233-b" ], "playback_status": "ready", "labels": [ { "latin": "2. &c.", "english": "2. etc." } ], "reading_order": 1073, "music_asset_refs": [ "233-b" ] }, { "id": "233-5", "type": "paragraph", "latin": "Joseph. Res est planè observatione digna.", "english": "Joseph. This is certainly worth observing.", "sources": [ { "pdf_page": 191, "printed_page": 233 } ], "exercise": 5, "lesson": 7, "reading_order": 1074 }, { "id": "233-6", "type": "paragraph", "latin": "Aloys. Præpositum autem b. molle in principio, & extra Cantum, indicium erit Modi transpositi in Quartam altam: quo casu Subjecta nihilominùs regularia, & Modo suo congruentia dicenda sunt. E. G.", "english": "Aloysius. But a flat placed at the beginning, outside the melody, will indicate a mode transposed a fourth upward. In that case the subjects must nevertheless be called regular and suited to their mode. For example:", "sources": [ { "pdf_page": 191, "printed_page": 233 } ], "exercise": 5, "lesson": 7, "reading_order": 1075 }, { "id": "233-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 191, "printed_page": 233 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "233-c" ], "playback_status": "ready", "labels": [ { "latin": "1. 2.", "english": "1. 2." } ], "reading_order": 1076, "music_asset_refs": [ "233-c" ] }, { "id": "233-7", "type": "paragraph", "latin": "Verùm hodierno tempore, quo Genus mixtum vi magnâ invaluit, hæ subtilitates, quanquam ad genuinam Modorum intelligentiam necessariæ, non admodum attenduntur. Perge nunc ad alia Subjecta proponenda.", "english": "But at the present time, when the mixed genus has become strongly established, these subtleties, although necessary for a true understanding of the modes, are not greatly attended to. Proceed now to propose other subjects.", "sources": [ { "pdf_page": 191, "printed_page": 233 } ], "exercise": 5, "lesson": 7, "reading_order": 1077 }, { "id": "233-d", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 191, "printed_page": 233 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "233-d" ], "playback_status": "ready", "labels": [], "reading_order": 1078, "music_asset_refs": [ "233-d" ] }, { "id": "233-8", "type": "paragraph", "latin": "Joseph. Videns erroris signum in tertia Nota positum, comperio, non absque ratione in respondendo me hæsisse. Quæ causa erroris?", "english": "Joseph. Seeing the sign of an error placed at the third note, I recognize that I hesitated in answering not without reason. What is the cause of the error?", "sources": [ { "pdf_page": 191, "printed_page": 233 }, { "pdf_page": 192, "printed_page": 234, "region": "opening continuation" } ], "exercise": 5, "lesson": 7, "reading_order": 1079 }, { "id": "234-1", "type": "paragraph", "latin": "Aloys. Intervallum inter primam, & tertiam Subjecti Notam, Septimâ constans: nam interjecta Nota non est tanti roboris, ut operire valeret illius saltûs improprietatem. In ejusmodi itaque Subjectis, quorum inter primam, & secundam Notam saltus Quartæ intercedit, plurimùm attendenda est Nota tertia, ut, quo intervallo illa distat à prima Nota Subjecti in parte Subjectum proponente, eodem intervallo distet in parte respondente. Jam in parte incipiente inter dictas Notas saltus Sextæ reperitur: idem ergo intervallum parti respondenti dandum est. E. G.", "english": "Aloysius. The interval between the first and third notes of the subject, which consists of a seventh; for the intervening note is not strong enough to cover the impropriety of that leap. In subjects of this kind, where a leap of a fourth occurs between the first and second notes, great attention must therefore be given to the third note, so that it is the same interval from the first note in the answering part as in the part proposing the subject. Now, in the beginning part a leap of a sixth is found between those notes; the same interval must therefore be given to the answering part. For example:", "sources": [ { "pdf_page": 192, "printed_page": 234 } ], "exercise": 5, "lesson": 7, "reading_order": 1080 }, { "id": "234-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 192, "printed_page": 234 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "234-a" ], "playback_status": "ready", "labels": [ { "latin": "&c.", "english": "etc." } ], "reading_order": 1081, "music_asset_refs": [ "234-a" ] }, { "id": "234-2", "type": "paragraph", "latin": "Joseph. Videtur & subjectum, & modulatio in hunc modum extra Modi limites exire.", "english": "Joseph. In this manner both the subject and the melodic course seem to go beyond the bounds of the mode.", "sources": [ { "pdf_page": 192, "printed_page": 234 } ], "exercise": 5, "lesson": 7, "reading_order": 1082 }, { "id": "234-3", "type": "paragraph", "latin": "Aloys. Minimè. Quum enim in parte proponente subjectum in Octava Modi non desinat, quo modo pars respondens in ejusdem Modi Quinta desinere poterit? Deinde nonne omnia intervalla subjecti, modulationisque intrà Octavam Modi naturali ratione continentur? Si verò Diesi propositâ in Modum transpositum vertatur, paulò aliter responsum instituendum erit. E. G.", "english": "Aloysius. Not at all. Since the subject in the proposing part does not end on the octave of the mode, how could the answering part end on the fifth of that same mode? Moreover, are not all the intervals of the subject and melodic course naturally contained within the octave of the mode? But if, by placing a sharp at the outset, it is changed into a transposed mode, the answer must be arranged somewhat differently. For example:", "sources": [ { "pdf_page": 192, "printed_page": 234 } ], "exercise": 5, "lesson": 7, "reading_order": 1083 }, { "id": "234-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 192, "printed_page": 234 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "234-b" ], "playback_status": "ready", "labels": [ { "latin": "&c.", "english": "etc." } ], "reading_order": 1084, "music_asset_refs": [ "234-b" ] }, { "id": "234-4", "type": "paragraph", "latin": "Ità nonnunquam pro Modi natura, & differentia unum idemque subjectum quoad partem respondentem diversimodè formandum est. Age, aliudque subjectum propone sis.", "english": "Thus, according to the nature and difference of the mode, one and the same subject must sometimes be formed differently in its answering part. Come, please propose another subject.", "sources": [ { "pdf_page": 192, "printed_page": 234 } ], "exercise": 5, "lesson": 7, "reading_order": 1085 }, { "id": "234-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 192, "printed_page": 234 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "234-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 1086, "music_asset_refs": [ "234-custos" ] }, { "id": "235-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 193, "printed_page": 235 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "235-a" ], "playback_status": "ready", "labels": [], "reading_order": 1087, "music_asset_refs": [ "235-a" ] }, { "id": "235-1", "type": "paragraph", "latin": "Joseph. Multum temporis absumpsi in inquirendo subjecti hujus responso, nec inveni.", "english": "Joseph. I have spent much time seeking an answer to this subject, and have not found one.", "sources": [ { "pdf_page": 193, "printed_page": 235 } ], "exercise": 5, "lesson": 7, "reading_order": 1088 }, { "id": "235-2", "type": "paragraph", "latin": "Aloys. Duobus modis huic subjecto responderi potest. Primus est habitâ ratione ad Modum: secundus ad Solmisationem. Volenti obligare se ad Modum, resolvendum est subjectum ex genere Cromatico in Diatonicum sequenti modo:", "english": "Aloysius. This subject can be answered in two ways: the first with regard to the mode, the second to solmization. For one wishing to be bound to the mode, the subject must be reduced from the chromatic to the diatonic genus in the following way:", "sources": [ { "pdf_page": 193, "printed_page": 235 } ], "exercise": 5, "lesson": 7, "reading_order": 1089 }, { "id": "235-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 193, "printed_page": 235 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "235-b" ], "playback_status": "ready", "labels": [], "reading_order": 1090, "music_asset_refs": [ "235-b" ] }, { "id": "235-3", "type": "paragraph", "latin": "Quo casu responsum ultrò se offert. E. G.", "english": "In that case the answer presents itself of its own accord. For example:", "sources": [ { "pdf_page": 193, "printed_page": 235 } ], "exercise": 5, "lesson": 7, "reading_order": 1091 }, { "id": "235-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 193, "printed_page": 235 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "235-c" ], "playback_status": "ready", "labels": [], "reading_order": 1092, "music_asset_refs": [ "235-c" ] }, { "id": "235-4", "type": "paragraph", "latin": "Versum in genus Cromaticum, responsum sic se habebit:", "english": "Turned into the chromatic genus, the answer will be as follows:", "sources": [ { "pdf_page": 193, "printed_page": 235 } ], "exercise": 5, "lesson": 7, "reading_order": 1093 }, { "id": "235-d", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 193, "printed_page": 235 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "235-d" ], "playback_status": "ready", "labels": [], "reading_order": 1094, "music_asset_refs": [ "235-d" ] }, { "id": "235-5", "type": "paragraph", "latin": "Joseph. Non potuisset subjectum responso integrum servari, retentis omnibus Semitoniis? E. G.", "english": "Joseph. Could the subject not have been preserved whole in the answer, with all its semitones retained? For example:", "sources": [ { "pdf_page": 193, "printed_page": 235 } ], "exercise": 5, "lesson": 7, "reading_order": 1095 }, { "id": "235-e", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 193, "printed_page": 235 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "235-e" ], "playback_status": "ready", "labels": [], "reading_order": 1096, "music_asset_refs": [ "235-e" ] }, { "id": "235-6", "type": "paragraph", "latin": "Aloys. Nequaquam. Quia E. molle nimis alienum est, & minimè conveniens Modo D. Aliud esset, si subjectum ità instructum esset:", "english": "Aloysius. By no means, because E-flat is too foreign and not at all suited to mode D. It would be different if the subject were constructed in this way:", "sources": [ { "pdf_page": 193, "printed_page": 235 } ], "exercise": 5, "lesson": 7, "reading_order": 1097 }, { "id": "235-f", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 193, "printed_page": 235 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "235-f" ], "playback_status": "ready", "labels": [], "reading_order": 1098, "music_asset_refs": [ "235-f" ] }, { "id": "235-7", "type": "paragraph", "latin": "Ubi E. molle subjecto substantialiter insertum est. Secundus respondendi Modus ad solmisationem reflectens. E. G.", "english": "Here E-flat is inserted into the subject substantially. The second manner of answering, with regard to solmization, is as follows. For example:", "sources": [ { "pdf_page": 193, "printed_page": 235 } ], "exercise": 5, "lesson": 7, "reading_order": 1099 }, { "id": "235-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 193, "printed_page": 235 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "235-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 1100, "music_asset_refs": [ "235-custos" ] }, { "id": "236-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 194, "printed_page": 236 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "236-a" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 1101, "music_asset_refs": [ "236-a" ] }, { "id": "236-1", "type": "paragraph", "latin": "Qui Modus, utpote minùs rumpens subjectum, præ primo, meâ quidem sententia, amplectendus est. Idem fermè subjectum ascendendo sumptum in parte respondente, & Modo, & Semitoniis per omnia ritè consentit. E. G.", "english": "This manner, since it breaks the subject less, should in my opinion be preferred to the first. Almost the same subject, taken upward in the answering part, agrees correctly throughout with both the mode and the semitones. For example:", "sources": [ { "pdf_page": 194, "printed_page": 236 } ], "exercise": 5, "lesson": 7, "reading_order": 1102 }, { "id": "236-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 194, "printed_page": 236 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "236-b" ], "playback_status": "ready", "labels": [], "reading_order": 1103, "music_asset_refs": [ "236-b" ] }, { "id": "236-2", "type": "paragraph", "latin": "Joseph. Proponam modò, pace tuâ Magister, unum, alterumve thema pro Fidibus, quibus latior evagandi campus est, & tentabo, an partis respondentis mihi potestas sit. E. G.", "english": "Joseph. With your permission, Master, I shall now propose one or two themes for string instruments, which have a broader field in which to range, and try whether I can construct the answering part. For example:", "sources": [ { "pdf_page": 194, "printed_page": 236 } ], "exercise": 5, "lesson": 7, "reading_order": 1104 }, { "id": "236-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 194, "printed_page": 236 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "236-c" ], "playback_status": "ready", "labels": [], "reading_order": 1105, "music_asset_refs": [ "236-c" ] }, { "id": "236-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 194, "printed_page": 236 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "236-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 1106, "music_asset_refs": [ "236-custos" ] }, { "id": "237-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 195, "printed_page": 237 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "237-a" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 1107, "music_asset_refs": [ "237-a" ] }, { "id": "237-1", "type": "paragraph", "latin": "Aloys. Hæc subjecta hodiernæ incontinentiæ accommodata sunt. Sed cave, Josephe, ab similibus subjectis, in tam immensam longitudinem, ac latitudinem extensis in Quatricinio adhibendis: vix enim fieri potest in tam extravagantibus, abstrusisque subjectis, ne una pars alteri obstet. Interim responsum, prout subjectum fert, satis commodè institutum est, ex eo, quod loco saltûs in Quintam in parte prima existentis, saltum in Quartam: loco progressûs in Secundam, saltum in Tertiam parti respondenti quibusdam locis pro Modi natura nonnunquam attribueris: adeò ut confidam, te non admodum hæsitaturum in reperiendis qualiumcunque subjectorum responsis, attentis hucusque dictis. Permultum tamen interest in subjectorum electione. Non enim omnia indistinctè subjecta æquè benè deduci possunt; quod præviâ antè electione, judicioque ponderandum est.", "english": "Aloysius. These subjects are suited to the lack of restraint of the present day. But beware, Joseph, of using such subjects, extended to such immense length and breadth, in four-voice composition; for with subjects so extravagant and abstruse it is scarcely possible to prevent one part from obstructing another. Meanwhile, as far as the subject permits, the answer is quite suitably arranged, because in some places, according to the nature of the mode, you assigned the answering part a leap of a fourth instead of the fifth in the first part, and a leap of a third instead of the progression of a second. Thus I trust that, attending to what has been said thus far, you will not greatly hesitate in finding answers to subjects of any kind. Much nevertheless depends on the choice of subjects, for not all subjects without distinction can be developed equally well; this must be weighed with judgment before choosing.", "sources": [ { "pdf_page": 195, "printed_page": 237 } ], "exercise": 5, "lesson": 7, "reading_order": 1108 }, { "id": "237-2", "type": "paragraph", "latin": "Haud multùm antè dictum est tibi Josephe, egresso jam ex molestâ Lectionum palæstra, facultatem esse omnis generis tempore, proportioneque utendi: res modò postulat, ut tibi demonstrem, quâ ratione Notæ figurâ, valoreque dispares sub diversâ tactûs mensura ejusdem valoris efficiantur.", "english": "Not long ago you were told, Joseph, that, having now left the arduous training ground of the lessons, you are free to use time and proportion of every kind. The matter now requires that I demonstrate how notes differing in form and value become equal in value under a different measure of the beat.", "sources": [ { "pdf_page": 195, "printed_page": 237 } ], "exercise": 5, "lesson": 7, "reading_order": 1109 }, { "id": "238-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 196, "printed_page": 238, "printed_label": "228", "pagination_note": "Source misprint; sequence reference 238." } ], "exercise": 5, "lesson": 7, "asset_refs": [ "238-a" ], "playback_status": "ready", "labels": [ { "latin": "Tempus binarium. Presto. Adagio.", "english": "Duple time. Presto. Adagio." } ], "reading_order": 1110, "music_asset_refs": [ "238-a" ] }, { "id": "238-1", "type": "paragraph", "latin": "Istæ tres Notæ figurâ dispares propter differentem tactûs mensuram ejusdem valoris sunt: ut exempla manifestant. E. G.", "english": "These three notes, differing in form, have the same value because of the different measure of the beat, as the examples make clear. For example:", "sources": [ { "pdf_page": 196, "printed_page": 238, "printed_label": "228", "pagination_note": "Source misprint; sequence reference 238." } ], "exercise": 5, "lesson": 7, "reading_order": 1111 }, { "id": "238-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 196, "printed_page": 238, "printed_label": "228", "pagination_note": "Source misprint; sequence reference 238." } ], "exercise": 5, "lesson": 7, "asset_refs": [ "238-b" ], "playback_status": "ready", "labels": [ { "latin": "Tempus binarium. Presto. Adagio.", "english": "Duple time. Presto. Adagio." } ], "reading_order": 1112, "music_asset_refs": [ "238-b" ] }, { "id": "238-2", "type": "paragraph", "latin": "Joseph. Hanc inæqualem Figurarum valoris æqualitatem perbene conspicio: sed in quem usum affers?", "english": "Joseph. I see very clearly this equality of value among unequal note forms; but to what use do you bring it?", "sources": [ { "pdf_page": 196, "printed_page": 238, "printed_label": "228", "pagination_note": "Source misprint; sequence reference 238." } ], "exercise": 5, "lesson": 7, "reading_order": 1113 }, { "id": "238-3", "type": "paragraph", "latin": "Aloys. Ut in cognitionem venires, ubi, & quo tactûs quadrante Ligaturæ dissonantiarum adhibendæ sint. Dico itaque, sub tempus binarium, perticâ subductâ notatum, E. G. 𝄵. non nisi in Thesi, sive in principio tactûs Ligaturas dissonantiis constantes usurpandas esse, exceptâ hac Hypothesi.", "english": "Aloysius. So that you may understand where, and in which quarter of the measure, ligatures of dissonances are to be used. I say, then, that in duple time marked with a stroke through the sign, for example cut time, ligatures consisting of dissonances must be used only on the thesis, or beginning of the measure, apart from this case.", "sources": [ { "pdf_page": 196, "printed_page": 238, "printed_label": "228", "pagination_note": "Source misprint; sequence reference 238." } ], "exercise": 5, "lesson": 7, "asset_refs": [ "238-sign" ], "reading_order": 1114, "music_asset_refs": [ "238-sign" ], "playback_status": "playback not yet available" }, { "id": "239-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 197, "printed_page": 239 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "239-a" ], "playback_status": "ready", "labels": [], "reading_order": 1115, "music_asset_refs": [ "239-a" ] }, { "id": "239-1", "type": "paragraph", "latin": "Sub tempus vocabulo: Presto, indicatum: in primo, & tertio tactûs quadrante. Sub tempus, Adagio, in omni quadrante. Videantur exempla.", "english": "In time indicated by the word Presto: in the first and third quarters of the measure. In Adagio time: in every quarter. Let us examine examples.", "sources": [ { "pdf_page": 197, "printed_page": 239 } ], "exercise": 5, "lesson": 7, "reading_order": 1116 }, { "id": "239-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 197, "printed_page": 239 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "239-b" ], "playback_status": "ready", "labels": [ { "latin": "Tempus binarium. Presto. Adagio.", "english": "Duple time. Presto. Adagio." } ], "reading_order": 1117, "music_asset_refs": [ "239-b" ] }, { "id": "239-2", "type": "paragraph", "latin": "Cavendum est, ne ad postremi exempli tenorem institutæ Ligaturæ concitatiori decantentur mensurâ; quo facto speratum effectum nunquam habituræ essent.", "english": "Care must be taken not to sing ligatures arranged according to the last example in a more rapid measure; if that were done, they would never produce the hoped-for effect.", "sources": [ { "pdf_page": 197, "printed_page": 239 } ], "exercise": 5, "lesson": 7, "reading_order": 1118 }, { "id": "239-3", "type": "paragraph", "latin": "Postquam nihil prætermissum, sed omnia te edoctum esse existimo, quorum operâ qualescunque cogitationes, Ideæ, Conceptus in mente formati juxta artis regulas chartæ mandari possunt, superest, dicendum de electione, quâ Ideam præ altera amplectentes boni gustûs laudem adipiscimur.", "english": "Since I think nothing has been omitted, but that you have been taught everything by whose means thoughts, ideas, and conceptions formed in the mind can be committed to paper according to the rules of the art, it remains to speak of selection, by which, in embracing one idea rather than another, we gain the praise of good taste.", "sources": [ { "pdf_page": 197, "printed_page": 239 } ], "exercise": 5, "lesson": 7, "reading_order": 1119 }, { "id": "239-h1", "type": "heading", "latin": "De Gustu.", "english": "On taste.", "sources": [ { "pdf_page": 197, "printed_page": 239 } ], "exercise": 5, "lesson": 7, "reading_order": 1120 }, { "id": "239-4", "type": "paragraph", "latin": "Nullus auditur fermè frequentior sermo, quàm de Gustu. Inde audimus Italum dicentem: Egli è di buon gusto. Gallum: Il a le goût parfaitement bon. Latinum: Est homo exquisiti gustûs. Utinam eadem facilitas esset Gustûs definiendi, quæ est affirmandi. Quamvis propriè Gustus palatui duntaxat attribuitur, latiori tamen sensu, cui recta, selectaque ordinis convenientia inest, convenire potest. Nobis relictis aliis, pro nostro instituto Gustus ad Musicam restringendus, & duplex statuendus est: Activus, & Passivus. Activus est, quem Musicus cantando, vel ludendo habet, de quo suprà fusè dictum est. Passivus, quem Auditor ex modulamine percipit. Sed quem boni, depravatîque Gustûs judicem constituemus? cùm juxta tritum sermone proverbium: Me mea delectant, te tua, quemque sua. Item: de Gustibus non est disputandum, nemo sit judex in propria causa. Inde fit, Agrestem magis delectari Liripipio suo, quàm quovis artificioso Musicæ Concentu. Eodem jure refert Mᵣ. Bellegarde: extitisse natu haud ignobilem, qui offensus Lusciniarum cantu, mirificè contrà delectatus Ranarum coaxatu, ad stagnum longè abditum, nullis circà arboribus cinctum, domum ædificari sibi curavit, ut die, noctuque tam exquisitæ, judicio suo, Musicæ fruendæ copia sibi daretur: contrà ex defectu arborum Lusciniis ibi morandi, cantuque suo fatigandi locus non esset. Quid tibi, Josephe, videtur de hujus Gustûs sublimitate?", "english": "Scarcely any talk is heard more frequently than talk of taste. Thus we hear an Italian say, “He has good taste”; a Frenchman, “His taste is perfectly good”; and a Latin speaker, “He is a man of exquisite taste.” Would that defining taste were as easy as asserting it. Although taste is properly attributed only to the palate, in a broader sense it may apply wherever there is a right and choice fittingness of order. Leaving other matters aside, for our purpose taste must be confined to music and distinguished as twofold: active and passive. Active taste is that which a musician exercises in singing or playing, of which we have spoken at length above. Passive taste is that which the listener receives from melody. But whom shall we appoint judge of good and corrupted taste, since, according to the familiar proverb, “My own things please me, yours please you, and each person’s own things please that person”? Likewise, “There is no disputing about tastes,” and no one should be judge in his own cause. Hence a rustic takes more delight in his own little tune than in any artful musical composition. On the same grounds, Mr. Bellegarde relates that there was a man of no mean birth who, offended by the singing of nightingales but wonderfully delighted by the croaking of frogs, had a house built for himself beside a remote pond surrounded by no trees. Thus he could enjoy by day and night music so exquisite in his judgment, while the lack of trees left the nightingales no place to stay and weary him with their singing. What do you think, Joseph, of the sublimity of this man’s taste?", "sources": [ { "pdf_page": 197, "printed_page": 239 }, { "pdf_page": 198, "printed_page": 240, "region": "opening continuation" } ], "exercise": 5, "lesson": 7, "embedded_source_languages": [ "Italian", "French" ], "asset_refs": [ "239-hand" ], "reading_order": 1121, "music_asset_refs": [ "239-hand" ], "playback_status": "playback not yet available" }, { "id": "240-1", "type": "paragraph", "latin": "Joseph. Haud immeritò in judicium vocari posse existimo.", "english": "Joseph. I think it could not undeservedly be called into question.", "sources": [ { "pdf_page": 198, "printed_page": 240 } ], "exercise": 5, "lesson": 7, "reading_order": 1122 }, { "id": "240-2", "type": "paragraph", "latin": "Aloys. Ausculta porrò unum, vel alterum & temeritatis, & judicii stolidi exemplum, pœnamque subsecutam. Marsyas superbus Tibicen nimiâ sui æstimatione Apollinem in certamen vocare ausus, detractâ pelle temeritatis suæ pœnam luit. Midæ Phrygiæ Regi, quod Deo Pani cum Apolline canendo certanti primam adjudicâsset, aures in longitudinem, formamque asininam protractæ sunt. Fabulosa Poëtarum hæc commenta sunt. Verùm si pœna delicti hâc ætate nostrâ tam certa foret, quàm verè temerarii, depravatîque de Gustu existunt judices, quot absque pelle, quot item cum asininis auribus incedere conspiceremus! Non nego secundùm illud: Me mea delectant: cuilibet liberum esse arbitrium, de quacunque re sibi complacendi: modò non induat personam judicis: quod solius est intelligentis, qui loca communia, atque trita ab altioribus, sublimioribusque secernere novit, manente rerum, naturæque ordine. Audi in hanc rem loquentem Ciceronem: Cæteri, inquit, cùm legunt Orationes bonas, aut Poëmata, probant Oratores, & Poëtas, neque intelligunt, quâ re commoti probent, quod scire non possunt, ubi sit, nec quid sit, nec quomodo factum sit id, quod eos maximè delectat. Reperiuntur etiam nonnulli moderni Compositores, qui opinione Gustûs, novitatisque de consueto Consonantiarum, & Dissonantiarum usu recedentes, omnia Artis jura, & leges invertunt, atque creare (quod est solius Omnipotentis Dei) sibi adulantes arbitrantur; cùm interim novitas ingenii nostri limitati aliud non sit, quàm dispositio earundem Consonantiarum, ac Dissonantiarum aliter, atque aliter cum recta ratione instituta. Dico itaque Compositionem illam boni Gustûs prærogativam jure sibi vendicare, quæ Præceptis nixa, trivialium, atque extravagantis insolentiæ abstinens, ad sublimiora tendens, naturali tamen ratione incedens, artis etiam peritis oblectamenti præstandi potestatem habet.", "english": "Aloysius. Listen further to one or two examples of rashness and foolish judgment, and the punishment that followed. Marsyas, the proud piper, through excessive self-esteem dared to challenge Apollo to a contest and paid for his rashness by being flayed. Midas, king of Phrygia, because he awarded first place to the god Pan in a musical contest with Apollo, had his ears lengthened into the shape of a donkey’s. These are fabulous inventions of poets. But if the punishment for the offense were as certain in our age as the existence of rash and corrupt judges of taste, how many would we see walking without skin, and how many with donkey’s ears! I do not deny that, according to the saying “My own things please me,” everyone is free to take pleasure in anything, provided that person does not assume the role of judge. That belongs only to one who understands and knows how to distinguish the commonplace and familiar from the higher and more sublime, while preserving the order of things and nature. Hear Cicero speaking on this matter: “Others,” he says, “when they read good speeches or poems, approve the orators and poets without understanding what moves them to approval, since they cannot know where it lies, what it is, or how that which most delights them was made.” There are also some modern composers who, in pursuit of taste and novelty, depart from the customary use of consonances and dissonances, overturn all the rights and laws of the art, and flatter themselves that they create—which belongs only to almighty God—whereas the novelty of our limited ingenuity is nothing other than the arrangement of the same consonances and dissonances in different ways according to sound reason. I therefore say that the composition which rightly claims the distinction of good taste is one founded on precepts, avoiding trivialities and extravagant excess, aiming at higher things while proceeding naturally, and capable of giving pleasure even to those skilled in the art.", "sources": [ { "pdf_page": 198, "printed_page": 240 }, { "pdf_page": 199, "printed_page": 241, "region": "opening continuation" } ], "exercise": 5, "lesson": 7, "reading_order": 1123 }, { "id": "241-1", "type": "paragraph", "latin": "Joseph. Quàm varia, difficiliaque definitio hæc tua requirit!", "english": "Joseph. How many different and difficult things your definition requires!", "sources": [ { "pdf_page": 199, "printed_page": 241 } ], "exercise": 5, "lesson": 7, "reading_order": 1124 }, { "id": "241-2", "type": "paragraph", "latin": "Aloys. Haud abnuo, Josephe, rem istam per omnia assequi non esse tyronum; quibus non adeò facile est, communia primò loca reperire: neque, nisi priùs vulgaria ad manus in promptu sint, eò pervenire licet. Tibi, Josephe, qui hucusque tam splendida profectûs tui specimina dedisti, fortassis accidere potest; ideòque definitionem membratim explicandam ante tempus aggrediar.", "english": "Aloysius. I do not deny, Joseph, that attaining this in every respect is not for beginners, who do not find it so easy even to discover the commonplaces at first; nor can one reach it unless ordinary things are first readily at hand. It may perhaps be possible for you, Joseph, who have given such splendid demonstrations of progress thus far, and therefore I shall undertake ahead of time to explain the definition part by part.", "sources": [ { "pdf_page": 199, "printed_page": 241 } ], "exercise": 5, "lesson": 7, "reading_order": 1125 }, { "id": "241-3", "type": "paragraph", "latin": "Dixi primò, Compositionem Præceptis nixam esse debere. Libertina enim, licèt aliàs haud ordinariâ gaudeat ideâ, sitque idonea aures imperitorum titillare, delicato tamen artis peritorum Gustui non admodum satisfactura est: qui præter exquisitam ideam etiam regularitatem desiderant. Dictum est porrò, monitumque, ne Compositor conceptus humiles, ordinariosque assumat, loco oblectamenti, trivialitate fastidium allaturos; sed sublimitatem spectans, novitati studeat. Contra ne novitatis studio seductus, ideas concipiat, naturam, rerumque ordinem excedentes, cantu, lusuque extra modum difficiles, quibus neque Musicis exequentibus, nec Auditoribus satisfactum esset. Non Musicis: ob exequendi difficultatem: non auditoribus; quia ejusmodi Compositiones naturalem rationem excedentes, in auribus quidem hærentes nunquam in animum usque penetrant.", "english": "First I said that the composition must be founded on precepts. For a lawless one, though otherwise possessing an uncommon idea and able to tickle the ears of the unskilled, will not greatly satisfy the refined taste of those skilled in the art, who desire correctness as well as an exquisite idea. It was also said and advised that the composer should not take up low and ordinary conceptions that, through their triviality, will bring weariness instead of pleasure, but should seek novelty while aiming at sublimity. Conversely, the composer must not be seduced by the pursuit of novelty into conceiving ideas that exceed nature and the order of things, and are excessively difficult to sing or play, satisfying neither performers nor listeners: not performers because of the difficulty of execution, and not listeners because compositions of this kind, exceeding natural reason, may lodge in the ears but never penetrate the mind.", "sources": [ { "pdf_page": 199, "printed_page": 241 } ], "exercise": 5, "lesson": 7, "reading_order": 1126 }, { "id": "241-4", "type": "paragraph", "latin": "Joseph. Rem haud parvi momenti, Magister, prætendis, vulgaria prohibendo; sublimia, ac insolita, eaque naturalia jubendo.", "english": "Joseph. Master, you demand no small thing in forbidding the commonplace while requiring what is sublime and unusual, yet natural.", "sources": [ { "pdf_page": 199, "printed_page": 241 } ], "exercise": 5, "lesson": 7, "reading_order": 1127 }, { "id": "241-5", "type": "paragraph", "latin": "Aloys. Ità sanè. Rem enim facilem, ac naturalem, nec tamen vulgarem auribus exhibere, non adeò facile est; ideòque passim in proverbium abivit: Facile difficile est. Verùm hâc difficili facilitate boni Gustûs præstantia nititur, atque condimentum. Non eâdem, novum quid, & insolitum inveniendi difficultate laborabit, qui curâ novitatis duntaxat, rerum, naturæque ordinem invertit. Sed quo modo hâc viâ boni Gustûs scopum attinget? Non inficias ivero, permagnam boni Gustûs partem à cujusvis Compositoris genio, atque talento dependere: verùm ejusmodi influentiæ ex se haud illepidæ intrà naturæ, ordinis, legumque limites continendæ sunt, ut æqui Gustûs rationem haud immeritò assequantur.", "english": "Aloysius. Indeed. For presenting something easy and natural to the ear, yet not commonplace, is not so easy; hence the widespread proverb, “The easy is difficult.” But the excellence and seasoning of good taste rest on this difficult ease. Someone concerned only with novelty, who overturns the order of things and nature, does not labor under the same difficulty in inventing something new and unusual. But how will that path attain the goal of good taste? I shall not deny that a very great part of good taste depends upon each composer’s genius and talent. Yet influences of this kind, not without charm in themselves, must be contained within the bounds of nature, order, and laws if they are deservedly to attain the character of sound taste.", "sources": [ { "pdf_page": 199, "printed_page": 241 }, { "pdf_page": 200, "printed_page": 242, "region": "opening continuation" } ], "exercise": 5, "lesson": 7, "reading_order": 1128 }, { "id": "242-1", "type": "paragraph", "latin": "Joseph. Quid, si temporum corruptela, ac perversi Gustûs mos ità invaluit, ut absque gloriæ suæ, quæstûsque detrimento Compositori contra, tanquam torrentem ire non liceat?", "english": "Joseph. What if the corruption of the times and the custom of perverted taste have become so powerful that a composer cannot oppose them, as though a torrent, without damage to reputation and livelihood?", "sources": [ { "pdf_page": 200, "printed_page": 242 } ], "exercise": 5, "lesson": 7, "reading_order": 1129 }, { "id": "242-2", "type": "paragraph", "latin": "Aloys. Quem fortuna beavit, qui grano magis, quàm spicâ delectatur, non habet, quod curet, neque cur ab rectâ ratione deficiat. Si secùs: virtute suâ contentus. Senecæ Viri sapientissimi documento roboretur: qui de Providentia more suo tantùm, non Christiano ità disserit: Quemadmodum tot amnes, tot supernè dejectorum imbrium, tanta medicatorum vis fontium non immutant saporem maris, nec remittunt quidem: ità adversarum impetus rerum Viri fortis non vertit animum. Manet in statu, & quidquid evenit, in suum colorem trahit. Non ignoro, hæc ad vitam moralem pertinere: verùm & scientias, & artes absque labe retinenti, sua virtus est.", "english": "Aloysius. One whom fortune has blessed, who delights more in the grain than in the husk, has nothing to worry about and no reason to depart from sound judgment. If circumstances are otherwise, let that person be content with virtue and strengthened by the teaching of the most wise Seneca, who speaks of providence in his own manner, not the Christian one: “Just as so many rivers, so much rain poured down from above, and such a force of medicinal springs do not change the taste of the sea, or even weaken it, so the onslaught of adversity does not alter the mind of a brave man. He remains firm and draws whatever happens into his own character.” I know that these things concern moral life, but preserving the sciences and arts without blemish also has its own virtue.", "sources": [ { "pdf_page": 200, "printed_page": 242 } ], "exercise": 5, "lesson": 7, "reading_order": 1130 }, { "id": "242-3", "type": "paragraph", "latin": "Quum autem diversum Compositionis genus, ac stylus varium quoque Gustum exigat: ideò de diversitate styli, eò quod omnis noster labor eò præcipuè tendat, primò agendum est.", "english": "Since different kinds and styles of composition require differing taste, we must first discuss diversity of style, especially because all our labor chiefly tends toward it.", "sources": [ { "pdf_page": 200, "printed_page": 242 } ], "exercise": 5, "lesson": 7, "reading_order": 1131 }, { "id": "242-h1", "type": "heading", "latin": "De Stylo Ecclesiastico.", "english": "On ecclesiastical style.", "sources": [ { "pdf_page": 200, "printed_page": 242 } ], "exercise": 5, "lesson": 7, "reading_order": 1132 }, { "id": "242-4", "type": "paragraph", "latin": "Quemadmodum Sacra dignitate profana antecellunt, ità Musicam cultui Divino mancipatam, æternùmque duraturam, longè nobilitate principem obtinere locum, præcipuamque propterea huic operam navandam esse, nemini in dubium venturum existimo. Et quia Deus summa perfectio est, decet Concentum in ejus laudem tendentem, omni legum rigore, perfectioneque, quantum humana quidem imperfectio patitur, absolutum, omnibusque mediis ad devotionem excitandam aptis instructum esse. Et si textûs expressio quandam exigit hilaritatem, cavendum est, ne Concentus Ecclesiasticâ gravitate, modestia, decoreque destituatur; quo Auditores in alios, quàm devotionis affectus distraherentur. Ante omnia adnitendum est, ut textui Musica congrua, distincta, expressiva, & Cantori haud incommoda, sed articulatu facilis applicetur: quod fiet, si Compositor abstineat à figuris minutioribus ad verba aptandis: secùs esset, si vocalis quædam absque verbi pronunciatione protrahenda foret, quo casu pro Cantoris habilitate diminutiones locum habebunt. Ad hæc omnia assequenda, Compositor peritum in arte sua Sartorem imitatur, qui omnes corporis articulos, longitudinem, latitudinem exactâ mensurâ dimetitur, ut vestem corpori quàm aptissimè convenientem conficiat: ità Musico textus vestiendus, significationis, & affectûs ratio habenda est, ut Musica verborum aptata significatui non solùm canere, verùm etiam perorare videatur. Porrò pro varietate textûs variæ quoque Styli Ecclesiastici methodi sunt: alia enim in Missis componendis tenenda est: alia in Mottettis: alia in Psalmis: alia in Hymnis, &c. Omnes hæ methodi ad duo Styli genera referri possunt: ad Stylum à Capella, sive pleni Chori, & ad Stylum mixtum. De primo, nempe à Capella, utpote antiquitate digniori, tractandi initium sumemus.", "english": "Just as sacred things surpass profane ones in dignity, I think no one will doubt that music devoted to divine worship and destined to endure eternally holds by far the foremost place in nobility, and that our chief effort should therefore be devoted to it. Since God is supreme perfection, it is fitting that music directed toward his praise should be complete in all the strictness and perfection of the rules, as far as human imperfection permits, and furnished with every means suitable to arouse devotion. Even if the expression of the text requires a certain cheerfulness, care must be taken that the music is not deprived of ecclesiastical gravity, modesty, and decorum, thereby distracting listeners toward feelings other than devotion. Above all, one must strive to fit the text with music that is appropriate, clear, expressive, not inconvenient for the singer, and easy to articulate. This will be achieved if the composer refrains from fitting small note values to words. It would be otherwise if a vowel were to be prolonged without pronouncing a word, in which case diminutions will have a place according to the singer’s ability. To achieve all this, the composer imitates a tailor skilled in his art, who measures every joint of the body, its length and breadth, exactly, to make a garment fitting it as closely as possible. So the musician must clothe the text and consider its meaning and feeling, so that music fitted to the meaning of the words seems not only to sing but also to speak persuasively. Furthermore, as texts vary, so do the methods of ecclesiastical style: one must be followed in composing Masses, another in motets, another in psalms, another in hymns, and so forth. All these methods can be referred to two kinds of style: a cappella, or full-choir style, and mixed style. We shall begin with the first, a cappella, as the more venerable in antiquity.", "sources": [ { "pdf_page": 200, "printed_page": 242 }, { "pdf_page": 201, "printed_page": 243, "region": "opening continuation" } ], "exercise": 5, "lesson": 7, "reading_order": 1133 }, { "id": "243-h1", "type": "heading", "latin": "De Stylo à Capella.", "english": "On a cappella style.", "sources": [ { "pdf_page": 201, "printed_page": 243 } ], "exercise": 5, "lesson": 7, "reading_order": 1134 }, { "id": "243-1", "type": "paragraph", "latin": "Primis temporibus non nisi vocibus Officia Divina decantata esse, compertum est. Deinde introductis Organis, & successu temporis, omnis fermè generis instrumenta adhibita fuisse, etiamnum hodiernus usus haud obscurè demonstrat. Duplex itaque methodus hujus Styli à Capella hac ætate nostrâ viget: absque Organo, & aliis instrumentis, vocibus duntaxat: & cum Organo, aliisque instrumentis. Prima quàm plurimis in Ecclesiis Cathedralibus adhuc obtinet: & in Aula Cæsareâ tempore quadragesimali, singulari pietate Augustissimi Monarchæ nostri, atque cultûs Divini observantiâ. In hoc itaque Compositionis genere primò, & ante omnia abstinendum est à genere mixto, atque Modis transpositis, nimium Diesibus, aut b mollibus refertis: assumendo purum duntaxat genus Diatonicum: aliàs enim concentus, ut alibi jam dixi, nunquam desideratum effectum habiturus esset.", "english": "It is established that in the earliest times the divine offices were sung by voices alone. Then organs were introduced, and with the passage of time instruments of almost every kind were employed, as present practice still clearly demonstrates. Thus in our age two methods of this a cappella style prevail: voices alone, without organ or other instruments; and voices with organ and other instruments. The first still holds in very many cathedral churches, and at the imperial court during Lent, through the singular piety and observance of divine worship of our most august monarch. In this kind of composition, therefore, first and above all one must refrain from the mixed genus and from transposed modes too full of sharps or flats, adopting only the pure diatonic genus. Otherwise, as I have already said elsewhere, the music would never produce the desired effect.", "sources": [ { "pdf_page": 201, "printed_page": 243 } ], "exercise": 5, "lesson": 7, "reading_order": 1135 }, { "id": "244-1", "type": "paragraph", "latin": "Joseph. Quâ de causa genus mixtum atque Modi transpositi adhiberi prohibentur?", "english": "Joseph. For what reason are the mixed genus and transposed modes forbidden?", "sources": [ { "pdf_page": 202, "printed_page": 244 } ], "exercise": 5, "lesson": 7, "reading_order": 1136 }, { "id": "244-2", "type": "paragraph", "latin": "Aloys. Et causam, ni fallor, Lib. 1. eodemque loco dictam esse puto: vocibus nempe nullo, neque aliorum instrumentorum auxilio adjutis perdifficilem fore intonationem: in quo genere Compositionis & facilitati, & naturali canendi rationi plurimum operæ dandum est. Quam ob rem subjecta quoque naturalia, facilia, non tamen sterilia, neque trivialia prehendenda sunt. Et si textûs brevitas, & Compositio in longum protrahenda crebram verborum repetitionem requirit, ut in Kyrie, Amen &c. procurandum est, ut nauseæ inde oriundæ, aut fœcundæ modulationis varietate, aut novis subjectis introducendis abundè compensetur: in cujus rei auxilium exempla aliorum inspicienda sunt. Et quia tu, Josephe, ductu meo, auspicioque Compositionis fundamenta jecisti, ideòque mea tibi notiora fore confido, Kyrie ex Missa mea Vicissitudinis appellatâ in exemplar tibi proponam: ut deinde paulatim ad altiora clarorum virorum monumenta perlustranda progredi possis: cujus Styli extra controversiam Princeps est Aloysius Prænestinus, illud Musicæ lumen, quem tibi imitandum, si curâ profectûs haud ordinarii premeris, etiam atque etiam commendo.", "english": "Aloysius. I think the reason, unless I am mistaken, was also given in the same place in Book One: namely, that intonation will be very difficult for voices aided by no support from other instruments. In this kind of composition great effort must be devoted both to ease and to a natural manner of singing. Therefore subjects must also be natural and easy, yet neither barren nor commonplace. If the brevity of the text and the need to extend the composition require frequent repetition of words, as in Kyrie, Amen, and so forth, care must be taken to compensate fully for the resulting weariness either by a fertile variety of melodic writing or by introducing new subjects. Examples by others should be examined to assist in this. Since you, Joseph, laid the foundations of composition under my guidance and auspices, and I therefore trust that my works will be more familiar to you, I shall set before you as an example the Kyrie from my Mass called Vicissitudinis. You may then gradually proceed to examine the loftier monuments of distinguished men. The undisputed prince of this style is Aloysius of Palestrina, that light of music, whom I again and again commend for your imitation if you are intent on more than ordinary progress.", "sources": [ { "pdf_page": 202, "printed_page": 244 } ], "exercise": 5, "lesson": 7, "reading_order": 1137 }, { "id": "244-h1", "type": "heading", "latin": "Kyrie ex Missa Vicissitudinis.", "english": "Kyrie from the Mass Vicissitudinis.", "sources": [ { "pdf_page": 202, "printed_page": 244 } ], "exercise": 5, "lesson": 7, "reading_order": 1138 }, { "id": "244-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 202, "printed_page": 244 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "244-a" ], "playback_status": "playback not yet available", "labels": [], "continues_to": { "printed_page": 245, "pdf_page": 203, "block": "245-score" }, "lyric_text_refs": [ "245-lyrics" ], "reading_order": 1139, "continuation_status": "resolved", "music_asset_refs": [ "244-a" ] }, { "id": "244-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 202, "printed_page": 244 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "244-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 1140, "music_asset_refs": [ "244-custos" ] }, { "id": "245-score", "type": "music", "latin": "", "english": "", "exercise": 5, "lesson": 7, "sources": [ { "printed_page": 245, "pdf_page": 203 } ], "reused_from": "/Users/mayank/Developer/fux-counter-pilot/content/pilot.json", "role": null, "asset_refs": [ "245-score" ], "playback_status": "playback not yet available", "continued_from": "244-a", "continues_to": { "printed_page": 246, "pdf_page": 204, "block": "246-a" }, "lyric_text_refs": [ "245-lyrics" ], "reading_order": 1141, "continuation_status": "resolved", "music_asset_refs": [ "245-score" ] }, { "id": "245-lyrics", "type": "lyrics", "latin": "Kyrie eleison.", "english": "Lord, have mercy.", "exercise": 5, "lesson": 7, "sources": [ { "printed_page": 245, "pdf_page": 203 } ], "reused_from": "/Users/mayank/Developer/fux-counter-pilot/content/pilot.json", "role": "lyric-text-key", "notes": "This gives the recurring lyric phrase, not a replacement for the note-by-note underlay. Every visible repetition and syllable remains in the original crop; note-level underlay requires verification.", "reading_order": 1142, "lyric_policy": "Aligned lyric text keys give verbal content once; every printed repetition, syllable division, melisma and per-voice placement remains in the original crops. This is not a note-level underlay transcription.", "source_language": "Greek in Latin letters" }, { "id": "246-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 204, "printed_page": 246 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "246-a" ], "playback_status": "playback not yet available", "labels": [], "continued_from": "245-score", "lyric_text_refs": [ "245-lyrics" ], "reading_order": 1143, "music_asset_refs": [ "246-a" ] }, { "id": "246-1", "type": "paragraph", "latin": "Observa Josephe, hanc concentûs texturam, & si quid dubii, aut ultra captum tuum repereris, dilucidationem require.", "english": "Observe this texture of harmony, Joseph, and if you find anything doubtful or beyond your understanding, ask for clarification.", "sources": [ { "pdf_page": 204, "printed_page": 246 } ], "exercise": 5, "lesson": 7, "reading_order": 1144 }, { "id": "246-2", "type": "paragraph", "latin": "Joseph. Conspicio, atque miror incatenationem partium subjectum tam arctè contrahentium: ubi in omni fermè tactu subjectum modò in una, modò in binis partibus facili, naturalique canendi ratione, ac Harmoniæ plenitudine reperitur; ita aptè, ut subjectum ipsum, quasi modulationis vicem obtineat. Si eadem perficiendi facultas esset, quæ comprehendendi mihi est, absque vanitate, meo quidem judicio gloriari possem de profectu hucusque facto. Scrupulum principio mihi movebat ultima Nota NB. signata, septimi tactûs in parte Cantûs existens, ubi de septima per saltum proceditur.", "english": "Joseph. I see and admire the chaining of the parts as they draw the subject into such close overlap. In almost every measure the subject is found now in one part, now in two, with an easy and natural melodic line and fullness of harmony, so aptly that the subject itself almost takes the place of melodic continuation. If my ability to execute were equal to my ability to understand, I could, without vanity in my own judgment, take pride in the progress made thus far. At first the last note marked NB in the soprano part of the seventh measure raised a scruple in me, because a leap proceeds from a seventh there.", "sources": [ { "pdf_page": 204, "printed_page": 246 } ], "exercise": 5, "lesson": 7, "reading_order": 1145 }, { "id": "246-3", "type": "paragraph", "latin": "Verùm jam in mentem venit, in Lectionibus me similem casum habuisse: diminutionem nempe propter subjecti integritatem ibi omissam esse sequenti ratione.", "english": "But I now recall having encountered a similar case in the lessons: namely, that diminution was omitted there for the sake of the integrity of the subject, in the following manner.", "sources": [ { "pdf_page": 204, "printed_page": 246 } ], "exercise": 5, "lesson": 7, "reading_order": 1146 }, { "id": "246-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 204, "printed_page": 246 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "246-b" ], "playback_status": "playback not yet available", "labels": [ { "latin": "NB. Diminutio.", "english": "NB. Diminution." } ], "reading_order": 1147, "music_asset_refs": [ "246-b" ] }, { "id": "246-4", "type": "paragraph", "latin": "Aloys. Admiror attentionem, atque judicium tuum, quò omnia concentûs hujus observatu digna exposuisti. Bono animo te esse jubeo. Qui enim rerum intelligentiâ pollet, proximè perficiendi facultati accedit. Tempus, quod omnia maturat, atque consummat, & nunquam intermissa exercitatio, quod reliquum est, subministrabit. Admiratus es incatenationem partium in omni fermè tactu cum subjecto intrantium. Verùm scias oportet, haud omne indistinctè subjectum hac ratione deducibile fore: sed, si partium tam arctè constringendarum animus est, ante electionem inquirendo subjectum probari, aut immutari, aut aliud eligi debet. Cæterùm non præteribis considerare in hoc concentu partium intrà limites linearum se continentium unionem, quæ maximam Compositioni Harmoniæ vim addit. Ad hujus exempli normam, aut similem, ubi textûs brevitas requirit, ut in Kyrie, & Amen, Compositio Styli à Capella instituenda est: longior enim textus, ut Gloria: Credo: aliam Compositionis methodum requirit: ubi omni novæ periodo novum quoque subjectum adaptandum est. Oportet autem subjectum esse significativum, aptum non solùm Musicæ, verùm etiam, ut alibi jam dixi, textûs significationem, & affectum exprimens.", "english": "Aloysius. I admire your attentiveness and judgment, with which you have set out everything worth observing in this composition. I bid you be of good cheer. One who possesses understanding of things comes very close to the ability to execute them. Time, which ripens and brings all things to completion, and never-interrupted practice will supply what remains. You admired the chaining of parts entering with the subject in almost every measure. But you must know that not every subject without distinction can be developed in this way. If one intends to bind the parts so closely, the subject must be tested before selection, or altered, or another chosen. Do not overlook, moreover, the union of the parts in this composition as they remain within the bounds of the staff, which adds the greatest force of harmony to the composition. A cappella composition must be arranged after this or a similar model where the brevity of the text requires it, as in Kyrie and Amen. A longer text, such as Gloria or Credo, requires another method of composition, in which a new subject must be fitted to every new period. The subject must be expressive and suited not only to the music but also, as I have said elsewhere, to the meaning and feeling of the text.", "sources": [ { "pdf_page": 204, "printed_page": 246 }, { "pdf_page": 205, "printed_page": 247, "region": "opening continuation" } ], "exercise": 5, "lesson": 7, "reading_order": 1148 }, { "id": "247-1", "type": "paragraph", "latin": "Joseph. Quid si subjectum, & Musicæ, & textui aliàs aptum introduci commodè non potest?", "english": "Joseph. What if a subject otherwise suited to both the music and the text cannot conveniently be introduced?", "sources": [ { "pdf_page": 205, "printed_page": 247 } ], "exercise": 5, "lesson": 7, "reading_order": 1149 }, { "id": "247-2", "type": "paragraph", "latin": "Aloys. Poterit, si rectè instituatur. Imprimis partem, novum subjectum introducturam, aliquantum pausæ præcedere debet: dum interim cæteræ modulationem ità dirigent, ut novo subjecto mente tuâ concepto, aut sub ipsam modulationem, aut in Clausula, rariùs post Clausulam factam intrandi facultas sit. Et quia Missam integram hîc exhibere nimis longum foret, Offertorium oculis tuis subjiciam, cujus Compositio, excepto Kyrie, & Amen, cum reliquo Missæ textu quasi coincidit, ex quo concentu, subjecti textui aptandi, & opportunè intrandi artificium addiscere poteris.", "english": "Aloysius. It can, if it is properly arranged. First, some rest must precede the part that is to introduce a new subject. Meanwhile the other parts will direct their melodic course so that the new subject conceived in your mind has an opportunity to enter either during that continuation, at a cadence, or, more rarely, after a cadence has been made. Since presenting an entire Mass here would be too lengthy, I shall set an offertory before your eyes. Its manner of composition, apart from Kyrie and Amen, largely corresponds to the rest of the Mass text. From this composition you can learn the art of fitting a subject to the text and introducing it at the right moment.", "sources": [ { "pdf_page": 205, "printed_page": 247 } ], "exercise": 5, "lesson": 7, "reading_order": 1150 }, { "id": "247-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 205, "printed_page": 247 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "247-a" ], "playback_status": "playback not yet available", "labels": [], "continues_to": { "printed_page": 248, "pdf_page": 206, "block": "248-a" }, "reading_order": 1151, "lyric_text_refs": [ "247-lyrics1" ], "continuation_status": "resolved", "music_asset_refs": [ "247-a" ] }, { "id": "247-lyrics1", "type": "lyrics", "latin": "Ad te Domine levavi animam meam.", "english": "To you, Lord, I have lifted up my soul.", "sources": [ { "pdf_page": 205, "printed_page": 247 }, { "pdf_page": 206, "printed_page": 248, "region": "opening continuation" } ], "exercise": 5, "lesson": 7, "role": "lyric-text-key", "reading_order": 1152, "lyric_policy": "Aligned lyric text keys give verbal content once; every printed repetition, syllable division, melisma and per-voice placement remains in the original crops. This is not a note-level underlay transcription." }, { "id": "248-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 206, "printed_page": 248 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "248-a" ], "playback_status": "playback not yet available", "labels": [], "continued_from": "247-a", "continues_to": { "printed_page": 249, "pdf_page": 207, "block": "249-a" }, "lyric_text_refs": [ "247-lyrics1", "248-lyrics2" ], "reading_order": 1153, "continuation_status": "resolved", "music_asset_refs": [ "248-a" ] }, { "id": "248-lyrics2", "type": "lyrics", "latin": "Deus meus, in te confido.", "english": "My God, in you I trust.", "sources": [ { "pdf_page": 206, "printed_page": 248 }, { "pdf_page": 207, "printed_page": 249, "region": "opening continuation" } ], "exercise": 5, "lesson": 7, "role": "lyric-text-key", "reading_order": 1154, "lyric_policy": "Aligned lyric text keys give verbal content once; every printed repetition, syllable division, melisma and per-voice placement remains in the original crops. This is not a note-level underlay transcription." }, { "id": "249-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 207, "printed_page": 249 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "249-a" ], "playback_status": "playback not yet available", "labels": [], "continued_from": "248-a", "continues_to": { "printed_page": 250, "pdf_page": 208, "block": "250-a" }, "lyric_text_refs": [ "248-lyrics2", "249-lyrics3" ], "reading_order": 1155, "continuation_status": "resolved", "music_asset_refs": [ "249-a" ] }, { "id": "249-lyrics3", "type": "lyrics", "latin": "Non erubescam.", "english": "Let me not be put to shame.", "sources": [ { "pdf_page": 207, "printed_page": 249 } ], "exercise": 5, "lesson": 7, "role": "lyric-text-key", "reading_order": 1156, "lyric_policy": "Aligned lyric text keys give verbal content once; every printed repetition, syllable division, melisma and per-voice placement remains in the original crops. This is not a note-level underlay transcription." }, { "id": "250-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 208, "printed_page": 250 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "250-a" ], "playback_status": "playback not yet available", "labels": [], "continued_from": "249-a", "continues_to": { "printed_page": 251, "pdf_page": 209, "block": "251-a" }, "lyric_text_refs": [ "249-lyrics3", "250-lyrics4" ], "reading_order": 1157, "continuation_status": "resolved", "music_asset_refs": [ "250-a" ] }, { "id": "250-lyrics4", "type": "lyrics", "latin": "Neque irrideant me inimici mei.", "english": "Nor let my enemies mock me.", "sources": [ { "pdf_page": 208, "printed_page": 250 } ], "exercise": 5, "lesson": 7, "role": "lyric-text-key", "reading_order": 1158, "lyric_policy": "Aligned lyric text keys give verbal content once; every printed repetition, syllable division, melisma and per-voice placement remains in the original crops. This is not a note-level underlay transcription." }, { "id": "251-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 209, "printed_page": 251 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "251-a" ], "playback_status": "playback not yet available", "labels": [], "continued_from": "250-a", "continues_to": { "printed_page": 252, "pdf_page": 210, "block": "252-a" }, "lyric_text_refs": [ "250-lyrics4" ], "reading_order": 1159, "continuation_status": "resolved", "music_asset_refs": [ "251-a" ] }, { "id": "252-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 210, "printed_page": 252 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "252-a" ], "playback_status": "playback not yet available", "labels": [], "continued_from": "251-a", "continues_to": { "printed_page": 253, "pdf_page": 211, "block": "253-a" }, "lyric_text_refs": [ "250-lyrics4", "252-lyrics5" ], "reading_order": 1160, "continuation_status": "resolved", "music_asset_refs": [ "252-a" ] }, { "id": "252-lyrics5", "type": "lyrics", "latin": "Et enim universi qui te expectant non confundentur.", "english": "For all who wait for you shall not be put to shame.", "sources": [ { "pdf_page": 210, "printed_page": 252 } ], "exercise": 5, "lesson": 7, "role": "lyric-text-key", "reading_order": 1161, "lyric_policy": "Aligned lyric text keys give verbal content once; every printed repetition, syllable division, melisma and per-voice placement remains in the original crops. This is not a note-level underlay transcription." }, { "id": "253-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 211, "printed_page": 253 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "253-a" ], "playback_status": "playback not yet available", "labels": [], "continued_from": "252-a", "continues_to": { "printed_page": 254, "pdf_page": 212, "block": "254-a" }, "lyric_text_refs": [ "252-lyrics5" ], "reading_order": 1162, "continuation_status": "resolved", "music_asset_refs": [ "253-a" ] }, { "id": "254-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 212, "printed_page": 254 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "254-a" ], "playback_status": "playback not yet available", "labels": [], "continued_from": "253-a", "lyric_text_refs": [ "252-lyrics5" ], "score_group_status": "offertory example ends here", "reading_order": 1163, "music_asset_refs": [ "254-a" ] }, { "id": "254-1", "type": "paragraph", "latin": "En Josephe, concentum subjectis continuò catenatis illigatum. Considera primò, & penetra textûs sensum: Ad te Domine levavi animam meam. Et deprehendes subjectum, crescente voce, semperque ascendente ad instar cum fiducia deprecantis verborum significatui quàm maximè appropriatum esse. Observa deinde partem secundam, ingredientem, antequàm prima pars subjectum terminaverit: & quo modo brevi modulatione per Clausulam fictam tertiæ parti, nempe Tenori potestas intrandi fiat. Quo facto, Cantus, & Altus loco modulationis, ascito alio quasi subjecto sub verba: animam meam: interim haud illepidè ludendo pergunt. Porrò, ne modulatio cum inutili verborum repetitione nimis in longum protraheretur, positâ mediâ pausâ, Altus subjectum sub verbum: levavi imitatur, quam imitationem post pausam Cantus quoque paulò pòst assumit. Inde modulantes aliquantum partes cum quasi subjecto sub verba: animam meam clausulam in D. formant; in qua Cantus præviâ pausâ cum nova textûs periodo novum etiam subjectum introducit: cujus subjecti vis expressiva sub verba: Deus meus, consideratione non indigna videtur. Contemplare prætereà, qua ratione partes hoc subjectum in omni tactu tam arctè depromant, ut ex alterius ore quasi extrahi videatur; usque dum cum verbis: in te confido: aliud subjectum ab textûs significatione haud alienum à Basso proponitur: quod à cæteris partibus assumptum, inde cum priori subjecto: Deus meus, immixtum usque ad clausulam B, fa, protrahitur.", "english": "Here, Joseph, is a composition bound together by continuously linked subjects. First consider and penetrate the sense of the text: “To you, Lord, I have lifted up my soul.” You will find the subject, with the voice rising and continually ascending like someone praying with confidence, most closely suited to the meaning of the words. Observe next the second part entering before the first has finished the subject, and how a brief melodic continuation through a deceptive cadence gives the third part, namely the tenor, an opportunity to enter. After this, the soprano and alto, instead of melodic continuation, take up what is almost another subject under the words “my soul,” and meanwhile proceed with no little grace. Furthermore, so that the melodic continuation with needless repetition of words would not be drawn out too long, the alto, after a half-rest, imitates the subject under the word “levavi”; the soprano also takes up this imitation a little later after a rest. Then, after some continuation, the parts form a cadence on D with what is almost a subject under the words “animam meam.” There the soprano, after a rest, introduces a new subject with a new period of the text. The expressive force of this subject under the words “Deus meus” seems well worth considering. Observe also how the parts bring forth this subject in every measure in such close succession that it seems almost drawn from one another’s mouths, until the bass proposes another subject, well suited to the meaning of the text, with the words “in te confido.” Taken up by the other parts and then mixed with the preceding subject, “Deus meus,” it is carried as far as the cadence on B fa.", "sources": [ { "pdf_page": 212, "printed_page": 254 }, { "pdf_page": 213, "printed_page": 255, "region": "opening continuation" } ], "exercise": 5, "lesson": 7, "reading_order": 1164 }, { "id": "255-1", "type": "paragraph", "latin": "Joseph. Conspicio hîc loci progressum, qui mihi per totum Lectionum cursum nunquam evenit: nempe de Quinta in Quintam, licèt per motum contrarium. E. G.", "english": "Joseph. I see here a progression that I never encountered throughout the course of the lessons: namely, from a fifth to a fifth, although by contrary motion. For example:", "sources": [ { "pdf_page": 213, "printed_page": 255 } ], "exercise": 5, "lesson": 7, "reading_order": 1165 }, { "id": "255-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 213, "printed_page": 255 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "255-a" ], "playback_status": "ready", "labels": [], "reading_order": 1166, "music_asset_refs": [ "255-a" ] }, { "id": "255-2", "type": "paragraph", "latin": "Aloys. Rectè quidem animadvertisti. Quamvis enim illum progressum regula non prohibeat; quia tamen duæ Consonantiæ perfectæ ejusdem speciei parùm varietatis afferunt, absque gravi necessitate, maximè in Quatricinio non adhibendus est. Hîc necessitas introducendi subjecti, quod aliàs fieri non potuisset, illum progressum excusat. Quemadmodum persæpe levis quædam licentia subjectis arctè stringendis haud quaquam denegari debet; quod in sequenti subjecto non obscurè videndum est, ubi loco saltûs in Tertiam, saltus in Quartam: loco gradûs, saltus in Tertiam, crebrò prædictam ob rationem usurpatus est: omnia in gratiam subjecti maturiùs introducendi. Perpende deinde subjectum cum sequenti periodo: non erubescam sub prædictâ clausulâ in Basso intrans, à cæteris partibus strictâ vicissitudine repetitum, protractumque ad clausulam F.; ubi denuò Bassus cum periodo: neque irrideant me inimici mei, novum subjectum producit, minimè inconveniens verborum sensui, quod deinde longo tractu conjunctis arctè partibus continuatur.", "english": "Aloysius. You have observed correctly. Although the rule does not forbid that progression, because two perfect consonances of the same species bring little variety, it should not be used without weighty necessity, especially in four voices. Here the need to introduce the subject, which could not otherwise have been done, excuses the progression. Very often some slight license must by no means be denied to closely interwoven subjects. This is clearly seen in the following subject, where a leap of a fourth instead of a third, or a leap of a third instead of a step, is frequently used for the reason just given: all for the sake of introducing the subject earlier. Consider next the subject entering in the bass beneath the aforementioned cadence with the following period, “non erubescam,” repeated by the other parts in close alternation and carried as far as the cadence on F. There the bass again introduces a new subject with the period “neque irrideant me inimici mei,” by no means unsuited to the sense of the words, which is then continued at length with the parts closely joined.", "sources": [ { "pdf_page": 213, "printed_page": 255 } ], "exercise": 5, "lesson": 7, "reading_order": 1167 }, { "id": "255-3", "type": "paragraph", "latin": "Joseph. In prioris subjecti deductione, Hypothesin perspexi, ubi duæ Quintæ immediatè se sequentes reperiri videntur hoc modo:", "english": "Joseph. In the development of the former subject, I noticed a case where two fifths immediately following one another seem to occur in this way:", "sources": [ { "pdf_page": 213, "printed_page": 255 }, { "pdf_page": 214, "printed_page": 256, "region": "opening continuation" } ], "exercise": 5, "lesson": 7, "reading_order": 1168 }, { "id": "256-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 214, "printed_page": 256 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "256-a" ], "playback_status": "ready", "labels": [], "reading_order": 1169, "music_asset_refs": [ "256-a" ] }, { "id": "256-1", "type": "paragraph", "latin": "Ubi Tenor Bassi vicem obtinere videtur.", "english": "Here the tenor seems to take the place of the bass.", "sources": [ { "pdf_page": 214, "printed_page": 256 } ], "exercise": 5, "lesson": 7, "reading_order": 1170 }, { "id": "256-2", "type": "paragraph", "latin": "Aloys. Ità judicant nonnulli Auctores. Verùm illam secundam Quintam, quam Tenor constituit, non ex Quinta præcedenti resultare, sed ex Tertia, vox remissior Tenoris facili negotio auribus exhibet: nec est res tanti momenti, ob quam deductio subjecti pati, aut minùs bellè deduci debeat. Ex hucusque dictis facilè reliqui Concentûs examen institues, prætereàque animadvertes, verba ex se nihil significantia nequaquam repetenda esse. Superest, ut hujus styli concentum cum obligatione Cantûs firmi, & applicatione textûs tibi exhibeam, ex quo subjectorum introducendorum modum conspicies.", "english": "Aloysius. Some authors judge so. But the quieter tenor voice easily shows the ear that the second fifth it forms arises not from the preceding fifth but from a third. Nor is this a matter of such importance that the development of the subject should suffer or be conducted less gracefully because of it. From what has been said thus far you will easily examine the rest of the composition, and you will also observe that words which signify nothing by themselves must never be repeated. It remains for me to show you a composition in this style with the obligation of a cantus firmus and the application of a text, from which you will see how subjects are to be introduced.", "sources": [ { "pdf_page": 214, "printed_page": 256 } ], "exercise": 5, "lesson": 7, "reading_order": 1171 }, { "id": "256-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 214, "printed_page": 256 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "256-b" ], "playback_status": "playback not yet available", "labels": [], "continues_to": { "printed_page": 257, "pdf_page": 215, "block": "257-a" }, "lyric_text_refs": [ "256-lyrics1" ], "reading_order": 1172, "continuation_status": "resolved", "music_asset_refs": [ "256-b" ] }, { "id": "256-lyrics1", "type": "lyrics", "latin": "Ave Maria, gratia plena.", "english": "Hail Mary, full of grace.", "sources": [ { "pdf_page": 214, "printed_page": 256 }, { "pdf_page": 215, "printed_page": 257, "region": "opening continuation" } ], "exercise": 5, "lesson": 7, "role": "lyric-text-key", "reading_order": 1173, "lyric_policy": "Aligned lyric text keys give verbal content once; every printed repetition, syllable division, melisma and per-voice placement remains in the original crops. This is not a note-level underlay transcription." }, { "id": "256-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 214, "printed_page": 256 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "256-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 1174, "music_asset_refs": [ "256-custos" ] }, { "id": "257-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 215, "printed_page": 257 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "257-a" ], "playback_status": "playback not yet available", "labels": [], "continued_from": "256-b", "continues_to": { "printed_page": 258, "pdf_page": 216, "block": "258-a" }, "lyric_text_refs": [ "256-lyrics1" ], "reading_order": 1175, "continuation_status": "resolved", "music_asset_refs": [ "257-a" ] }, { "id": "258-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 216, "printed_page": 258 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "258-a" ], "playback_status": "playback not yet available", "labels": [], "continued_from": "257-a", "continues_to": { "printed_page": 259, "pdf_page": 217, "block": "259-a" }, "lyric_text_refs": [ "256-lyrics1", "258-lyrics2", "258-lyrics3" ], "reading_order": 1176, "continuation_status": "resolved", "music_asset_refs": [ "258-a" ] }, { "id": "258-lyrics2", "type": "lyrics", "latin": "Dominus tecum.", "english": "The Lord is with you.", "sources": [ { "pdf_page": 216, "printed_page": 258 } ], "exercise": 5, "lesson": 7, "role": "lyric-text-key", "reading_order": 1177, "lyric_policy": "Aligned lyric text keys give verbal content once; every printed repetition, syllable division, melisma and per-voice placement remains in the original crops. This is not a note-level underlay transcription." }, { "id": "258-lyrics3", "type": "lyrics", "latin": "Benedicta tu in mulieribus.", "english": "Blessed are you among women.", "sources": [ { "pdf_page": 216, "printed_page": 258 }, { "pdf_page": 217, "printed_page": 259, "region": "opening continuation" } ], "exercise": 5, "lesson": 7, "role": "lyric-text-key", "reading_order": 1178, "lyric_policy": "Aligned lyric text keys give verbal content once; every printed repetition, syllable division, melisma and per-voice placement remains in the original crops. This is not a note-level underlay transcription." }, { "id": "259-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 217, "printed_page": 259 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "259-a" ], "playback_status": "playback not yet available", "labels": [], "continued_from": "258-a", "continues_to": { "printed_page": 260, "pdf_page": 218, "block": "260-a" }, "lyric_text_refs": [ "258-lyrics3" ], "reading_order": 1179, "continuation_status": "resolved", "music_asset_refs": [ "259-a" ] }, { "id": "260-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 218, "printed_page": 260 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "260-a" ], "playback_status": "playback not yet available", "labels": [], "continued_from": "259-a", "continues_to": { "printed_page": 261, "pdf_page": 219, "block": "261-a" }, "lyric_text_refs": [ "258-lyrics3" ], "reading_order": 1180, "continuation_status": "resolved", "music_asset_refs": [ "260-a" ] }, { "id": "261-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 219, "printed_page": 261 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "261-a" ], "playback_status": "playback not yet available", "labels": [], "continued_from": "260-a", "lyric_text_refs": [ "258-lyrics3", "261-lyrics4" ], "score_group_status": "Ave Maria example ends here", "reading_order": 1181, "music_asset_refs": [ "261-a" ] }, { "id": "261-lyrics4", "type": "lyrics", "latin": "& benedictus fructus ventris tui.", "english": "And blessed is the fruit of your womb.", "sources": [ { "pdf_page": 219, "printed_page": 261 } ], "exercise": 5, "lesson": 7, "role": "lyric-text-key", "reading_order": 1182, "lyric_policy": "Aligned lyric text keys give verbal content once; every printed repetition, syllable division, melisma and per-voice placement remains in the original crops. This is not a note-level underlay transcription." }, { "id": "262-1", "type": "paragraph", "latin": "Habes itaque, Josephe, Compositionis formulam ad Cantûs firmi, sive Gregoriani obligationem elaboratæ. Si subjecta minùs cantabilia, neque tam significativa sunt, quàm in prioribus Paradigmatibus, Cantûs firmi restrictioni attribuito: in quo genere Compositionis liberum arbitrium non est quæcunque subjecta eligere: sed ea duntaxat, quæ Cantui Chorali annecti possunt: præterquam, quod plerumque subjecta ex ipso Cantu Gregoriano extracta, vel ad ejus imitationem instituta sint. Verba, sæpiùs fortè iterata, quàm sat est, Cantûs Choralis tractui, & brevitati, totum tamen Offertorium duraturæ adscribito. Quamvis ex una parte ejusmodi obligationes haud parùm ornamenti detrahant Compositioni, nescio tamen, quid ex altera Cantûs firmi auditus, blandi, devotionemque spirantis adjiciat, auditoresque confestim in attentionem rapiat.", "english": "You now have, Joseph, a model of composition worked out under the obligation of a cantus firmus, or Gregorian chant. If the subjects are less singable and not as expressive as in the preceding examples, attribute this to the restriction of the cantus firmus. In this kind of composition one is not free to choose just any subjects, but only those that can be joined to the chant. Moreover, the subjects are generally drawn from the Gregorian chant itself or formed in imitation of it. Attribute the words, perhaps repeated more often than is sufficient, to the course and brevity of the chant, which must nevertheless last throughout the entire offertory. Although on the one hand obligations of this kind take no little ornament from a composition, on the other I cannot say what sweetness and breath of devotion the sound of the cantus firmus adds, immediately drawing listeners to attention.", "sources": [ { "pdf_page": 220, "printed_page": 262 } ], "exercise": 5, "lesson": 7, "reading_order": 1183 }, { "id": "262-2", "type": "paragraph", "latin": "Joseph. Memini, te paulò ante admonuisse, subjecta sub ipsam Clausulam, rarò verò finitâ clausulâ introducenda; quod contra in hoc concentu conspicio.", "english": "Joseph. I remember that a little earlier you advised introducing subjects during the cadence itself, and only rarely after the cadence has ended; yet I see the contrary in this composition.", "sources": [ { "pdf_page": 220, "printed_page": 262 } ], "exercise": 5, "lesson": 7, "reading_order": 1184 }, { "id": "262-3", "type": "paragraph", "latin": "Aloys. Et hunc recessum Cantûs firmi restrictioni dandum esse ajo: utpote subjecta ex ipsius Cantûs Gregoriani fonte hausta non pro arbitrio ubique innecti possunt. Facilè tamen observabis motum illum perpetuum (in cujus gratiam hæc regula data est) nequaquam interruptum, sed ad finem usque perductum esse. Hæc Paradigmata de stylo à Capella absque Organo, & Instrumentis sufficiant: quibus perlustratis: exactèque perpensis, aliorum clarorum Auctorum opera majoris artificii consideranda ad manus accipienda sunt.", "english": "Aloysius. I say that this departure too must be attributed to the restriction of the cantus firmus, since subjects drawn from the source of Gregorian chant itself cannot be woven in everywhere at will. You will nevertheless easily observe that the perpetual motion for whose sake this rule was given is not interrupted at all, but carried through to the end. Let these examples of a cappella style without organ or instruments suffice. After examining and carefully weighing them, one must take up for study works of greater artifice by other distinguished authors.", "sources": [ { "pdf_page": 220, "printed_page": 262 } ], "exercise": 5, "lesson": 7, "reading_order": 1185 }, { "id": "262-4", "type": "paragraph", "latin": "Joseph. Sed quid observandum in componendis ad hunc stylum Psalmis, & Hymnis?", "english": "Joseph. But what must be observed in composing psalms and hymns in this style?", "sources": [ { "pdf_page": 220, "printed_page": 262 } ], "exercise": 5, "lesson": 7, "reading_order": 1186 }, { "id": "262-5", "type": "paragraph", "latin": "Aloys. Nihil peculiare quidem, quàm ut iis, maximè Hymnis, utpote versificatis Musicam applices, quæ nonnihil cantilenam sapiat: ut adeò operæ pretium non sit, peculiare quid de iis tradere. Pergamus itaque ad stylum à Capella, Organo, aliisque instrumentis instructum; qui majori, & modulandi, & canendi, vagandique gaudet libertate. Exemplo tibi sit Kyrie ex Missa mea in Fletu solatium nuncupata.", "english": "Aloysius. Nothing particular, except to apply to them—especially to hymns, since they are in verse—music with something of the character of a song. It is therefore not worthwhile to give a separate treatment of them. Let us proceed, then, to a cappella style furnished with organ and other instruments, which enjoys greater freedom of melodic writing, singing, and movement. Let the Kyrie from my Mass called in Fletu solatium serve as an example.", "sources": [ { "pdf_page": 220, "printed_page": 262 } ], "exercise": 5, "lesson": 7, "reading_order": 1187 }, { "id": "263-h1", "type": "heading", "latin": "Tutti, un poco allegro.", "english": "All together, somewhat lively.", "sources": [ { "pdf_page": 221, "printed_page": 263 } ], "exercise": 5, "lesson": 7, "reading_order": 1188 }, { "id": "263-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 221, "printed_page": 263 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "263-a" ], "playback_status": "playback not yet available", "labels": [], "continues_to": { "printed_page": 264, "pdf_page": 222, "block": "264-a" }, "lyric_text_refs": [ "245-lyrics" ], "score_group": "Kyrie from Missa in Fletu solatium", "reading_order": 1189, "continuation_status": "resolved", "music_asset_refs": [ "263-a" ] }, { "id": "263-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 221, "printed_page": 263 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "263-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 1190, "music_asset_refs": [ "263-custos" ] }, { "id": "264-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 222, "printed_page": 264 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "264-a" ], "playback_status": "playback not yet available", "labels": [], "continued_from": "263-a", "continues_to": { "printed_page": 265, "pdf_page": 223, "block": "265-a" }, "lyric_text_refs": [ "245-lyrics" ], "reading_order": 1191, "continuation_status": "resolved", "music_asset_refs": [ "264-a" ] }, { "id": "264-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 222, "printed_page": 264 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "264-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 1192, "music_asset_refs": [ "264-custos" ] }, { "id": "265-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 223, "printed_page": 265 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "265-a" ], "playback_status": "playback not yet available", "labels": [], "continued_from": "264-a", "lyric_text_refs": [ "245-lyrics" ], "score_group_status": "accompanied Kyrie example ends here", "reading_order": 1193, "music_asset_refs": [ "265-a" ] }, { "id": "265-1", "type": "paragraph", "latin": "Perpende imprimis, Josephe, naturalem concinnumque partium canendi modum; quarum una alteri, quamvis arcto vinculo unitæ, minimè impedimento est. Observa prætereà modulationem non adeò vulgarem, ac naturaliter in Modos affines influentem: & partes opportuno tempore quiescentes, ne Compositio superfluâ, & inutili partium implicaturâ infarcitur; & quo modo his omnibus observatis, nihil tamen Harmoniæ plenitudini decedat. Quum autem etiam in Tricinio hujusmodi stylus adhiberi possit: (quo ego non rarò, nec infeliciter usus sum) Christe quoque hujus Missæ trium vocum in exemplum hîc apponam.", "english": "Consider above all, Joseph, the natural and graceful melodic manner of the parts: although closely united, none obstructs another. Observe also the melodic course, which is not commonplace and moves naturally into related modes, and the parts resting at suitable times so that the composition is not overfilled with superfluous and useless entanglement. See how, while all these things are observed, nothing is taken away from the fullness of harmony. Since this style can also be used in three-voice composition—which I have often used successfully—I shall also set out here as an example the Christe of this Mass for three voices.", "sources": [ { "pdf_page": 223, "printed_page": 265 } ], "exercise": 5, "lesson": 7, "reading_order": 1194 }, { "id": "266-h1", "type": "heading", "latin": "à 3. Tutti.", "english": "For three voices. All together.", "sources": [ { "pdf_page": 224, "printed_page": 266 } ], "exercise": 5, "lesson": 7, "reading_order": 1195 }, { "id": "266-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 224, "printed_page": 266 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "266-a" ], "playback_status": "playback not yet available", "labels": [ { "latin": "Organo.", "english": "Organ." } ], "continues_to": { "printed_page": 267, "pdf_page": 225, "block": "267-a" }, "lyric_text_refs": [ "266-lyrics" ], "reading_order": 1196, "continuation_status": "resolved", "music_asset_refs": [ "266-a" ] }, { "id": "266-lyrics", "type": "lyrics", "latin": "Christe eleison.", "english": "Christ, have mercy.", "sources": [ { "pdf_page": 224, "printed_page": 266 } ], "exercise": 5, "lesson": 7, "role": "lyric-text-key", "source_language": "Greek in Latin letters", "reading_order": 1197, "lyric_policy": "Aligned lyric text keys give verbal content once; every printed repetition, syllable division, melisma and per-voice placement remains in the original crops. This is not a note-level underlay transcription." }, { "id": "267-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 225, "printed_page": 267 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "267-a" ], "playback_status": "playback not yet available", "labels": [], "continued_from": "266-a", "lyric_text_refs": [ "266-lyrics" ], "score_group_status": "Christe example ends here", "reading_order": 1198, "music_asset_refs": [ "267-a" ] }, { "id": "267-1", "type": "paragraph", "latin": "Tricinium hoc liberioris styli à Capella in gratiam modulationis, ac imitationis potiùs factum est, quàm ad alicujus subjecti, nisi in principio, obligationem: ubi post Clausulam, & parum quietis nova semper phantasia introducta, à cæteris partibus imitando excepta haud ingratam auribus exhibet melodiam: eò magis perceptibilem, quod partes plerumque per motum obliquum se sequentes gradiantur. Verùm cavendum est, ne Compositio sub ejusmodi proportione concitatiori mensurâ decantetur. Et quia stylus iste præcedenti à Capella absque Organo in gravitate Ecclesiastica proximè accedit, magisque moderno tempore usu receptus est, haud abs re erit, unum adhuc exemplum tibi considerandum proponere: Amen, nempe ex Missa mea: Credo in unum Deum.", "english": "This three-voice composition in the freer a cappella style was made more for the sake of melodic writing and imitation than under the obligation of any one subject, except at the beginning. After a cadence and a little rest, a new idea is continually introduced and taken up imitatively by the other parts, offering a melody not unpleasing to the ear. It is all the more perceptible because the parts generally follow one another by oblique motion. Care must nevertheless be taken not to sing a composition in this proportion at too rapid a measure. Since this style comes very close to the preceding unaccompanied a cappella style in ecclesiastical gravity and is more commonly used in modern times, it will not be out of place to present one further example for your consideration: the Amen from my Mass Credo in unum Deum.", "sources": [ { "pdf_page": 225, "printed_page": 267 } ], "exercise": 5, "lesson": 7, "reading_order": 1199 }, { "id": "268-h1", "type": "heading", "latin": "Tutti, presto moderato.", "english": "All together, moderately fast.", "sources": [ { "pdf_page": 226, "printed_page": 268 } ], "exercise": 5, "lesson": 7, "reading_order": 1200 }, { "id": "268-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 226, "printed_page": 268 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "268-a" ], "playback_status": "playback not yet available", "labels": [], "continues_to": { "printed_page": 269, "pdf_page": 227, "block": "269-a" }, "lyric_text_refs": [ "268-lyrics" ], "reading_order": 1201, "continuation_status": "resolved", "music_asset_refs": [ "268-a" ] }, { "id": "268-lyrics", "type": "lyrics", "latin": "Amen.", "english": "Amen.", "sources": [ { "pdf_page": 226, "printed_page": 268 } ], "exercise": 5, "lesson": 7, "role": "lyric-text-key", "reading_order": 1202, "lyric_policy": "Aligned lyric text keys give verbal content once; every printed repetition, syllable division, melisma and per-voice placement remains in the original crops. This is not a note-level underlay transcription." }, { "id": "268-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 226, "printed_page": 268 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "268-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 1203, "music_asset_refs": [ "268-custos" ] }, { "id": "269-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 227, "printed_page": 269 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "269-a" ], "playback_status": "playback not yet available", "labels": [], "continued_from": "268-a", "continues_to": { "printed_page": 270, "pdf_page": 228, "block": "270-a" }, "lyric_text_refs": [ "268-lyrics" ], "reading_order": 1204, "continuation_status": "resolved", "music_asset_refs": [ "269-a" ] }, { "id": "269-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 227, "printed_page": 269 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "269-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 1205, "music_asset_refs": [ "269-custos" ] }, { "id": "270-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 228, "printed_page": 270 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "270-a" ], "playback_status": "playback not yet available", "labels": [ { "latin": "tasto solo.", "english": "Bass notes alone." } ], "continued_from": "269-a", "continues_to": { "printed_page": 271, "pdf_page": 229, "block": "271-a" }, "lyric_text_refs": [ "268-lyrics" ], "reading_order": 1206, "continuation_status": "resolved", "music_asset_refs": [ "270-a" ] }, { "id": "271-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 229, "printed_page": 271 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "271-a" ], "playback_status": "playback not yet available", "labels": [], "continued_from": "270-a", "lyric_text_refs": [ "268-lyrics" ], "score_group_status": "Amen example ends here", "reading_order": 1207, "music_asset_refs": [ "271-a" ] }, { "id": "271-1", "type": "paragraph", "latin": "Considera, Josephe, partium cum subjecto, & rectâ Concordantiarum ratione, perpetuâque dissonantiarum catenâ colligatum incessum, ac modulationem, etsi naturalem, & facilem, minimè tamen ordinariam. Perpende prætereà partium conjunctionem, cui maxima Harmoniæ vis inest; atque nunquam interruptum motum ad finem usque perductum.", "english": "Consider, Joseph, the progress of the parts bound together with the subject, a correct disposition of concordances, and an unbroken chain of dissonances; and the melodic course, which, though natural and easy, is by no means ordinary. Consider also the joining of the parts, which contains the greatest force of harmony, and the motion carried to the end without interruption.", "sources": [ { "pdf_page": 229, "printed_page": 271 } ], "exercise": 5, "lesson": 7, "reading_order": 1208 }, { "id": "271-2", "type": "paragraph", "latin": "Joseph. Omnia, quæ memoras, perspicio, & miror: verùm videntur dissonantiæ hoc in concentu contra prohibitionem tuam ascendendo resolvi.", "english": "Joseph. I perceive and admire everything you mention, but the dissonances in this composition seem to resolve upward, contrary to your prohibition.", "sources": [ { "pdf_page": 229, "printed_page": 271 } ], "exercise": 5, "lesson": 7, "reading_order": 1209 }, { "id": "271-3", "type": "paragraph", "latin": "Aloys. Quod tu Josephe hîc tangis, id etiam ab excellenti quodam Musico circa hoc Amen objectum mihi est: non animadvertente Notam illam, nempe fusam post dissonantiam ascendentem, figuram esse variationis; & in gratiam motûs, & melioris Cantûs adjectam fuisse. Vide substantiam.", "english": "Aloysius. What you touch upon here, Joseph, was also raised against me by an excellent musician concerning this Amen. He did not observe that the note in question, the fusa ascending after the dissonance, is a figure of variation, added for the sake of motion and a better melodic line. Look at the substance.", "sources": [ { "pdf_page": 229, "printed_page": 271 } ], "exercise": 5, "lesson": 7, "reading_order": 1210 }, { "id": "271-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 229, "printed_page": 271 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "271-b" ], "playback_status": "ready", "labels": [], "reading_order": 1211, "music_asset_refs": [ "271-b" ] }, { "id": "271-4", "type": "paragraph", "latin": "Joseph. Fastidio mihi est rei tam claræ inadvertentia: ideòque variationis Figurarum dignoscendarum ante decretum judicium meum, majorem deinceps curam adhibebo.", "english": "Joseph. I am annoyed with myself for overlooking so clear a matter. Henceforth I shall therefore take greater care to recognize figures of variation before deciding my judgment.", "sources": [ { "pdf_page": 229, "printed_page": 271 } ], "exercise": 5, "lesson": 7, "reading_order": 1212 }, { "id": "272-1", "type": "paragraph", "latin": "Unum adhuc dubium, veniâ tuâ Magister, proponam.", "english": "With your permission, Master, I shall put forward one further doubt.", "sources": [ { "pdf_page": 230, "printed_page": 272 } ], "exercise": 5, "lesson": 7, "reading_order": 1213 }, { "id": "272-2", "type": "paragraph", "latin": "Aloys. Effare.", "english": "Aloysius. Speak.", "sources": [ { "pdf_page": 230, "printed_page": 272 } ], "exercise": 5, "lesson": 7, "reading_order": 1214 }, { "id": "272-3", "type": "paragraph", "latin": "Joseph. Memini, te prohibuisse, ne Dieses accidentaliter adhibitæ duplicentur. Et in hujus Amen tactu nono Diesim in Alto positam, in Tenore duplicatam conspicio. E. G.", "english": "Joseph. I remember that you forbade the doubling of sharps used as accidentals. Yet in the ninth measure of this Amen I see the sharp placed in the alto doubled in the tenor. For example:", "sources": [ { "pdf_page": 230, "printed_page": 272 } ], "exercise": 5, "lesson": 7, "reading_order": 1215 }, { "id": "272-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 230, "printed_page": 272 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "272-a" ], "playback_status": "ready", "labels": [], "reading_order": 1216, "music_asset_refs": [ "272-a" ] }, { "id": "272-4", "type": "paragraph", "latin": "Aloys. Dixi certè. Quia Diesis ex se magnam vim, & nonnihil asperitatis habens, duplicata cæteras partes fortitudine superat, æquabilitatemque Harmoniæ tollit. Valet itaque prohibitio, ubi Diesis duplicatio multùm moratur. Illa verò Tenoris Nota Diesi signata tam parvi valoris est, ut inconveniens, quod aliàs ex longiore mora resultaturum esset, tanti momenti non sit, cur proptereà texturæ concinnus ordo, quem & modulatio, & subjectum requirit, intermittatur.", "english": "Aloysius. I certainly did. For a sharp, possessing great force and some harshness in itself, when doubled overpowers the other parts and destroys the balance of harmony. The prohibition therefore holds where the doubled sharp lasts a long time. But that tenor note marked with a sharp is of so short a value that the inconvenience which would otherwise result from a longer duration is not important enough to interrupt the graceful ordering of the texture required by both the melodic course and the subject.", "sources": [ { "pdf_page": 230, "printed_page": 272 } ], "exercise": 5, "lesson": 7, "reading_order": 1217 }, { "id": "272-5", "type": "paragraph", "latin": "Joseph. Quum in hoc stylo instrumenta quoque cooperatores sint, quid de illis agendum? Haud ignoro, Tubas ductiles cum Alto, & Tenore in Unisono consonare solitas esse: sed quid Fidibus tribuendum?", "english": "Joseph. Since instruments also cooperate in this style, what should be done with them? I know that trombones customarily sound in unison with the alto and tenor, but what should be assigned to the strings?", "sources": [ { "pdf_page": 230, "printed_page": 272 } ], "exercise": 5, "lesson": 7, "reading_order": 1218 }, { "id": "272-6", "type": "paragraph", "latin": "Aloys. Et primis, & secundis Fidibus in hoc stylo à Capella cum Cantu in Unisono incedendum esse affirmo.", "english": "Aloysius. I affirm that in this a cappella style both the first and second violin parts should proceed in unison with the soprano.", "sources": [ { "pdf_page": 230, "printed_page": 272 } ], "exercise": 5, "lesson": 7, "reading_order": 1219 }, { "id": "272-7", "type": "paragraph", "latin": "Joseph. Audio tamen, conspicioque non rarò Fides in Compositionibus aliud quid ludentes.", "english": "Joseph. Yet I often hear and see the strings playing something else in compositions.", "sources": [ { "pdf_page": 230, "printed_page": 272 } ], "exercise": 5, "lesson": 7, "reading_order": 1220 }, { "id": "272-8", "type": "paragraph", "latin": "Aloys. Ità est. Sed quid faciunt? Saltûs improportionatos, inconcinnos, nullam habentes cantabilitatem: ità, ut susque, deque impropriè vagantes, Harmoniam, in cujus supplementum inducuntur, magis confundant, quàm promoveant. Etenim si Quatricinium juxta artis præcepta perfectum est, nullum quintæ parti spatium superesse potest subjecto introducendo. Quod idem de Tricinio intellige. Quod reliquum est, totum in pessima canendi ratione consistit.", "english": "Aloysius. That is so. But what do they do? Disproportionate, ungraceful leaps with no singable character, so that, wandering improperly up and down, they confuse rather than enhance the harmony they were introduced to support. For if the four-voice composition is complete according to the precepts of the art, no room can remain for a fifth part to introduce a subject. Understand the same of three-voice composition. Everything else amounts to a very bad melodic manner.", "sources": [ { "pdf_page": 230, "printed_page": 272 } ], "exercise": 5, "lesson": 7, "reading_order": 1221 }, { "id": "272-9", "type": "paragraph", "latin": "Joseph. Quid si primæ Fides, ut plurimis mos est, in Octava cum Alto consonarent?", "english": "Joseph. What if the first violin part sounded at the octave with the alto, as is customary with many?", "sources": [ { "pdf_page": 230, "printed_page": 272 } ], "exercise": 5, "lesson": 7, "reading_order": 1222 }, { "id": "272-10", "type": "paragraph", "latin": "Aloys. Si duplicatio vocum adjunctâ Tubâ ductili tanta fit, ut vim habeat Octavarum consecutionem cooperiendi, tolerari potest: si ob paucitatem vocum Octavæ auditu percipiuntur, certè rusticum ritum sordent: quam ob rem tutius tibi consilium capiendum censeo, ambas Fides Cantui conjungendo. Quod attinet ad cæteras Missæ partes, & Offertoria, Psalmos, & Hymnos &c. pro textûs varietate, ut antè dictum est, Musica dirigenda est, cum majori tamen licentia latiùs evagandi, quàm in stylo sine Organo.", "english": "Aloysius. If the doubling of the voices with an added trombone is so great as to have the power to conceal the succession of octaves, it can be tolerated. If, because of the small number of voices, the octaves are heard, they certainly savor of a rustic manner. I therefore think you should adopt the safer course of joining both violin parts to the soprano. As for the other portions of the Mass, offertories, psalms, hymns, and so forth, the music must be directed according to the variety of the text, as said before, but with greater freedom to range widely than in the style without organ.", "sources": [ { "pdf_page": 230, "printed_page": 272 }, { "pdf_page": 231, "printed_page": 273, "region": "opening continuation" } ], "exercise": 5, "lesson": 7, "reading_order": 1223 }, { "id": "273-1", "type": "paragraph", "latin": "Joseph. Quid observandum Compositori pluribus subjectis compositionem instructuro?", "english": "Joseph. What must a composer observe when furnishing a composition with several subjects?", "sources": [ { "pdf_page": 231, "printed_page": 273 } ], "exercise": 5, "lesson": 7, "reading_order": 1224 }, { "id": "273-2", "type": "paragraph", "latin": "Aloys. Quod attinet ad Musicam, id auxilio Contrapuncti duplicis efficiendum esse, suprà demonstratum est. Cæterùm cavendum, præterquam subjecta figurarum valore distincta, textui apta, & expressiva esse debeant, ne periodi contrariam inter se significationem habentes, conjungantur: ut V. G. Crucifixus, & Resurrexit; unde sensuum implicatio, & confusio nasceretur: quod permagnâ judicii attentione vitandum est. Nunc pergamus ad disserendum", "english": "Aloysius. As regards the music, it has been demonstrated above that this must be done with the aid of double counterpoint. Besides the subjects needing to be distinct in note value, suited to the text, and expressive, care must be taken not to combine periods with contrary meanings, for example “Crucifixus” and “Resurrexit”—“was crucified” and “rose again.” This would produce entanglement and confusion of meaning, which must be avoided with very attentive judgment. Now let us proceed to discuss", "sources": [ { "pdf_page": 231, "printed_page": 273 } ], "exercise": 5, "lesson": 7, "reading_order": 1225 }, { "id": "273-h1", "type": "heading", "latin": "De Stylo mixto.", "english": "On mixed style.", "sources": [ { "pdf_page": 231, "printed_page": 273 } ], "exercise": 5, "lesson": 7, "reading_order": 1226 }, { "id": "273-3", "type": "paragraph", "latin": "Per stylum mixtum intelligo Compositionem modò unâ, duabus, tribus, etiam pluribus vocibus, immixtis Instrumentis concertantem, modò pleno Choro instructam, quæ potissimum in Ecclesiis hodiè in usu est. Unde quia communis, & frequentissimè auditur, multùm de eo disserere, & exemplis illustrare, operæ pretium esse non existimo. Nisi ut moneam te, Josephe, ne obliviscaris Musicæ Ecclesiasticæ finis, & scopi: esse nempe devotionis excitandæ, cultûsque Divini rationem: ne stylum hunc cum theatrali, & saltatorio, more multorum confundas. Contra etiam ne opinione Musicæ sacræ assumendis Ideis sterilibus, nullumque locum habentibus, in fastidiosam intres morositatem, tædium potiùs, quàm devotionem parituram: sed cura tibi sit concentûs auditui grati, & in animos Auditorum cum oblectamento influentis. Ità denique memor omnium, quæ per longum cursum in admonitionem hucusque dicta sunt, Compositionem institues, ut meritoria sit apud Deum, & laude non careat apud homines.", "english": "By mixed style I understand a composition sometimes concerted for one, two, three, or more voices with instruments intermingled, sometimes furnished with a full choir, which is chiefly used in churches today. Since it is common and very frequently heard, I do not consider it worthwhile to discuss it at length or illustrate it with examples. I shall only remind you, Joseph, not to forget the purpose and aim of ecclesiastical music: namely, to arouse devotion and serve divine worship, lest you confuse this style with theatrical and dance styles, as many do. On the other hand, do not, under the notion of sacred music, take up barren and pointless ideas and fall into a tiresome austerity that produces weariness rather than devotion. Let your concern be for harmony pleasing to the ear and entering the listeners’ minds with delight. Finally, mindful of all the admonitions given throughout this long course, construct your composition so that it is meritorious before God and not without praise among people.", "sources": [ { "pdf_page": 231, "printed_page": 273 } ], "exercise": 5, "lesson": 7, "reading_order": 1227 }, { "id": "274-h1", "type": "heading", "latin": "De Stylo recitativo.", "english": "On recitative style.", "sources": [ { "pdf_page": 232, "printed_page": 274 } ], "exercise": 5, "lesson": 7, "reading_order": 1228 }, { "id": "274-1", "type": "paragraph", "latin": "Stylus recitativus aliud non est, quàm sermo Musicæ modulis expressus, sive Oratoria elocutio. Quemadmodum enim Declamator pro vario Orationis genere, variè quoque vocem flectit, modò incitando, modò remittendo, modò extollendo, modò deprimendo, ejus habitum affectûs inducere studet, quem animo exprimere concepit: idem Compositori Musices, pro textûs varietate faciendum est. In recitativo sermone quotidiano finitimo, Musica voce aliquantum remissâ instruenda est. In contentione vox acris nonnunquam vociferanti similis adhibetur, cum crebra Bassi mutatione. Textui dignitatem spiranti, Musica gravitate plena, rarâ Bassi mutatione applicetur, quæ maximè stylo Ecclesiastico convenit, qui non rarò adhibitis instrumentis usurpatur. E. G.", "english": "Recitative style is nothing other than speech expressed in musical phrases, or an oratorical delivery. Just as a declaimer varies the voice according to the kind of speech, now intensifying it, now relaxing it, now raising it, now lowering it, striving to impart the character of the feeling conceived in the mind, so the composer must do according to the variety of the text. In recitative close to everyday speech, the music should be arranged with a somewhat restrained voice. In contention a sharp voice, sometimes like shouting, is used, with frequent changes in the bass. To a text breathing dignity should be applied music full of gravity, with infrequent changes of bass. This is especially suited to ecclesiastical style, in which it is not rarely used with instruments. For example:", "sources": [ { "pdf_page": 232, "printed_page": 274 } ], "exercise": 5, "lesson": 7, "reading_order": 1229 }, { "id": "274-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 232, "printed_page": 274 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "274-a" ], "playback_status": "playback not yet available", "labels": [], "continues_to": { "printed_page": 275, "pdf_page": 233, "block": "275-a" }, "lyric_text_refs": [ "274-lyrics" ], "reading_order": 1230, "continuation_status": "resolved", "music_asset_refs": [ "274-a" ] }, { "id": "274-lyrics", "type": "lyrics", "latin": "Domine ne in furore tuo arguas me, neque in ira tua corripias me. Miserere mei, Domine, quoniam infirmus sum. Sana me, Domine, quoniam conturbata sunt ossa mea.", "english": "Lord, do not rebuke me in your wrath, nor chastise me in your anger. Have mercy on me, Lord, for I am weak. Heal me, Lord, for my bones are troubled.", "sources": [ { "pdf_page": 232, "printed_page": 274 }, { "pdf_page": 233, "printed_page": 275, "region": "opening continuation" }, { "pdf_page": 234, "printed_page": 276, "region": "opening continuation" } ], "exercise": 5, "lesson": 7, "role": "lyric-text-key", "reading_order": 1231, "lyric_policy": "Aligned lyric text keys give verbal content once; every printed repetition, syllable division, melisma and per-voice placement remains in the original crops. This is not a note-level underlay transcription." }, { "id": "274-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 232, "printed_page": 274 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "274-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 1232, "music_asset_refs": [ "274-custos" ] }, { "id": "275-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 233, "printed_page": 275 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "275-a" ], "playback_status": "playback not yet available", "labels": [], "continued_from": "274-a", "continues_to": { "printed_page": 276, "pdf_page": 234, "block": "276-a" }, "lyric_text_refs": [ "274-lyrics" ], "reading_order": 1233, "continuation_status": "resolved", "music_asset_refs": [ "275-a" ] }, { "id": "275-custos", "type": "notation_catchword", "latin": "", "english": "", "sources": [ { "pdf_page": 233, "printed_page": 275 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "275-custos" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 1234, "music_asset_refs": [ "275-custos" ] }, { "id": "276-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 234, "printed_page": 276 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "276-a" ], "playback_status": "playback not yet available", "labels": [], "continued_from": "275-a", "lyric_text_refs": [ "274-lyrics" ], "score_group_status": "recitative example ends here", "reading_order": 1235, "music_asset_refs": [ "276-a" ] }, { "id": "276-1", "type": "paragraph", "latin": "Joseph. Quid conspicio? Apparet, Instrumentorum concordantiam maximè in dissonantiarum Hypothesibus omninò de Contrapuncti regulis recedere.", "english": "Joseph. What do I see? It appears that the instruments’ concordance, especially in cases involving dissonances, departs entirely from the rules of counterpoint.", "sources": [ { "pdf_page": 234, "printed_page": 276 } ], "exercise": 5, "lesson": 7, "reading_order": 1236 }, { "id": "276-2", "type": "paragraph", "latin": "Aloys. Hanc aberrationem Recitativi naturæ concedendam ajo, in quo, quia Bassus non eo modo movetur, quo dissonantiæ resolvi solitæ sunt, neque tractatio consueto modo evenire potest. Deinde in hoc stylo non tam justa concordantiæ, quàm sensuum expressionis ratio attenditur, in cujus gratiam introductus est. Hoc fermè modo, vel paulò alio pro textûs varietate, Recitativum institui potest, ubi oratione supplici affectum nostrum erga Deum effundimus. Quod attinet ad Musicam profanam, nempe Cameralem, & Theatralem, quia finis diversus, etiam aliter fieri debere ratio docet.", "english": "Aloysius. I say that this departure must be conceded to the nature of recitative, in which, because the bass does not move in the manner by which dissonances are usually resolved, treatment in the customary way cannot occur. Moreover, in this style less attention is given to exact concordance than to the expression of feelings, for whose sake it was introduced. Recitative may be arranged more or less in this way, or somewhat differently according to the text, when we pour out our feeling toward God in supplicating speech. As for secular music, namely chamber and theatrical music, reason teaches that, because its aim is different, it must also be handled differently.", "sources": [ { "pdf_page": 234, "printed_page": 276 } ], "exercise": 5, "lesson": 7, "reading_order": 1237 }, { "id": "276-3", "type": "paragraph", "latin": "Instituitur itaque Musica profana animos Auditorum recreandi, inque diversos affectus distrahendi causâ: sunt autem affectus recitativo exprimendi fermè sequentes: Iracundiæ, Commiserationis, Metûs, Vis, Molestiæ, Voluptatis & Amoris.", "english": "Secular music is therefore arranged to refresh listeners’ minds and draw them into different feelings. The feelings to be expressed in recitative are generally these: anger, compassion, fear, force, distress, pleasure, and love.", "sources": [ { "pdf_page": 234, "printed_page": 276 } ], "exercise": 5, "lesson": 7, "reading_order": 1238 }, { "id": "276-4", "type": "paragraph", "latin": "Iracundia exprimitur genere vocis incitatæ, in acutum tendentis, & si vehementior erit, cum quodam clamore, voce præruptâ expresso: quod minutioribus Notarum figuris semper fermè in acutum ascendentibus, ac crebrâ Bassi mutatione efficitur. In qua re plurimùm refert attendere ad conditionem personæ iratæ. Si enim Rex est: nullatenus abibit in vociferationem muliebrem: sed servatâ Majestatis dignitate, Regiâ gravitate indignationem suam manifestabit: cujus ratio in omnibus aliis etiam affectibus habenda est.", "english": "Anger is expressed by an excited manner of voice tending upward and, if more vehement, with a kind of outcry expressed in an abrupt voice. This is achieved with smaller note forms almost always ascending into the high register and frequent changes in the bass. In this matter it is very important to consider the station of the angry character. If it is a king, he will by no means fall into womanly shouting, but, preserving the dignity of majesty, will manifest his indignation with royal gravity. The same consideration must be given in all other feelings as well.", "sources": [ { "pdf_page": 234, "printed_page": 276 }, { "pdf_page": 235, "printed_page": 277, "region": "opening continuation" } ], "exercise": 5, "lesson": 7, "reading_order": 1239 }, { "id": "277-1", "type": "paragraph", "latin": "Commiseratio exigit vocem flebilem nonnunquam interruptam, quæ figuris largioribus, iisque crebriùs dissonantibus, manente Basso per longius temporis spatium in eodem loco, exprimi videtur.", "english": "Compassion requires a plaintive voice, sometimes interrupted, which seems to be expressed by longer note forms, often dissonant, while the bass remains in the same place for a longer span of time.", "sources": [ { "pdf_page": 235, "printed_page": 277 } ], "exercise": 5, "lesson": 7, "reading_order": 1240 }, { "id": "277-2", "type": "paragraph", "latin": "Metus postulat vocem demissam, hæsitantem.", "english": "Fear calls for a lowered, hesitant voice.", "sources": [ { "pdf_page": 235, "printed_page": 277 } ], "exercise": 5, "lesson": 7, "reading_order": 1241 }, { "id": "277-3", "type": "paragraph", "latin": "Vis, voce vehementi, atque intensâ, & quadam gravitate firmatâ exhibetur.", "english": "Force is presented through a vehement and intense voice, strengthened by a certain gravity.", "sources": [ { "pdf_page": 235, "printed_page": 277 } ], "exercise": 5, "lesson": 7, "reading_order": 1242 }, { "id": "277-4", "type": "paragraph", "latin": "Voluptas utitur genere vocis effusæ, lenis tamen, & remissæ.", "english": "Pleasure uses a flowing manner of voice, yet gentle and relaxed.", "sources": [ { "pdf_page": 235, "printed_page": 277 } ], "exercise": 5, "lesson": 7, "reading_order": 1243 }, { "id": "277-5", "type": "paragraph", "latin": "Amoris affectus, voce blandâ, tenerâ, & affectuosâ exprimitur. Quum autem amorem haud rarò cæteri quoque affectus concomitentur, eorum etiam vel maximè ratio habenda est.", "english": "The feeling of love is expressed by a pleasing, tender, and affectionate voice. Since other feelings also not rarely accompany love, great consideration must be given to them as well.", "sources": [ { "pdf_page": 235, "printed_page": 277 } ], "exercise": 5, "lesson": 7, "reading_order": 1244 }, { "id": "277-6", "type": "paragraph", "latin": "Sunt prætereà partes Orationis sequentes exactè observandæ: Comma, Colon, Semicolon, Punctum, Signum Interrogationis, Admirationis, Parenthesis; quibus singulis fermè peculiaris desinentia tribuenda est.", "english": "Furthermore, the following divisions of speech must be carefully observed: comma, colon, semicolon, full stop, question mark, exclamation mark, and parenthesis. Almost each must be assigned its own particular ending.", "sources": [ { "pdf_page": 235, "printed_page": 277 } ], "exercise": 5, "lesson": 7, "reading_order": 1245 }, { "id": "277-7", "type": "paragraph", "latin": "Si Comma desinentiam desiderat, fiet sequenti modo. E. G.", "english": "If a comma calls for an ending, it will be made in the following way. For example:", "sources": [ { "pdf_page": 235, "printed_page": 277 } ], "exercise": 5, "lesson": 7, "reading_order": 1246 }, { "id": "277-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 235, "printed_page": 277 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "277-a" ], "playback_status": "ready", "labels": [ { "latin": "&c.", "english": "etc." } ], "reading_order": 1247, "music_asset_refs": [ "277-a" ] }, { "id": "277-8", "type": "paragraph", "latin": "Pari quasi Musicâ Semicolon notatur. Comma persæpe sine abruptione continuatur: ut si textûs sententia cum quadam præcipitatione depromi postulat.", "english": "A semicolon is marked with almost the same music. A comma is very often passed over without a break, as when the sense of the text requires delivery with a certain haste.", "sources": [ { "pdf_page": 235, "printed_page": 277 } ], "exercise": 5, "lesson": 7, "reading_order": 1248 }, { "id": "277-9", "type": "paragraph", "latin": "Colon fermè sequenti modo desinit.", "english": "A colon generally ends in the following way.", "sources": [ { "pdf_page": 235, "printed_page": 277 } ], "exercise": 5, "lesson": 7, "reading_order": 1249 }, { "id": "277-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 235, "printed_page": 277 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "277-b" ], "playback_status": "ready", "labels": [], "reading_order": 1250, "music_asset_refs": [ "277-b" ] }, { "id": "278-1", "type": "paragraph", "latin": "Eodem modo Punctum notatur, si periodus, & sententia quidem finita, verùm nihilominus de eadem re sermo continuatur: si autem alia prorsus Oratio introducitur, clausula formalis, plerumque tamen truncata adhibenda est. E. G.", "english": "A full stop is marked in the same way if the period and sentence have ended but speech nevertheless continues on the same matter. If an entirely different discourse is introduced, however, a formal cadence must be used, though generally an abbreviated one. For example:", "sources": [ { "pdf_page": 236, "printed_page": 278 } ], "exercise": 5, "lesson": 7, "reading_order": 1251 }, { "id": "278-a", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 236, "printed_page": 278 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "278-a" ], "playback_status": "playback not yet available", "labels": [], "reading_order": 1252, "music_asset_refs": [ "278-a" ] }, { "id": "278-2", "type": "paragraph", "latin": "Si autem finienda sit, sequenti modo institui debet.", "english": "But if the discourse is to end, it must be arranged in the following way.", "sources": [ { "pdf_page": 236, "printed_page": 278 } ], "exercise": 5, "lesson": 7, "reading_order": 1253 }, { "id": "278-b", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 236, "printed_page": 278 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "278-b" ], "playback_status": "ready", "labels": [], "reading_order": 1254, "music_asset_refs": [ "278-b" ] }, { "id": "278-3", "type": "paragraph", "latin": "Signum Interrogationis pro varia Orationis sententia variè etiam exprimitur. E. G.", "english": "A question mark is also expressed variously according to the differing sense of the discourse. For example:", "sources": [ { "pdf_page": 236, "printed_page": 278 } ], "exercise": 5, "lesson": 7, "reading_order": 1255 }, { "id": "278-c", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 236, "printed_page": 278 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "278-c" ], "playback_status": "ready", "labels": [], "reading_order": 1256, "music_asset_refs": [ "278-c" ] }, { "id": "278-4", "type": "paragraph", "latin": "Signum Admirationis, vel Exclamationis fermè sequenti modo indicatur.", "english": "A mark of wonder, or exclamation, is generally indicated in the following way.", "sources": [ { "pdf_page": 236, "printed_page": 278 } ], "exercise": 5, "lesson": 7, "reading_order": 1257 }, { "id": "278-d", "type": "music", "latin": "", "english": "", "sources": [ { "pdf_page": 236, "printed_page": 278 } ], "exercise": 5, "lesson": 7, "asset_refs": [ "278-d" ], "playback_status": "ready", "labels": [], "reading_order": 1258, "music_asset_refs": [ "278-d" ] }, { "id": "278-5", "type": "paragraph", "latin": "Periodus Parenthesi separata, quâ plerumque Oratio ad Auditorium duntaxat dirigi fingitur, ne à cæteris Actoribus percipiatur, remissiore voce depromenda est. Verùm hæc omnia judicio, usu, & Operum probatorum Auctorum aspectu magis, quàm Præceptis addiscuntur.", "english": "A period separated by parentheses, in which speech is generally imagined to be directed only to the audience so that the other actors do not perceive it, must be delivered in a quieter voice. But all these things are learned more through judgment, practice, and examination of works by approved authors than through precepts.", "sources": [ { "pdf_page": 236, "printed_page": 278 } ], "exercise": 5, "lesson": 7, "reading_order": 1259 }, { "id": "278-6", "type": "paragraph", "latin": "Joseph. Hæc itaque de Recitativo. Quæ das Præceptum de Ariis, ut vulgò dicimus, componendis?", "english": "Joseph. So much, then, for recitative. What advice do you give for composing arias, as we commonly call them?", "sources": [ { "pdf_page": 236, "printed_page": 278 } ], "exercise": 5, "lesson": 7, "reading_order": 1260 }, { "id": "278-7", "type": "paragraph", "latin": "Aloys. Quid certi de Musica arbitraria statuerem, quæ fermè lustrali mutationi subjecta est? Quod novitatis studium equidem nequaquam reprehendo, sed maximis extollo laudibus. Etenim, si homo mediocris ætatis habitu ante quinquaginta, vel sexaginta annos usitato, hodiè incederet, certè irridendi periculo se objiceret. Ità quoque Musica tempori accommodanda est. Verùm nondum Sartor utcunque in novitatis studium effusus, in conspectum meum venit, neque de eo loqui audivi, qui tunicæ manicas femori, aut genibus applicuisset: nec unquam Architectus tam stolidus repertus est, qui fundamentum ædificii fastigio imposuisset. Quod passim in Musica, non absque intelligentis dolore, & artis dedecore videmus, audimusque: ubi naturæ, artisque Præceptis inversis fundamentum de loco proprio extrusum, in altum cogitur, depressis cæteris partibus, non habitâ fundamenti ratione. Quam ob rem studebis tu quidem, Josephe, suo tempore, omnium virium contentione novitati, & inventioni; nullatenus prosternendo regulas artis, quæ naturam imitatur, & perficit; minimè autem destruit.", "english": "Aloysius. What fixed rule could I establish for freely invented music, which is subject to change almost every five years? I by no means censure this pursuit of novelty, but extol it with the highest praises. For if a middle-aged man walked about today in clothing customary fifty or sixty years ago, he would certainly expose himself to the danger of ridicule. Music too must thus be adapted to its time. Yet I have never seen or heard of a tailor, however devoted to novelty, who attached the sleeves of a tunic to the thigh or knees; nor has an architect ever been found so foolish as to place a building’s foundation on its roof. Yet we frequently see and hear the like in music, not without pain to those who understand and disgrace to the art: the precepts of nature and art are overturned, the foundation thrust from its proper place and driven upward, the other parts lowered, with no regard for the foundation. Therefore, Joseph, in due time you will devote all your strength to novelty and invention, but never overthrow the rules of the art, which imitates and perfects nature and does not destroy it.", "sources": [ { "pdf_page": 236, "printed_page": 278 }, { "pdf_page": 237, "printed_page": 279, "region": "opening continuation" } ], "exercise": 5, "lesson": 7, "reading_order": 1261 }, { "id": "279-1", "type": "paragraph", "latin": "His itaque, Josephe, assiduâ exercitatione in habitum, facilitatemque redactis, nihil tibi defuturum spero ad præclari Compositoris famam adipiscendam.", "english": "When these things, Joseph, have been made habitual and easy through diligent practice, I hope that nothing will be lacking for you to acquire the reputation of an excellent composer.", "sources": [ { "pdf_page": 237, "printed_page": 279 } ], "exercise": 5, "lesson": 7, "reading_order": 1262 }, { "id": "279-2", "type": "paragraph", "latin": "Joseph. Videris mihi, venerande Magister, Operi finem impositurus?", "english": "Joseph. It seems to me, revered Master, that you are about to bring the work to an end?", "sources": [ { "pdf_page": 237, "printed_page": 279 } ], "exercise": 5, "lesson": 7, "reading_order": 1263 }, { "id": "279-3", "type": "paragraph", "latin": "Aloys. Ità sanè. Non animadvertis torporem, & languorem imminentis infirmitatis meæ, nempe Podagræ solitos prænuncios? Scis prætereà, me & annis, & quasi nunquam intermittente infirmitate ità jam fractum esse, ut si me morbus solitâ acrimoniâ suâ invaderet, & more suo per sex Mensium spatium teneret, haud vanus animum incedat timor, ne hac vice eluctari non possem. Ideo ne Opusculum, præter cæteras imperfectiones, etiam fine careret, hicce finem impono.", "english": "Aloysius. Indeed. Do you not observe the numbness and weariness that are the usual forewarnings of my approaching illness, namely gout? You know also that I am now so weakened both by years and by almost unceasing illness that, if the disease attacked me with its customary severity and held me for six months as it usually does, no groundless fear would enter my mind that this time I might not struggle through it. Therefore, so that this little work may not lack an ending in addition to its other imperfections, I bring it to an end here.", "sources": [ { "pdf_page": 237, "printed_page": 279 } ], "exercise": 5, "lesson": 7, "reading_order": 1264 }, { "id": "279-4", "type": "paragraph", "latin": "Joseph. Ergo nihil trades de plurium vocum Compositione?", "english": "Joseph. Then will you teach nothing about composition for a greater number of voices?", "sources": [ { "pdf_page": 237, "printed_page": 279 } ], "exercise": 5, "lesson": 7, "reading_order": 1265 }, { "id": "279-5", "type": "paragraph", "latin": "Aloys. Animus mihi certè fuit, & tractatum de plurium vocum Compositione huic ipsi Operi inserendi: verùm interruptus, ut vides, valetudine, & jam lectulo affixus, deinceps id præstabo, peculiarem Tractatum edendo, si Deo Ter Optimo, & Maximo vitam prolongare, viresque concedere visum fuerit: cujus beneficio reliqua scitu restantia sine viva Magistri voce poteris edoceri. Interim vellem tibi persuasum esse, cui perfecti Quatricinii perficiendi potestas est, ad plurium partium Compositionem viam jam stratam esse: crescente enim vocum copia, de regularum rigore nonnihil remittitur. Vale, & Deum pro me ora.", "english": "Aloysius. I certainly intended to include a treatise on composition for a greater number of voices in this very work. But interrupted by ill health, as you see, and now confined to bed, I shall fulfill this later by publishing a separate treatise, if God, supremely good and great, sees fit to prolong my life and grant me strength. By its aid you will be able to learn what remains to be known without the living voice of a master. Meanwhile, I would have you be persuaded that whoever can produce a complete four-voice composition already has the path laid open to composition for more parts, for as the number of voices increases, something of the strictness of the rules is relaxed. Farewell, and pray to God for me.", "sources": [ { "pdf_page": 237, "printed_page": 279 } ], "exercise": 5, "lesson": 7, "reading_order": 1266 }, { "id": "279-finis", "type": "heading", "latin": "FINIS.", "english": "THE END.", "sources": [ { "pdf_page": 237, "printed_page": 279 } ], "exercise": 5, "lesson": 7, "reading_order": 1267 } ], "assets": [ { "id": "45-a", "path": "assets/45-a.png", "pdf_page": 3, "printed_page": 45, "bbox_pixels": [ 297, 1353, 994, 1500 ], "source_raster_dimensions": [ 1341, 2200 ], "render_long_edge_pixels": 2200, "description": "Original source crop including all music and associated analytical markings.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 697, 147 ], "musicxml": [ { "path": "musicxml/45-a.musicxml", "sha256": "84718914bf65bc8670f5da091914afca2e78fdaabdf561882d220696413bc269", "sourceVerifiedSha256": "84718914bf65bc8670f5da091914afca2e78fdaabdf561882d220696413bc269", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.", "Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.", "Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback." ], "ledger": "ledgers/early.json" } ], "music_transcription_status": "verified" }, { "id": "47-a", "path": "assets/47-a.png", "pdf_page": 5, "printed_page": 47, "bbox_pixels": [ 57, 216, 1253, 563 ], "source_raster_dimensions": [ 1341, 2200 ], "render_long_edge_pixels": 2200, "description": "Original source crop including all music and associated analytical markings.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1196, 347 ], "musicxml": [ { "path": "musicxml/47-a.musicxml", "sha256": "ee77bf08e79aabd5d84598c3282a84d1c5b3508c8736ec006261efe688df99e4", "sourceVerifiedSha256": "ee77bf08e79aabd5d84598c3282a84d1c5b3508c8736ec006261efe688df99e4", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.", "Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.", "Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback." ], "ledger": "ledgers/early.json" } ], "music_transcription_status": "verified" }, { "id": "48-a", "path": "assets/48-a.png", "pdf_page": 6, "printed_page": 48, "bbox_pixels": [ 88, 1041, 1282, 1410 ], "source_raster_dimensions": [ 1341, 2200 ], "render_long_edge_pixels": 2200, "description": "Original music with caption and analytical annotation retained.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1194, 369 ], "musicxml": [ { "path": "musicxml/48-a-original.musicxml", "sha256": "af6fa043647749b180631f8bd94ab8c1bb562591d34cb57c29ac3a7afab230dc", "sourceVerifiedSha256": "af6fa043647749b180631f8bd94ab8c1bb562591d34cb57c29ac3a7afab230dc", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Original errors at notes 1 and 2 preserved. 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clefs, staff positions, accidentals, note/rest durations and ties inspected.", "Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.", "Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback." ], "ledger": "ledgers/early.json" } ], "music_transcription_status": "verified" }, { "id": "54-a", "path": "assets/54-a.png", "pdf_page": 12, "printed_page": 54, "bbox_pixels": [ 387, 495, 908, 781 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 521, 286 ], "musicxml": [ { "path": "musicxml/54-a.musicxml", "sha256": "a8f5a86bebcba3334da471373afa532f302576a29f2c8e914dcb12cb5f9f2f38", "sourceVerifiedSha256": "a8f5a86bebcba3334da471373afa532f302576a29f2c8e914dcb12cb5f9f2f38", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Two separate bad progressions separated by double bars in the source; retained as successive measures." ], "verification": [ "Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.", "Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.", "Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback." ], "ledger": "ledgers/early.json" } ], "music_transcription_status": "verified" }, { "id": "54-b", "path": "assets/54-b.png", "pdf_page": 12, "printed_page": 54, "bbox_pixels": [ 391, 900, 915, 1181 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 524, 281 ], "musicxml": [ { "path": "musicxml/54-b.musicxml", "sha256": "80d00f3678638461f472ee591998e0f80f3584ac1e3bf669712e190ae8f3f28d", "sourceVerifiedSha256": "80d00f3678638461f472ee591998e0f80f3584ac1e3bf669712e190ae8f3f28d", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.", "Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.", "Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback." ], "ledger": "ledgers/early.json" } ], "music_transcription_status": "verified" }, { "id": "54-c", "path": "assets/54-c.png", "pdf_page": 12, "printed_page": 54, "bbox_pixels": [ 95, 1419, 1275, 1745 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1180, 326 ], "musicxml": [ { "path": "musicxml/54-c.musicxml", "sha256": "04552a7d0940199798bf3e85b5274e52ad6175dac881513f0f83c8302a9664cc", "sourceVerifiedSha256": "04552a7d0940199798bf3e85b5274e52ad6175dac881513f0f83c8302a9664cc", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.", "Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.", "Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback." ], "ledger": "ledgers/early.json" } ], "music_transcription_status": "verified" }, { "id": "55-a", "path": "assets/55-a.png", "pdf_page": 13, "printed_page": 55, "bbox_pixels": [ 62, 1021, 1273, 1300 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1211, 279 ], "musicxml": [ { "path": "musicxml/55-a.musicxml", "sha256": "b34846fc1288e855936383ff6d31f165e016eb6d94fe772569cdc405e5fecb24", "sourceVerifiedSha256": "b34846fc1288e855936383ff6d31f165e016eb6d94fe772569cdc405e5fecb24", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.", "Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.", "Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback." ], "ledger": "ledgers/early.json" } ], "music_transcription_status": "verified" }, { "id": "55-b", "path": "assets/55-b.png", "pdf_page": 13, "printed_page": 55, "bbox_pixels": [ 70, 1399, 1264, 1690 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1194, 291 ], "musicxml": [ { "path": "musicxml/55-b.musicxml", "sha256": "e95823122822dc6cd53b718819e2764a1170a82144f53e8c3238b0c22ca5220b", "sourceVerifiedSha256": "e95823122822dc6cd53b718819e2764a1170a82144f53e8c3238b0c22ca5220b", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.", "Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.", "Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback." ], "ledger": "ledgers/early.json" } ], "music_transcription_status": "verified" }, { "id": "56-a", "path": "assets/56-a.png", "pdf_page": 14, "printed_page": 56, "bbox_pixels": [ 248, 1258, 1101, 1474 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 853, 216 ], "musicxml": [ { "path": "musicxml/56-a-1.musicxml", "sha256": "a957cbdb7a99cc731d9d79e6a47982df20852fa56a530e384a1b358dbbc9937d", "sourceVerifiedSha256": "a957cbdb7a99cc731d9d79e6a47982df20852fa56a530e384a1b358dbbc9937d", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Shared-staff comparison represented as two parts." ], "verification": [ "Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.", "Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.", "Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback." ], "ledger": "ledgers/early.json" }, { "path": "musicxml/56-a-2.musicxml", "sha256": "aac672ffaa4e9874eec7e58e396577e6929eb32eab40c19719bbd80912416685", "sourceVerifiedSha256": "aac672ffaa4e9874eec7e58e396577e6929eb32eab40c19719bbd80912416685", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Shared-staff comparison represented as two parts." ], "verification": [ "Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.", "Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.", "Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback." ], "ledger": "ledgers/early.json" }, { "path": "musicxml/56-a-3.musicxml", "sha256": "167ff153af62129851bf2b4729e5a91d0bf3a8e9ddc951b3c503ab95b1f358e9", "sourceVerifiedSha256": "167ff153af62129851bf2b4729e5a91d0bf3a8e9ddc951b3c503ab95b1f358e9", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Shared-staff comparison represented as two parts." ], "verification": [ "Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.", "Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.", "Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback." ], "ledger": "ledgers/early.json" } ], "music_transcription_status": "verified" }, { "id": "57-a", "path": "assets/57-a.png", "pdf_page": 15, "printed_page": 57, "bbox_pixels": [ 317, 319, 857, 618 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 540, 299 ], "musicxml": [ { "path": "musicxml/57-a-1.musicxml", "sha256": "d9b37b34cf1b48a07019bb89f9b939751be622cf833db81b9c5823693cc15c65", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Upper final breve is smeared/overprinted; D4 reading follows visible lower notehead and cadence but needs independent high-resolution confirmation." ], "verification": [ "Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.", "Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.", "Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback." ], "ledger": "ledgers/early.json" }, { "path": "musicxml/57-a-2.musicxml", "sha256": "a07b110a1208d224e2452fe362b20ad761c861871664971f5595af8f9f5ea057", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Upper final breve is smeared/overprinted; D4 reading follows visible lower notehead and cadence but needs independent high-resolution confirmation." ], "verification": [ "Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.", "Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.", "Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback." ], "ledger": "ledgers/early.json" } ], "music_transcription_status": "needs-review" }, { "id": "57-b", "path": "assets/57-b.png", "pdf_page": 15, "printed_page": 57, "bbox_pixels": [ 42, 1076, 1242, 1428 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1200, 352 ], "musicxml": [ { "path": "musicxml/57-b.musicxml", "sha256": "7faef0ddf3ae16ff82dd10d302e400bab77bdf4e66c67ab7b95bc0d16f7020ce", "sourceVerifiedSha256": "7faef0ddf3ae16ff82dd10d302e400bab77bdf4e66c67ab7b95bc0d16f7020ce", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Intentional source faults at measures 9 and 10 retained." ], "verification": [ "Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.", "Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.", "Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback." ], "ledger": "ledgers/early.json" } ], "music_transcription_status": "verified" }, { "id": "58-a", "path": "assets/58-a.png", "pdf_page": 16, "printed_page": 58, "bbox_pixels": [ 424, 306, 926, 629 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 502, 323 ], "musicxml": [ { "path": "musicxml/58-a.musicxml", "sha256": "96954cfbc3d093a8c529a0a6882cf70d50e5d64a6223df98a43140d898c33f4c", "sourceVerifiedSha256": "96954cfbc3d093a8c529a0a6882cf70d50e5d64a6223df98a43140d898c33f4c", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Final upper measure has only the printed half note; no balancing rest invented." ], "verification": [ "Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.", "Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.", "Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback." ], "ledger": "ledgers/early.json" } ], "music_transcription_status": "verified" }, { "id": "58-b", "path": "assets/58-b.png", "pdf_page": 16, "printed_page": 58, "bbox_pixels": [ 488, 772, 846, 1067 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 358, 295 ], "musicxml": [ { "path": "musicxml/58-b.musicxml", "sha256": "a9ae357afbb1b0ffc781e1ea3cffddc6f303a1931d9c83b64763dab577371456", "sourceVerifiedSha256": "a9ae357afbb1b0ffc781e1ea3cffddc6f303a1931d9c83b64763dab577371456", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.", "Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.", "Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback." ], "ledger": "ledgers/early.json" } ], "music_transcription_status": "verified" }, { "id": "58-c", "path": "assets/58-c.png", "pdf_page": 16, "printed_page": 58, "bbox_pixels": [ 277, 1135, 1049, 1459 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 772, 324 ], "musicxml": [ { "path": "musicxml/58-c.musicxml", "sha256": "654a8b39cde5b12a4db5adbe62e33a980f9c0e7709a47e232ad0d08cd344905e", "sourceVerifiedSha256": "654a8b39cde5b12a4db5adbe62e33a980f9c0e7709a47e232ad0d08cd344905e", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Two compared versions separated by double bars in source." ], "verification": [ "Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.", "Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.", "Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback." ], "ledger": "ledgers/early.json" } ], "music_transcription_status": "verified" }, { "id": "58-d", "path": "assets/58-d.png", "pdf_page": 16, "printed_page": 58, "bbox_pixels": [ 372, 1762, 972, 2057 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 600, 295 ], "musicxml": [ { "path": "musicxml/58-d.musicxml", "sha256": "1a3ea7f047fc21ee76994fcf606ea1674a3760c7b9a0f32f9dbee5102c421211", "sourceVerifiedSha256": "1a3ea7f047fc21ee76994fcf606ea1674a3760c7b9a0f32f9dbee5102c421211", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.", "Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.", "Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback." ], "ledger": "ledgers/early.json" } ], "music_transcription_status": "verified" }, { "id": "59-a", "path": "assets/59-a.png", "pdf_page": 17, "printed_page": 59, "bbox_pixels": [ 424, 405, 734, 730 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 310, 325 ], "musicxml": [ { "path": "musicxml/59-a.musicxml", "sha256": "fe81782b27e529dc90b72abca70055ce7b5dcff09079e8a88c834422e1fbb8ad", "sourceVerifiedSha256": "fe81782b27e529dc90b72abca70055ce7b5dcff09079e8a88c834422e1fbb8ad", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.", "Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.", "Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback." ], "ledger": "ledgers/early.json" } ], "music_transcription_status": "verified" }, { "id": "59-b", "path": "assets/59-b.png", "pdf_page": 17, "printed_page": 59, "bbox_pixels": [ 470, 902, 831, 1188 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 361, 286 ], "musicxml": [ { "path": "musicxml/59-b.musicxml", "sha256": "9756f675350fb4c730a6ddb52ebe7cc204186014dbe7bacb5940ead75c712673", "sourceVerifiedSha256": "9756f675350fb4c730a6ddb52ebe7cc204186014dbe7bacb5940ead75c712673", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.", "Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.", "Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback." ], "ledger": "ledgers/early.json" } ], "music_transcription_status": "verified" }, { "id": "59-c", "path": "assets/59-c.png", "pdf_page": 17, "printed_page": 59, "bbox_pixels": [ 75, 1269, 1275, 1610 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1200, 341 ], "musicxml": [ { "path": "musicxml/59-c.musicxml", "sha256": "41279637328a3778b99db915606cf50c60f7660aebcad5e4a26809cca7d40cd9", "sourceVerifiedSha256": "41279637328a3778b99db915606cf50c60f7660aebcad5e4a26809cca7d40cd9", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.", "Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.", "Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback." ], "ledger": "ledgers/early.json" } ], "music_transcription_status": "verified" }, { "id": "60-a", "path": "assets/60-a.png", "pdf_page": 18, "printed_page": 60, "bbox_pixels": [ 79, 306, 1271, 583 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 1192, 277 ], "musicxml": [ { "path": "musicxml/60-a-1.musicxml", "sha256": "1ee8c1931e2481bc943c4efdfb12056d7ec49588985d4e04b2ad95bb2ea7da8d", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Unbarred analytical reduction has one upper whole note against three lower whole notes. Literal source durations retained, so playback alignment in this reduction needs review." ], "verification": [ "Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.", "Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.", "Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback." ], "ledger": "ledgers/early.json" }, { "path": "musicxml/60-a-2.musicxml", "sha256": "d68243cd037be3ed0f757b6ab75effc53598af41e522da5e5e2af29eba1568d5", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Unbarred analytical reduction has one upper whole note against three lower whole notes. 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clefs, staff positions, accidentals, note/rest durations and ties inspected.", "Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.", "Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback." ], "ledger": "ledgers/early.json" } ], "music_transcription_status": "verified" }, { "id": "66-b", "path": "assets/66-b.png", "pdf_page": 24, "printed_page": 66, "bbox_pixels": [ 446, 653, 1040, 926 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 594, 273 ], "musicxml": [ { "path": "musicxml/66-b.musicxml", "sha256": "d334f47f423ddaf74f54c5ad70523b7ae4f51710ab257034e0dd447d66f3131b", "sourceVerifiedSha256": "d334f47f423ddaf74f54c5ad70523b7ae4f51710ab257034e0dd447d66f3131b", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.", "Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.", "Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback." ], "ledger": "ledgers/early.json" } ], "music_transcription_status": "verified" }, { "id": "66-c", "path": "assets/66-c.png", "pdf_page": 24, "printed_page": 66, "bbox_pixels": [ 134, 1313, 1326, 1976 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1192, 663 ], "musicxml": [ { "path": "musicxml/66-c.musicxml", "sha256": "8eb248d0b6721783b949dc164f7ca54548a629617b8b5f72618bc8f676b2f4ff", "sourceVerifiedSha256": "8eb248d0b6721783b949dc164f7ca54548a629617b8b5f72618bc8f676b2f4ff", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.", "Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.", "Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback." ], "ledger": "ledgers/early.json" } ], "music_transcription_status": "verified" }, { "id": "67-a", "path": "assets/67-a.png", "pdf_page": 25, "printed_page": 67, "bbox_pixels": [ 59, 231, 1266, 895 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1207, 664 ], "musicxml": [ { "path": "musicxml/67-a.musicxml", "sha256": "f6b820acf69aca821895da263c22f86fc98ea4f243b071abd3475bf1d71d7c8f", "sourceVerifiedSha256": "f6b820acf69aca821895da263c22f86fc98ea4f243b071abd3475bf1d71d7c8f", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.", "Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.", "Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback." ], "ledger": "ledgers/early.json" } ], "music_transcription_status": "verified" }, { "id": "67-b", "path": "assets/67-b.png", "pdf_page": 25, "printed_page": 67, "bbox_pixels": [ 62, 957, 1266, 1586 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1204, 629 ], "musicxml": [ { "path": "musicxml/67-b.musicxml", "sha256": "94200f18d2d3848c1f6c35292fdb2027efc05ba78341e1d50bf565a010e9462e", "sourceVerifiedSha256": "94200f18d2d3848c1f6c35292fdb2027efc05ba78341e1d50bf565a010e9462e", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.", "Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.", "Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback." ], "ledger": "ledgers/early.json" } ], "music_transcription_status": "verified" }, { "id": "67-c", "path": "assets/67-c.png", "pdf_page": 25, "printed_page": 67, "bbox_pixels": [ 62, 1632, 1266, 1938 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1204, 306 ], "musicxml": [ { "path": "musicxml/67-c-68-a.musicxml", "sha256": "2fce801008eec9a6f0591c89503f8611698c71f567528aa36efb1ac8489a75a4", "sourceVerifiedSha256": "2fce801008eec9a6f0591c89503f8611698c71f567528aa36efb1ac8489a75a4", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.", "Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.", "Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback." ], "ledger": "ledgers/early.json" } ], "music_transcription_status": "verified" }, { "id": "67-c-custos", "path": "assets/67-c-custos.png", "pdf_page": 25, "printed_page": 67, "bbox_pixels": [ 1115, 1929, 1253, 2064 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original small musical catchword/custos anticipating the next page; recorded separately from performed body music.", "playback_status": "not applicable", "kind": "musical_page_catchword", "dimensions_pixels": [ 138, 135 ], "musicxml": [], "music_transcription_status": "non-music" }, { "id": "68-a", "path": "assets/68-a.png", "pdf_page": 26, "printed_page": 68, "bbox_pixels": [ 249, 216, 1221, 484 ], "source_raster_dimensions": [ 1283, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 972, 268 ], "musicxml": [ { "path": "musicxml/67-c-68-a.musicxml", "sha256": "2fce801008eec9a6f0591c89503f8611698c71f567528aa36efb1ac8489a75a4", "sourceVerifiedSha256": "2fce801008eec9a6f0591c89503f8611698c71f567528aa36efb1ac8489a75a4", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.", "Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.", "Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback." ], "ledger": "ledgers/early.json" } ], "music_transcription_status": "continuation" }, { "id": "68-b", "path": "assets/68-b.png", "pdf_page": 26, "printed_page": 68, "bbox_pixels": [ 94, 568, 1226, 1140 ], "source_raster_dimensions": [ 1283, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1132, 572 ], "musicxml": [ { "path": "musicxml/68-b.musicxml", "sha256": "1ca0842711b70e0bc21042df01c4a7d306c9b041259e0702084ce57736ed0ade", "sourceVerifiedSha256": "1ca0842711b70e0bc21042df01c4a7d306c9b041259e0702084ce57736ed0ade", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.", "Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.", "Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback." ], "ledger": "ledgers/early.json" } ], "music_transcription_status": "verified" }, { "id": "68-c", "path": "assets/68-c.png", "pdf_page": 26, "printed_page": 68, "bbox_pixels": [ 94, 1206, 1233, 1804 ], "source_raster_dimensions": [ 1283, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1139, 598 ], "musicxml": [ { "path": "musicxml/68-c.musicxml", "sha256": "8cd58b86f38c8c2b17cf399cdbdedc7b815295576226720b8dd6870bc4489448", "sourceVerifiedSha256": "8cd58b86f38c8c2b17cf399cdbdedc7b815295576226720b8dd6870bc4489448", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.", "Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.", "Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback." ], "ledger": "ledgers/early.json" } ], "music_transcription_status": "verified" }, { "id": "69-a", "path": "assets/69-a.png", "pdf_page": 27, "printed_page": 69, "bbox_pixels": [ 191, 1452, 1020, 1773 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 829, 321 ], "musicxml": [ { "path": "musicxml/69-a.musicxml", "sha256": "244199faf81161d448f758ba80a31ef2686ea1db4029a287c3c13f46e1f6a08f", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Final outgoing source tie preserved in visual notations only. No receiving note exists in excerpt; playback stops at last written duration." ], "verification": [ "Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.", "Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.", "Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback." ], "ledger": "ledgers/early.json" } ], "music_transcription_status": "needs-review" }, { "id": "70-a", "path": "assets/70-a.png", "pdf_page": 28, "printed_page": 70, "bbox_pixels": [ 385, 293, 1141, 594 ], "source_raster_dimensions": [ 1436, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 756, 301 ], "musicxml": [ { "path": "musicxml/70-a.musicxml", "sha256": "4469b28e8ceb4b305f30af3e91614b031a399dad1b3ee744ab55d523210e0450", "sourceVerifiedSha256": "4469b28e8ceb4b305f30af3e91614b031a399dad1b3ee744ab55d523210e0450", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.", "Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.", "Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback." ], "ledger": "ledgers/early.json" } ], "music_transcription_status": "verified" }, { "id": "70-b", "path": "assets/70-b.png", "pdf_page": 28, "printed_page": 70, "bbox_pixels": [ 411, 1386, 1078, 1698 ], "source_raster_dimensions": [ 1436, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 667, 312 ], "musicxml": [ { "path": "musicxml/70-b.musicxml", "sha256": "14047e090318d3541dca659e5c5b02efa7ac3f7530dd84c833b7fe6633e9415e", "sourceVerifiedSha256": "14047e090318d3541dca659e5c5b02efa7ac3f7530dd84c833b7fe6633e9415e", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.", "Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.", "Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback." ], "ledger": "ledgers/early.json" } ], "music_transcription_status": "verified" }, { "id": "70-c", "path": "assets/70-c.png", "pdf_page": 28, "printed_page": 70, "bbox_pixels": [ 449, 1782, 1049, 2039 ], "source_raster_dimensions": [ 1436, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 600, 257 ], "musicxml": [ { "path": "musicxml/70-c.musicxml", "sha256": "4ff9f0d8c73639988acd6c6e6b44367ca1285576288549a89e1db65783d9c010", "sourceVerifiedSha256": "4ff9f0d8c73639988acd6c6e6b44367ca1285576288549a89e1db65783d9c010", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.", "Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.", "Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback." ], "ledger": "ledgers/early.json" } ], "music_transcription_status": "verified" }, { "id": "71-a", "path": "assets/71-a.png", "pdf_page": 29, "printed_page": 71, "bbox_pixels": [ 165, 647, 1121, 999 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 956, 352 ], "musicxml": [ { "path": "musicxml/71-a-1.musicxml", "sha256": "a0c92125f8c1744a20ddec4d3fb9a909a24067fd14a9e652ab62fca1bb8927e2", "sourceVerifiedSha256": "a0c92125f8c1744a20ddec4d3fb9a909a24067fd14a9e652ab62fca1bb8927e2", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Printed bad suspension retained." ], "verification": [ "Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.", "Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.", "Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback." ], "ledger": "ledgers/early.json" }, { "path": "musicxml/71-a-2.musicxml", "sha256": "d6f6da66bd3b86ea4b16eba14d3dcb40271e9921b7619dea3dfa39d55d81d1b3", "sourceVerifiedSha256": "d6f6da66bd3b86ea4b16eba14d3dcb40271e9921b7619dea3dfa39d55d81d1b3", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Printed bad suspension retained." ], "verification": [ "Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.", "Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.", "Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback." ], "ledger": "ledgers/early.json" } ], "music_transcription_status": "verified" }, { "id": "71-b", "path": "assets/71-b.png", "pdf_page": 29, "printed_page": 71, "bbox_pixels": [ 158, 1179, 1090, 1467 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 932, 288 ], "musicxml": [ { "path": "musicxml/71-b-1.musicxml", "sha256": "7d280405a479587b1dce2f265d56f4cb9e5cae5f82260b50b48b1a2669805e42", "sourceVerifiedSha256": "7d280405a479587b1dce2f265d56f4cb9e5cae5f82260b50b48b1a2669805e42", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.", "Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.", "Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback." ], "ledger": "ledgers/early.json" }, { "path": "musicxml/71-b-2.musicxml", "sha256": "7d66c303421b6d547051d20332090f35f658446d2f1efb0284415be82b304594", "sourceVerifiedSha256": "7d66c303421b6d547051d20332090f35f658446d2f1efb0284415be82b304594", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.", "Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.", "Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback." ], "ledger": "ledgers/early.json" } ], "music_transcription_status": "verified" }, { "id": "71-c", "path": "assets/71-c.png", "pdf_page": 29, "printed_page": 71, "bbox_pixels": [ 270, 1608, 1016, 1965 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 746, 357 ], "musicxml": [ { "path": "musicxml/71-c-1.musicxml", "sha256": "691f13dca78fd6b4501a6b4d7280594809fce316ca2a2d0471e2e3d069b0f3ee", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Upper soprano clef pitch reading appears to conflict with printed8/9/8 figures; needs independent clef/note check." ], "verification": [ "Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.", "Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.", "Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback." ], "ledger": "ledgers/early.json" }, { "path": "musicxml/71-c-2.musicxml", "sha256": "d57df1c8a3177a2d273361e482318cf1eee154163b0d205ef8a07b0831ccf47c", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Upper soprano clef pitch reading appears to conflict with printed8/9/8 figures; needs independent clef/note check." ], "verification": [ "Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.", "Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.", "Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback." ], "ledger": "ledgers/early.json" } ], "music_transcription_status": "needs-review" }, { "id": "72-a", "path": "assets/72-a.png", "pdf_page": 30, "printed_page": 72, "bbox_pixels": [ 299, 288, 1046, 572 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 747, 284 ], "musicxml": [ { "path": "musicxml/72-a-1.musicxml", "sha256": "8b32cb68dd78414298f74638bb4cfaf59ebb0646b1a07cd7f54e3a905a56ef70", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Same upper-clef question as71-c second example." ], "verification": [ "Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.", "Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.", "Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback." ], "ledger": "ledgers/early.json" }, { "path": "musicxml/72-a-2.musicxml", "sha256": "88bf41c580b26d5d190733deae4c15cce55107a8a11184ce6faf9e97d86fb496", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Same upper-clef question as71-c second example." ], "verification": [ "Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.", "Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.", "Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback." ], "ledger": "ledgers/early.json" } ], "music_transcription_status": "needs-review" }, { "id": "72-b", "path": "assets/72-b.png", "pdf_page": 30, "printed_page": 72, "bbox_pixels": [ 90, 966, 1277, 1294 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1187, 328 ], "musicxml": [ { "path": "musicxml/72-b-1.musicxml", "sha256": "1fcee3ab433d942e2a96c330aa77d990f8e5a3a37344f7e0a7752bd919b66766", "sourceVerifiedSha256": "1fcee3ab433d942e2a96c330aa77d990f8e5a3a37344f7e0a7752bd919b66766", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.", "Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.", "Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback." ], "ledger": "ledgers/early.json" }, { "path": "musicxml/72-b-2.musicxml", "sha256": "c5a8aea14786dafbfe7647fcec65a095f911e5462656b666c6f3bf300782d079", "sourceVerifiedSha256": "c5a8aea14786dafbfe7647fcec65a095f911e5462656b666c6f3bf300782d079", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.", "Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.", "Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback." ], "ledger": "ledgers/early.json" }, { "path": "musicxml/72-b-3.musicxml", "sha256": "1462edcbdde3400e069caeb02a0efe8d4609e1f56ce709988ec50cc23a0df585", "sourceVerifiedSha256": "1462edcbdde3400e069caeb02a0efe8d4609e1f56ce709988ec50cc23a0df585", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual transcription of every source crop; 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no catch-note playback." ], "ledger": "ledgers/early.json" } ], "music_transcription_status": "verified" }, { "id": "74-a", "path": "assets/74-a.png", "pdf_page": 32, "printed_page": 74, "bbox_pixels": [ 92, 583, 1277, 953 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1185, 370 ], "musicxml": [ { "path": "musicxml/74-a.musicxml", "sha256": "10bf989f68dc3652bc8bdddc2b71c8d88e0a43a1560f157b73de278f6c4e2022", "sourceVerifiedSha256": "10bf989f68dc3652bc8bdddc2b71c8d88e0a43a1560f157b73de278f6c4e2022", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.", "Every linked MusicXML passed parseScore and Verovio rendering; 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no catch-note playback.", "Post-bar augmentation dots normalized as tied continuation notes; regenerated render inspected and parser confirmed one sustained playback event." ], "ledger": "ledgers/early.json" }, { "path": "musicxml/76-a-4.musicxml", "sha256": "27285f2ca5d468239529bd18febb494a22fe7acf2d9cadde766613c8f05f0891", "sourceVerifiedSha256": "27285f2ca5d468239529bd18febb494a22fe7acf2d9cadde766613c8f05f0891", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.", "Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.", "Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback.", "Post-bar augmentation dots normalized as tied continuation notes; regenerated render inspected and parser confirmed one sustained playback event." ], "ledger": "ledgers/early.json" } ], "music_transcription_status": "verified" }, { "id": "76-b", "path": "assets/76-b.png", "pdf_page": 34, "printed_page": 76, "bbox_pixels": [ 391, 1014, 950, 1157 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 559, 143 ], "musicxml": [ { "path": "musicxml/76-b.musicxml", "sha256": "4bfee8eaa754cd31125a416c031ab3b15c0b3012863c97e78faf26e0c29f931f", "sourceVerifiedSha256": "4bfee8eaa754cd31125a416c031ab3b15c0b3012863c97e78faf26e0c29f931f", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual transcription of every source crop; 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explicit issues remain where flagged." ], "ledger": "ledgers/middle.json" } ], "music_transcription_status": "verified" }, { "id": "113-c", "path": "assets/113-c.png", "pdf_page": 71, "printed_page": 113, "bbox_pixels": [ 18, 1115, 1216, 1582 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1198, 467 ], "musicxml": [ { "path": "musicxml/113-c.musicxml", "sha256": "93553d523e35b0e8e42dc0e8bc370a1a0d3c1ef2f267d03a13e431462cb7dd47", "sourceVerifiedSha256": "93553d523e35b0e8e42dc0e8bc370a1a0d3c1ef2f267d03a13e431462cb7dd47", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Dots across source bars normalized using editorial ties1–2,4–5,6–7." ], "verification": [ "Direct visual reading of source notes, clefs and rhythms.", "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle.json" } ], "music_transcription_status": "verified" }, { "id": "113-d", "path": "assets/113-d.png", "pdf_page": 71, "printed_page": 113, "bbox_pixels": [ 18, 1608, 1218, 2031 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1200, 423 ], "musicxml": [ { "path": "musicxml/113-d.musicxml", "sha256": "768bb5c1bec4c04d80f3f6b1e58e3b1e592121cfcfc81926d087c7fe6ef2eb69", "sourceVerifiedSha256": "768bb5c1bec4c04d80f3f6b1e58e3b1e592121cfcfc81926d087c7fe6ef2eb69", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual reading of source notes, clefs and rhythms.", "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle.json" } ], "music_transcription_status": "verified" }, { "id": "114-a", "path": "assets/114-a.png", "pdf_page": 72, "printed_page": 114, "bbox_pixels": [ 92, 187, 1275, 667 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1183, 480 ], "musicxml": [ { "path": "musicxml/114-a.musicxml", "sha256": "0010a7f3e8e0d312ec517013f545f872a8a0ebfca3c5c664c1a079f8d0c0a923", "sourceVerifiedSha256": "0010a7f3e8e0d312ec517013f545f872a8a0ebfca3c5c664c1a079f8d0c0a923", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Dots across source bars normalized with editorial ties4–5,5–6,7–8." ], "verification": [ "Direct visual reading of source notes, clefs and rhythms.", "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle.json" } ], "music_transcription_status": "verified" }, { "id": "115-a", "path": "assets/115-a.png", "pdf_page": 73, "printed_page": 115, "bbox_pixels": [ 35, 759, 1222, 1410 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1187, 651 ], "musicxml": [ { "path": "musicxml/115-a.musicxml", "sha256": "8e2ebe1a05141f8f37a37228f70ed161411e0fef4e284c2fa868516083c63456", "sourceVerifiedSha256": "8e2ebe1a05141f8f37a37228f70ed161411e0fef4e284c2fa868516083c63456", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual reading of source notes, clefs and rhythms.", "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle.json" } ], "music_transcription_status": "verified" }, { "id": "116-a", "path": "assets/116-a.png", "pdf_page": 74, "printed_page": 116, "bbox_pixels": [ 506, 911, 712, 1060 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 206, 149 ], "musicxml": [ { "path": "musicxml/116-a.musicxml", "sha256": "5f5c5642d774a48ea1b926913b1476ebcb8717880f114d00110daa25c6f43019", "sourceVerifiedSha256": "5f5c5642d774a48ea1b926913b1476ebcb8717880f114d00110daa25c6f43019", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual reading of source notes, clefs and rhythms.", "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle.json" } ], "music_transcription_status": "verified" }, { "id": "116-b", "path": "assets/116-b.png", "pdf_page": 74, "printed_page": 116, "bbox_pixels": [ 508, 1364, 701, 1520 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 193, 156 ], "musicxml": [ { "path": "musicxml/116-b.musicxml", "sha256": "d38c20d95352217d2fc625a51ce034ba7a6bbac6541d9bb58b02c750ade197ab", "sourceVerifiedSha256": "d38c20d95352217d2fc625a51ce034ba7a6bbac6541d9bb58b02c750ade197ab", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Unbarred chord illustration; stave spacing irregular in source, pitches confirmed against surrounding explanation of third/fifth/octave ordering." ], "verification": [ "Direct visual reading of source notes, clefs and rhythms.", "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle.json" } ], "music_transcription_status": "verified" }, { "id": "117-a", "path": "assets/117-a.png", "pdf_page": 75, "printed_page": 117, "bbox_pixels": [ 26, 1298, 1213, 1921 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1187, 623 ], "musicxml": [ { "path": "musicxml/117-a.musicxml", "sha256": "7eec7a79db330b36e5963cdc7d869a0dccf1b54e1bba304609dbadc6ad826321", "sourceVerifiedSha256": "7eec7a79db330b36e5963cdc7d869a0dccf1b54e1bba304609dbadc6ad826321", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual reading of source notes, clefs and rhythms.", "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle.json" } ], "music_transcription_status": "verified" }, { "id": "117-custos", "path": "assets/117-custos.png", "pdf_page": 75, "printed_page": 117, "bbox_pixels": [ 1055, 1923, 1207, 2064 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "not applicable", "kind": "musical_page_catchword", "dimensions_pixels": [ 152, 141 ], "musicxml": [], "music_transcription_status": "non-music" }, { "id": "118-a", "path": "assets/118-a.png", "pdf_page": 76, "printed_page": 118, "bbox_pixels": [ 95, 185, 1297, 757 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1202, 572 ], "musicxml": [ { "path": "musicxml/118-a.musicxml", "sha256": "3f6012378763fe01509ecff4281c26e3c5b0d669b48bf06c32483b67a57f97db", "sourceVerifiedSha256": "3f6012378763fe01509ecff4281c26e3c5b0d669b48bf06c32483b67a57f97db", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual reading of source notes, clefs and rhythms.", "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle.json" } ], "music_transcription_status": "verified" }, { "id": "118-b", "path": "assets/118-b.png", "pdf_page": 76, "printed_page": 118, "bbox_pixels": [ 84, 790, 1297, 1379 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1213, 589 ], "musicxml": [ { "path": "musicxml/118-b.musicxml", "sha256": "90e60928257460b3a55135d0897629d1109ed75fa370b056889ed52831c27878", "sourceVerifiedSha256": "90e60928257460b3a55135d0897629d1109ed75fa370b056889ed52831c27878", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual reading of source notes, clefs and rhythms.", "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle.json" } ], "music_transcription_status": "verified" }, { "id": "119-a", "path": "assets/119-a.png", "pdf_page": 77, "printed_page": 119, "bbox_pixels": [ 37, 183, 1257, 783 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1220, 600 ], "musicxml": [ { "path": "musicxml/119-a.musicxml", "sha256": "497227089a74811a0ad5a202755e2a07a7749cf8554378cb4dc9b973ae6dc735", "sourceVerifiedSha256": "497227089a74811a0ad5a202755e2a07a7749cf8554378cb4dc9b973ae6dc735", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual reading of source notes, clefs and rhythms.", "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle.json" } ], "music_transcription_status": "verified" }, { "id": "119-b", "path": "assets/119-b.png", "pdf_page": 77, "printed_page": 119, "bbox_pixels": [ 31, 840, 1253, 1423 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1222, 583 ], "musicxml": [ { "path": "musicxml/119-b.musicxml", "sha256": "c9aa0b658a12c61df87fa24ad4b212c21c17429098757e686fbed23e4b227a8e", "sourceVerifiedSha256": "c9aa0b658a12c61df87fa24ad4b212c21c17429098757e686fbed23e4b227a8e", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual reading of source notes, clefs and rhythms.", "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle.json" } ], "music_transcription_status": "verified" }, { "id": "119-c", "path": "assets/119-c.png", "pdf_page": 77, "printed_page": 119, "bbox_pixels": [ 31, 1478, 1253, 2070 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1222, 592 ], "musicxml": [ { "path": "musicxml/119-c.musicxml", "sha256": "3dc380ab82795d97e93f6b11586ba4f34e97bba25f234596c07e3b2b489a8f3c", "sourceVerifiedSha256": "3dc380ab82795d97e93f6b11586ba4f34e97bba25f234596c07e3b2b489a8f3c", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual reading of source notes, clefs and rhythms.", "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle.json" } ], "music_transcription_status": "verified" }, { "id": "120-a", "path": "assets/120-a.png", "pdf_page": 78, "printed_page": 120, "bbox_pixels": [ 81, 172, 1266, 748 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1185, 576 ], "musicxml": [ { "path": "musicxml/120-a.musicxml", "sha256": "a43efe94de3c19493f1435c0d0e15607d739894d3297c8f35bbfa1448480fdcd", "sourceVerifiedSha256": "a43efe94de3c19493f1435c0d0e15607d739894d3297c8f35bbfa1448480fdcd", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Flat retained over repeated B across source barline; glyph printed only on first occurrence." ], "verification": [ "Direct visual reading of source notes, clefs and rhythms.", "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle.json" } ], "music_transcription_status": "verified" }, { "id": "120-b", "path": "assets/120-b.png", "pdf_page": 78, "printed_page": 120, "bbox_pixels": [ 81, 783, 1266, 1388 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 1185, 605 ], "musicxml": [ { "path": "musicxml/120-b.musicxml", "sha256": "6ebf1df70d9c560b9a617f7ff1c552f505342a4ed3f6d55f01638570363d574e", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Bass clef visibly placed on line2 (as111-b), probably engraving displacement; literal F2 pitches retained pending editorial decision. Flat becomes F-flat under literal clef." ], "verification": [ "Direct visual reading of source notes, clefs and rhythms.", "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle.json" } ], "music_transcription_status": "needs-review" }, { "id": "120-c", "path": "assets/120-c.png", "pdf_page": 78, "printed_page": 120, "bbox_pixels": [ 88, 1445, 1273, 2033 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1185, 588 ], "musicxml": [ { "path": "musicxml/120-c.musicxml", "sha256": "f59fd27325ac1f66a90fe778e256c7004ae5a72b77345300ce2d2cf90c82462e", "sourceVerifiedSha256": "f59fd27325ac1f66a90fe778e256c7004ae5a72b77345300ce2d2cf90c82462e", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual reading of source notes, clefs and rhythms.", "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle.json" } ], "music_transcription_status": "verified" }, { "id": "121-a", "path": "assets/121-a.png", "pdf_page": 79, "printed_page": 121, "bbox_pixels": [ 22, 205, 1220, 832 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1198, 627 ], "musicxml": [ { "path": "musicxml/121-a.musicxml", "sha256": "a75804b2626400b8009b25162e1ce581489ba64ab7186e020b77940f1859c2b6", "sourceVerifiedSha256": "a75804b2626400b8009b25162e1ce581489ba64ab7186e020b77940f1859c2b6", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual reading of source notes, clefs and rhythms.", "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle.json" } ], "music_transcription_status": "verified" }, { "id": "122-a", "path": "assets/122-a.png", "pdf_page": 80, "printed_page": 122, "bbox_pixels": [ 90, 194, 1293, 777 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1203, 583 ], "musicxml": [ { "path": "musicxml/122-a.musicxml", "sha256": "f643fbfe9ef592dd98f8d64ad0af68ac0f57bb85031586296ba68673cd87a933", "sourceVerifiedSha256": "f643fbfe9ef592dd98f8d64ad0af68ac0f57bb85031586296ba68673cd87a933", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual reading of source notes, clefs and rhythms.", "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle.json" } ], "music_transcription_status": "verified" }, { "id": "122-b", "path": "assets/122-b.png", "pdf_page": 80, "printed_page": 122, "bbox_pixels": [ 90, 818, 1295, 1410 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1205, 592 ], "musicxml": [ { "path": "musicxml/122-b.musicxml", "sha256": "e7ddcbc37fa4127a808331eb1e98442370b3aa81ad51ed9164740224619b130d", "sourceVerifiedSha256": "e7ddcbc37fa4127a808331eb1e98442370b3aa81ad51ed9164740224619b130d", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual reading of source notes, clefs and rhythms.", "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; 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explicit issues remain where flagged." ], "ledger": "ledgers/middle.json" } ], "music_transcription_status": "verified" }, { "id": "138-a", "path": "assets/138-a.png", "pdf_page": 96, "printed_page": 138, "bbox_pixels": [ 75, 803, 1293, 1987 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1218, 1184 ], "musicxml": [ { "path": "musicxml/138-a.musicxml", "sha256": "afa3e5eb69fd7efdb9ae95b7824e3b4667ccc3795d0acf171cbda65709e339ff", "sourceVerifiedSha256": "afa3e5eb69fd7efdb9ae95b7824e3b4667ccc3795d0acf171cbda65709e339ff", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual reading of source notes, clefs and rhythms.", "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle.json" } ], "music_transcription_status": "verified" }, { "id": "139-custos", "path": "assets/139-custos.png", "pdf_page": 97, "printed_page": 139, "bbox_pixels": [ 1044, 1938, 1231, 2097 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "not applicable", "kind": "musical_page_catchword", "dimensions_pixels": [ 187, 159 ], "musicxml": [], "music_transcription_status": "non-music" }, { "id": "140-a", "path": "assets/140-a.png", "pdf_page": 98, "printed_page": 140, "bbox_pixels": [ 79, 194, 1275, 873 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1196, 679 ], "musicxml": [ { "path": "musicxml/140-a-1.musicxml", "sha256": "4c2d5db3c24b1c798fab03c71342f8aeebf1d522ef5c26f2ee7ae32bcfe2e0ba", "sourceVerifiedSha256": "4c2d5db3c24b1c798fab03c71342f8aeebf1d522ef5c26f2ee7ae32bcfe2e0ba", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual reading of source notes, clefs and rhythms.", "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle.json" }, { "path": "musicxml/140-a-2.musicxml", "sha256": "268579020ac43d017d3e7db0cbed8238d05865942dc8e201104cc729b17c9be6", "sourceVerifiedSha256": "268579020ac43d017d3e7db0cbed8238d05865942dc8e201104cc729b17c9be6", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual reading of source notes, clefs and rhythms.", "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle.json" }, { "path": "musicxml/140-a-3.musicxml", "sha256": "2d633fe468748bac776dcaa5075868943c4bbc4a79b994c2678abfe9dd3268da", "sourceVerifiedSha256": "2d633fe468748bac776dcaa5075868943c4bbc4a79b994c2678abfe9dd3268da", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual reading of source notes, clefs and rhythms.", "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle.json" }, { "path": "musicxml/140-a-4.musicxml", "sha256": "409bf12419eb832e8cc3cecc6b82d6faf5e2ca315226816986e11699834de05c", "sourceVerifiedSha256": "409bf12419eb832e8cc3cecc6b82d6faf5e2ca315226816986e11699834de05c", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual reading of source notes, clefs and rhythms.", "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle.json" }, { "path": "musicxml/140-a-5.musicxml", "sha256": "b98e9cdf7f27ae1111de6ecf8889f6a6e485b0261c9475ddbdce923d4a899716", "sourceVerifiedSha256": "b98e9cdf7f27ae1111de6ecf8889f6a6e485b0261c9475ddbdce923d4a899716", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "B4 ending is the printed third-resolution option. Additional E5 ending is separately encoded in140-a-5-alt; alternative interpretation supported by figures3/6 and dialogue describing two parts." ], "verification": [ "Direct visual reading of source notes, clefs and rhythms.", "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle.json" }, { "path": "musicxml/140-a-6.musicxml", "sha256": "6b7e0e4901d8802cd36f65015a5eabd38a40c151397bf22260b108ed56fc9229", "sourceVerifiedSha256": "6b7e0e4901d8802cd36f65015a5eabd38a40c151397bf22260b108ed56fc9229", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual reading of source notes, clefs and rhythms.", "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle.json" }, { "path": "musicxml/140-a-7.musicxml", "sha256": "06f1ec252b5095607631419fe6217955a69c8176567bc26ac56d9e491cdf727b", "sourceVerifiedSha256": "06f1ec252b5095607631419fe6217955a69c8176567bc26ac56d9e491cdf727b", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual reading of source notes, clefs and rhythms.", "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle.json" }, { "path": "musicxml/140-a-5-alt.musicxml", "sha256": "bea490e5c9989953ef6e4e31a1e9b3d6fb27bac27837b1c6b2705b2c7524362d", "sourceVerifiedSha256": "bea490e5c9989953ef6e4e31a1e9b3d6fb27bac27837b1c6b2705b2c7524362d", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Seven independent examples; clef changes in examples4 and6 inherited where subsequent examples omit clefs." ], "verification": [ "Direct visual reading of source crop; rendering comparison pending." ], "ledger": "ledgers/middle.json" } ], "music_transcription_status": "verified" }, { "id": "140-b", "path": "assets/140-b.png", "pdf_page": 98, "printed_page": 140, "bbox_pixels": [ 88, 1723, 1282, 2033 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1194, 310 ], "musicxml": [ { "path": "musicxml/140-b.musicxml", "sha256": "77f5d9edd32088fdaf58e8ea08c068431318e6aed025cbaf9cec3ee1106a3de4", "sourceVerifiedSha256": "77f5d9edd32088fdaf58e8ea08c068431318e6aed025cbaf9cec3ee1106a3de4", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual reading of source notes, clefs and rhythms.", "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle.json" } ], "music_transcription_status": "verified" }, { "id": "141-a", "path": "assets/141-a.png", "pdf_page": 99, "printed_page": 141, "bbox_pixels": [ 37, 469, 1233, 803 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1196, 334 ], "musicxml": [ { "path": "musicxml/141-a.musicxml", "sha256": "486c20ebd0b3e325498a5369553c29435667aa870f4a063266eb0c2de4a2809f", "sourceVerifiedSha256": "486c20ebd0b3e325498a5369553c29435667aa870f4a063266eb0c2de4a2809f", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual reading of source notes, clefs and rhythms.", "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle.json" } ], "music_transcription_status": "verified" }, { "id": "141-b", "path": "assets/141-b.png", "pdf_page": 99, "printed_page": 141, "bbox_pixels": [ 37, 827, 1233, 1146 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1196, 319 ], "musicxml": [ { "path": "musicxml/141-b.musicxml", "sha256": "79fd5215a38800e1a28d73990e62025c48a0fdbdc16fcda5bc2e6787caa46830", "sourceVerifiedSha256": "79fd5215a38800e1a28d73990e62025c48a0fdbdc16fcda5bc2e6787caa46830", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual reading of source notes, clefs and rhythms.", "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle.json" } ], "music_transcription_status": "verified" }, { "id": "141-c", "path": "assets/141-c.png", "pdf_page": 99, "printed_page": 141, "bbox_pixels": [ 37, 1173, 1233, 1489 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1196, 316 ], "musicxml": [ { "path": "musicxml/141-c.musicxml", "sha256": "18234f1a02eb99b474269fca819be99a097cd3dc6ad749e5288ca044d56ae05b", "sourceVerifiedSha256": "18234f1a02eb99b474269fca819be99a097cd3dc6ad749e5288ca044d56ae05b", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual reading of source notes, clefs and rhythms.", "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle.json" } ], "music_transcription_status": "verified" }, { "id": "142-a", "path": "assets/142-a.png", "pdf_page": 100, "printed_page": 142, "bbox_pixels": [ 90, 196, 1277, 539 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1187, 343 ], "musicxml": [ { "path": "musicxml/142-a.musicxml", "sha256": "7d5bb997582294b8d48ac347dba1080c96640223dd41a38223e9c3448de06fd2", "sourceVerifiedSha256": "7d5bb997582294b8d48ac347dba1080c96640223dd41a38223e9c3448de06fd2", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual reading of source notes, clefs and rhythms.", "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle.json" } ], "music_transcription_status": "verified" }, { "id": "142-b", "path": "assets/142-b.png", "pdf_page": 100, "printed_page": 142, "bbox_pixels": [ 90, 570, 1277, 891 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1187, 321 ], "musicxml": [ { "path": "musicxml/142-b.musicxml", "sha256": "071a0ee721152aaca1d762cb4ca7e050fa8d37e0ea3271d246e234f0d9e21371", "sourceVerifiedSha256": "071a0ee721152aaca1d762cb4ca7e050fa8d37e0ea3271d246e234f0d9e21371", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual reading of source notes, clefs and rhythms.", "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle.json" } ], "music_transcription_status": "verified" }, { "id": "142-c", "path": "assets/142-c.png", "pdf_page": 100, "printed_page": 142, "bbox_pixels": [ 90, 922, 1277, 1243 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1187, 321 ], "musicxml": [ { "path": "musicxml/142-c.musicxml", "sha256": "0d83466c66f1550ac86f011571643272b34144bcf7cfc4ce067a4700075d6433", "sourceVerifiedSha256": "0d83466c66f1550ac86f011571643272b34144bcf7cfc4ce067a4700075d6433", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual reading of source notes, clefs and rhythms.", "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle.json" } ], "music_transcription_status": "verified" }, { "id": "142-d", "path": "assets/142-d.png", "pdf_page": 100, "printed_page": 142, "bbox_pixels": [ 90, 1263, 1277, 1591 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1187, 328 ], "musicxml": [ { "path": "musicxml/142-d.musicxml", "sha256": "7b939e3f85dcbbb4847e197928634d162d6d9f718ed427adabe7d71f73438d5e", "sourceVerifiedSha256": "7b939e3f85dcbbb4847e197928634d162d6d9f718ed427adabe7d71f73438d5e", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual reading of source notes, clefs and rhythms.", "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle.json" } ], "music_transcription_status": "verified" }, { "id": "143-a", "path": "assets/143-a.png", "pdf_page": 101, "printed_page": 143, "bbox_pixels": [ 24, 1621, 1229, 1947 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1205, 326 ], "musicxml": [ { "path": "musicxml/advanced-143-a-1.musicxml", "sha256": "d383740aa79e9465c484074ff6602c7cf6d3d049841ee84687f357fcdbbd9154", "sourceVerifiedSha256": "d383740aa79e9465c484074ff6602c7cf6d3d049841ee84687f357fcdbbd9154", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Stemless filled diamonds indicate semitone positions. Equal whole-note playback units are editorial in this unmetered scale.", "Stemless filled diamonds indicate semitone positions. Equal whole-note playback units are editorial in this unmetered scale." ], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Two tenor-clef modal scale examples, eight stemless diamonds each; filled heads mark mi/fa. Unmetered source.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "All referenced MusicXML files passed the shared MusicXML schema validator, parsed to playable timelines, and rendered with Verovio. Astra visually compared proof contact sheets 0/6/12/18 to source: clefs, staff positions, accidental, head-fill indications, chord membership and printed lyrics match; unmetered playback assumptions remain explicitly documented." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-143-a-2.musicxml", "sha256": "6842b2a79b37b6fa121ad54324642a288aa0a4f3645ca0542c93c7123d23eff0", "sourceVerifiedSha256": "6842b2a79b37b6fa121ad54324642a288aa0a4f3645ca0542c93c7123d23eff0", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Stemless filled diamonds indicate semitone positions. Equal whole-note playback units are editorial in this unmetered scale.", "Stemless filled diamonds indicate semitone positions. Equal whole-note playback units are editorial in this unmetered scale." ], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Two tenor-clef modal scale examples, eight stemless diamonds each; filled heads mark mi/fa. Unmetered source.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "All referenced MusicXML files passed the shared MusicXML schema validator, parsed to playable timelines, and rendered with Verovio. Astra visually compared proof contact sheets 0/6/12/18 to source: clefs, staff positions, accidental, head-fill indications, chord membership and printed lyrics match; unmetered playback assumptions remain explicitly documented." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "143-custos", "path": "assets/143-custos.png", "pdf_page": 101, "printed_page": 143, "bbox_pixels": [ 1101, 1934, 1218, 2055 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "not applicable", "kind": "musical_page_catchword", "dimensions_pixels": [ 117, 121 ], "musicxml": [], "music_transcription_status": "non-music" }, { "id": "144-a", "path": "assets/144-a.png", "pdf_page": 102, "printed_page": 144, "bbox_pixels": [ 95, 196, 1293, 836 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1198, 640 ], "musicxml": [ { "path": "musicxml/advanced-144-a-1.musicxml", "sha256": "55fdfd0f8e8ce83fcafc7a6659f3db1658d10e0328d77c4954ed9b4cb229e100", "sourceVerifiedSha256": "55fdfd0f8e8ce83fcafc7a6659f3db1658d10e0328d77c4954ed9b4cb229e100", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Equal whole-note playback units editorial; filled diamonds retained as printed semitone indicators.", "Equal whole-note playback units editorial; filled diamonds retained as printed semitone indicators.", "Equal whole-note playback units editorial; filled diamonds retained as printed semitone indicators.", "Equal whole-note playback units editorial; filled diamonds retained as printed semitone indicators." ], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Four eight-note modal scales; first tenor, middle two bass, last tenor. Filled diamonds mark mi/fa rather than quarter durations.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "All referenced MusicXML files passed the shared MusicXML schema validator, parsed to playable timelines, and rendered with Verovio. Astra visually compared proof contact sheets 0/6/12/18 to source: clefs, staff positions, accidental, head-fill indications, chord membership and printed lyrics match; unmetered playback assumptions remain explicitly documented." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-144-a-2.musicxml", "sha256": "9f10c29863f027ab0527c41caa568131f99baafd6142d3d0bfbd7e49aa27f5f9", "sourceVerifiedSha256": "9f10c29863f027ab0527c41caa568131f99baafd6142d3d0bfbd7e49aa27f5f9", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Equal whole-note playback units editorial; filled diamonds retained as printed semitone indicators.", "Equal whole-note playback units editorial; filled diamonds retained as printed semitone indicators.", "Equal whole-note playback units editorial; filled diamonds retained as printed semitone indicators.", "Equal whole-note playback units editorial; filled diamonds retained as printed semitone indicators." ], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Four eight-note modal scales; first tenor, middle two bass, last tenor. Filled diamonds mark mi/fa rather than quarter durations.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "All referenced MusicXML files passed the shared MusicXML schema validator, parsed to playable timelines, and rendered with Verovio. Astra visually compared proof contact sheets 0/6/12/18 to source: clefs, staff positions, accidental, head-fill indications, chord membership and printed lyrics match; unmetered playback assumptions remain explicitly documented." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-144-a-3.musicxml", "sha256": "85d27e023e58269b070a044835859dfd314872b77cee5f6c615bb5b8f24a3c2c", "sourceVerifiedSha256": "85d27e023e58269b070a044835859dfd314872b77cee5f6c615bb5b8f24a3c2c", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Equal whole-note playback units editorial; filled diamonds retained as printed semitone indicators.", "Equal whole-note playback units editorial; filled diamonds retained as printed semitone indicators.", "Equal whole-note playback units editorial; filled diamonds retained as printed semitone indicators.", "Equal whole-note playback units editorial; filled diamonds retained as printed semitone indicators." ], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Four eight-note modal scales; first tenor, middle two bass, last tenor. Filled diamonds mark mi/fa rather than quarter durations.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "All referenced MusicXML files passed the shared MusicXML schema validator, parsed to playable timelines, and rendered with Verovio. Astra visually compared proof contact sheets 0/6/12/18 to source: clefs, staff positions, accidental, head-fill indications, chord membership and printed lyrics match; unmetered playback assumptions remain explicitly documented." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-144-a-4.musicxml", "sha256": "3b09a3261228cd64480822a506f925935e0fcbd535ed42dec83460a1c28bfb59", "sourceVerifiedSha256": "3b09a3261228cd64480822a506f925935e0fcbd535ed42dec83460a1c28bfb59", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Equal whole-note playback units editorial; filled diamonds retained as printed semitone indicators.", "Equal whole-note playback units editorial; filled diamonds retained as printed semitone indicators.", "Equal whole-note playback units editorial; filled diamonds retained as printed semitone indicators.", "Equal whole-note playback units editorial; filled diamonds retained as printed semitone indicators." ], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Four eight-note modal scales; first tenor, middle two bass, last tenor. Filled diamonds mark mi/fa rather than quarter durations.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "All referenced MusicXML files passed the shared MusicXML schema validator, parsed to playable timelines, and rendered with Verovio. Astra visually compared proof contact sheets 0/6/12/18 to source: clefs, staff positions, accidental, head-fill indications, chord membership and printed lyrics match; unmetered playback assumptions remain explicitly documented." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "144-b", "path": "assets/144-b.png", "pdf_page": 102, "printed_page": 144, "bbox_pixels": [ 95, 1223, 1288, 1366 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1193, 143 ], "musicxml": [ { "path": "musicxml/advanced-144-b-1.musicxml", "sha256": "1fa380786bb0b908bf072f0248dff5a9cb33c208a4c3ea41ab98290c5f99bcd3", "sourceVerifiedSha256": "1fa380786bb0b908bf072f0248dff5a9cb33c208a4c3ea41ab98290c5f99bcd3", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Isolated unmetered chord; whole-note duration used as printed.", "Isolated unmetered chord; whole-note duration used as printed.", "Isolated unmetered chord; whole-note duration used as printed.", "Isolated unmetered chord; whole-note duration used as printed.", "Isolated unmetered chord; whole-note duration used as printed.", "Isolated unmetered chord; whole-note duration used as printed." ], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Six unmetered triads: three tenor-clef then three bass-clef examples.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "All referenced MusicXML files passed the shared MusicXML schema validator, parsed to playable timelines, and rendered with Verovio. Astra visually compared proof contact sheets 0/6/12/18 to source: clefs, staff positions, accidental, head-fill indications, chord membership and printed lyrics match; unmetered playback assumptions remain explicitly documented." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-144-b-2.musicxml", "sha256": "4128ca20fdeb6a9b05449ec52659dd4bf83de95bbf457db6e478752145680ea0", "sourceVerifiedSha256": "4128ca20fdeb6a9b05449ec52659dd4bf83de95bbf457db6e478752145680ea0", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Isolated unmetered chord; whole-note duration used as printed.", "Isolated unmetered chord; whole-note duration used as printed.", "Isolated unmetered chord; whole-note duration used as printed.", "Isolated unmetered chord; whole-note duration used as printed.", "Isolated unmetered chord; whole-note duration used as printed.", "Isolated unmetered chord; whole-note duration used as printed." ], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Six unmetered triads: three tenor-clef then three bass-clef examples.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "All referenced MusicXML files passed the shared MusicXML schema validator, parsed to playable timelines, and rendered with Verovio. Astra visually compared proof contact sheets 0/6/12/18 to source: clefs, staff positions, accidental, head-fill indications, chord membership and printed lyrics match; unmetered playback assumptions remain explicitly documented." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-144-b-3.musicxml", "sha256": "7457a1c6f35f03851f32533ff998a1e59469c3941ce1d79548451ecc52637bb8", "sourceVerifiedSha256": "7457a1c6f35f03851f32533ff998a1e59469c3941ce1d79548451ecc52637bb8", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Isolated unmetered chord; whole-note duration used as printed.", "Isolated unmetered chord; whole-note duration used as printed.", "Isolated unmetered chord; whole-note duration used as printed.", "Isolated unmetered chord; whole-note duration used as printed.", "Isolated unmetered chord; whole-note duration used as printed.", "Isolated unmetered chord; whole-note duration used as printed." ], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Six unmetered triads: three tenor-clef then three bass-clef examples.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "All referenced MusicXML files passed the shared MusicXML schema validator, parsed to playable timelines, and rendered with Verovio. Astra visually compared proof contact sheets 0/6/12/18 to source: clefs, staff positions, accidental, head-fill indications, chord membership and printed lyrics match; unmetered playback assumptions remain explicitly documented." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-144-b-4.musicxml", "sha256": "65e238fd39a63a8e18282fb0674dbfaf7b03de8df3d83ca037989915b69014c8", "sourceVerifiedSha256": "65e238fd39a63a8e18282fb0674dbfaf7b03de8df3d83ca037989915b69014c8", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Isolated unmetered chord; whole-note duration used as printed.", "Isolated unmetered chord; whole-note duration used as printed.", "Isolated unmetered chord; whole-note duration used as printed.", "Isolated unmetered chord; whole-note duration used as printed.", "Isolated unmetered chord; whole-note duration used as printed.", "Isolated unmetered chord; whole-note duration used as printed." ], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Six unmetered triads: three tenor-clef then three bass-clef examples.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "All referenced MusicXML files passed the shared MusicXML schema validator, parsed to playable timelines, and rendered with Verovio. Astra visually compared proof contact sheets 0/6/12/18 to source: clefs, staff positions, accidental, head-fill indications, chord membership and printed lyrics match; unmetered playback assumptions remain explicitly documented." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-144-b-5.musicxml", "sha256": "990292c4c64319e30d4c81de923cac81f2eda4c017617a7817e08b513b5d58f5", "sourceVerifiedSha256": "990292c4c64319e30d4c81de923cac81f2eda4c017617a7817e08b513b5d58f5", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Isolated unmetered chord; whole-note duration used as printed.", "Isolated unmetered chord; whole-note duration used as printed.", "Isolated unmetered chord; whole-note duration used as printed.", "Isolated unmetered chord; whole-note duration used as printed.", "Isolated unmetered chord; whole-note duration used as printed.", "Isolated unmetered chord; whole-note duration used as printed." ], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Six unmetered triads: three tenor-clef then three bass-clef examples.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "All referenced MusicXML files passed the shared MusicXML schema validator, parsed to playable timelines, and rendered with Verovio. Astra visually compared proof contact sheets 0/6/12/18 to source: clefs, staff positions, accidental, head-fill indications, chord membership and printed lyrics match; unmetered playback assumptions remain explicitly documented." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-144-b-6.musicxml", "sha256": "e325afda87ba11e1acfa3e62ae0c0208f0fdc5e9e2162f6f71a3705966f0c1b3", "sourceVerifiedSha256": "e325afda87ba11e1acfa3e62ae0c0208f0fdc5e9e2162f6f71a3705966f0c1b3", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Isolated unmetered chord; whole-note duration used as printed.", "Isolated unmetered chord; whole-note duration used as printed.", "Isolated unmetered chord; whole-note duration used as printed.", "Isolated unmetered chord; whole-note duration used as printed.", "Isolated unmetered chord; whole-note duration used as printed.", "Isolated unmetered chord; whole-note duration used as printed." ], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Six unmetered triads: three tenor-clef then three bass-clef examples.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "All referenced MusicXML files passed the shared MusicXML schema validator, parsed to playable timelines, and rendered with Verovio. Astra visually compared proof contact sheets 0/6/12/18 to source: clefs, staff positions, accidental, head-fill indications, chord membership and printed lyrics match; unmetered playback assumptions remain explicitly documented." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "144-c", "path": "assets/144-c.png", "pdf_page": 102, "printed_page": 144, "bbox_pixels": [ 97, 1551, 1288, 1734 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1191, 183 ], "musicxml": [ { "path": "musicxml/advanced-144-c-1.musicxml", "sha256": "6fc8e9b4691eb899ebd9ef3c64332101d78dc9d123b7e97aa11f17c551d810e4", "sourceVerifiedSha256": "6fc8e9b4691eb899ebd9ef3c64332101d78dc9d123b7e97aa11f17c551d810e4", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Two three-measure two-voice fragments on one staff, with alto then soprano clef, tied suspensions and half rests.", "Voice assignment checked against Latin explanation: first voice leaps a fifth/fourth, second enters one bar later with fourth/fifth response. Single-staff voices preserved.", "Voice assignment checked against Latin explanation: first voice leaps a fifth/fourth, second enters one bar later with fourth/fifth response. Single-staff voices preserved.", "Source single-staff polyphony retained with MusicXMLvoice1/voice2 and backups; complete rendered comparison matches both three-measure examples and their first/second-voice fifth/fourth entries. XSD and playback parser accepted." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-144-c-2.musicxml", "sha256": "4198449934051c0bc93a6339ed7b2ba3607fca44363c47bdc7542fd98bff886e", "sourceVerifiedSha256": "4198449934051c0bc93a6339ed7b2ba3607fca44363c47bdc7542fd98bff886e", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Two three-measure two-voice fragments on one staff, with alto then soprano clef, tied suspensions and half rests.", "Voice assignment checked against Latin explanation: first voice leaps a fifth/fourth, second enters one bar later with fourth/fifth response. Single-staff voices preserved.", "Voice assignment checked against Latin explanation: first voice leaps a fifth/fourth, second enters one bar later with fourth/fifth response. Single-staff voices preserved.", "Source single-staff polyphony retained with MusicXMLvoice1/voice2 and backups; complete rendered comparison matches both three-measure examples and their first/second-voice fifth/fourth entries. XSD and playback parser accepted." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "144-d", "path": "assets/144-d.png", "pdf_page": 102, "printed_page": 144, "bbox_pixels": [ 97, 1855, 1288, 2048 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 1191, 193 ], "musicxml": [ { "path": "musicxml/advanced-144-d-1.musicxml", "sha256": "ba62af012f6f2bf64052f36dff8634f0f459c01ba05a957f30e202684b75ebc0", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Both examples transcribed. First example final G4 read as one open half-note, without an invented high note; two stem crossbars remain uninterpreted source detail. Parent second-eye agrees stem terminal does not justify an extra note. Candidate retained for that notation detail." ], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Two three-measure two-voice fragments on one staff, alto then soprano clef; first upper voice has dotted half plus quarter leap.", "Voice assignment checked against Latin explanation: first voice leaps a fifth/fourth, second enters one bar later with fourth/fifth response. Single-staff voices preserved.", "Voice assignment checked against Latin explanation: first voice leaps a fifth/fourth, second enters one bar later with fourth/fifth response. Single-staff voices preserved.", "Both single-staff candidate examples rendered and compared. Second is clear; first main open G4half preserved without invented upper note, crossbars retained only as unresolved source detail per parent second-eye." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-144-d-2.musicxml", "sha256": "e7ac782eac4abb38d0a5692416679da27bef782f58b0aafe66f62aedb372fdca", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Both examples transcribed. First example final G4 read as one open half-note, without an invented high note; two stem crossbars remain uninterpreted source detail. Parent second-eye agrees stem terminal does not justify an extra note. Candidate retained for that notation detail." ], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Two three-measure two-voice fragments on one staff, alto then soprano clef; first upper voice has dotted half plus quarter leap.", "Voice assignment checked against Latin explanation: first voice leaps a fifth/fourth, second enters one bar later with fourth/fifth response. Single-staff voices preserved.", "Voice assignment checked against Latin explanation: first voice leaps a fifth/fourth, second enters one bar later with fourth/fifth response. Single-staff voices preserved.", "Both single-staff candidate examples rendered and compared. Second is clear; first main open G4half preserved without invented upper note, crossbars retained only as unresolved source detail per parent second-eye." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "needs-review" }, { "id": "145-a", "path": "assets/145-a.png", "pdf_page": 103, "printed_page": 145, "bbox_pixels": [ 29, 1047, 583, 1223 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 554, 176 ], "musicxml": [ { "path": "musicxml/advanced-145-a.musicxml", "sha256": "7fde92c186b4e2ffc8d8f936a2f060406007144f15877ca27039815e45a95a7c", "sourceVerifiedSha256": "7fde92c186b4e2ffc8d8f936a2f060406007144f15877ca27039815e45a95a7c", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Alto clef, cut time: D4 F4 E4 D4 whole notes, re fa mi re.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "All referenced MusicXML files passed the shared MusicXML schema validator, parsed to playable timelines, and rendered with Verovio. Astra visually compared proof contact sheets 0/6/12/18 to source: clefs, staff positions, accidental, head-fill indications, chord membership and printed lyrics match; unmetered playback assumptions remain explicitly documented." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "145-b", "path": "assets/145-b.png", "pdf_page": 103, "printed_page": 145, "bbox_pixels": [ 29, 1234, 583, 1404 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 554, 170 ], "musicxml": [ { "path": "musicxml/advanced-145-b.musicxml", "sha256": "a234b636dd5d739334eb75eaa625f3bf81b81f65d15d9747be4ca570fba38360", "sourceVerifiedSha256": "a234b636dd5d739334eb75eaa625f3bf81b81f65d15d9747be4ca570fba38360", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Soprano clef, cut time: A4 C5 B4 A4 whole notes, re fa mi re.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "All referenced MusicXML files passed the shared MusicXML schema validator, parsed to playable timelines, and rendered with Verovio. Astra visually compared proof contact sheets 0/6/12/18 to source: clefs, staff positions, accidental, head-fill indications, chord membership and printed lyrics match; unmetered playback assumptions remain explicitly documented." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "145-c", "path": "assets/145-c.png", "pdf_page": 103, "printed_page": 145, "bbox_pixels": [ 26, 1485, 1220, 1661 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1194, 176 ], "musicxml": [ { "path": "musicxml/advanced-145-c-1.musicxml", "sha256": "9df11b39563f2d50e8881d1bdcb9fdc1369071e8cb7e2b341238d55b7eef88b8", "sourceVerifiedSha256": "9df11b39563f2d50e8881d1bdcb9fdc1369071e8cb7e2b341238d55b7eef88b8", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Four printed whole notes without internal barlines; source spacing retained as a single free-length measure.", "Four printed whole notes without internal barlines; source spacing retained as a single free-length measure." ], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Alto-clef separate D-mode and E-mode motifs: A3 C4 B3 A3; E4 G4 F4 E4, four whole notes each.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "All referenced MusicXML files passed the shared MusicXML schema validator, parsed to playable timelines, and rendered with Verovio. Astra visually compared proof contact sheets 0/6/12/18 to source: clefs, staff positions, accidental, head-fill indications, chord membership and printed lyrics match; unmetered playback assumptions remain explicitly documented." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-145-c-2.musicxml", "sha256": "7a83bca5d42d9743ec827d81aedaea0ef9b87399f17fd37312608ff429453e9d", "sourceVerifiedSha256": "7a83bca5d42d9743ec827d81aedaea0ef9b87399f17fd37312608ff429453e9d", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Four printed whole notes without internal barlines; source spacing retained as a single free-length measure.", "Four printed whole notes without internal barlines; source spacing retained as a single free-length measure." ], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Alto-clef separate D-mode and E-mode motifs: A3 C4 B3 A3; E4 G4 F4 E4, four whole notes each.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "All referenced MusicXML files passed the shared MusicXML schema validator, parsed to playable timelines, and rendered with Verovio. Astra visually compared proof contact sheets 0/6/12/18 to source: clefs, staff positions, accidental, head-fill indications, chord membership and printed lyrics match; unmetered playback assumptions remain explicitly documented." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "145-d", "path": "assets/145-d.png", "pdf_page": 103, "printed_page": 145, "bbox_pixels": [ 29, 1868, 598, 2042 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 569, 174 ], "musicxml": [ { "path": "musicxml/advanced-145-d.musicxml", "sha256": "95bf5ea6dec729da2d939ac0605412dbc3446895048ae47fd9dada08b18d4613", "sourceVerifiedSha256": "95bf5ea6dec729da2d939ac0605412dbc3446895048ae47fd9dada08b18d4613", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Printed cross-shaped accidental transcribed as single sharp; no meter printed." ], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Alto-clef E4 G4 F-sharp4 E4, whole notes; sharp before third note, re fa mi re.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "All referenced MusicXML files passed the shared MusicXML schema validator, parsed to playable timelines, and rendered with Verovio. Astra visually compared proof contact sheets 0/6/12/18 to source: clefs, staff positions, accidental, head-fill indications, chord membership and printed lyrics match; unmetered playback assumptions remain explicitly documented." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "146-a", "path": "assets/146-a.png", "pdf_page": 104, "printed_page": 146, "bbox_pixels": [ 95, 1767, 1290, 2086 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1195, 319 ], "musicxml": [ { "path": "musicxml/advanced-146-147-fuga-a2.musicxml", "sha256": "b0c6a83b1c8717a0e658a093ae4eb1f2c568d60c9fa50579cd9c726cf2b4d64f", "sourceVerifiedSha256": "b0c6a83b1c8717a0e658a093ae4eb1f2c568d60c9fa50579cd9c726cf2b4d64f", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Two-voice fugue begins146-a and continues147-a; soprano/alto clefs, cadences marked in fifth and third. Final breves147-a.", "All27measures of both voices directly visually transcribed; source cropped detail confirmed146-a lower measure8 contains two filled quarter notes plus tied half, with no intervening rest.", "Schema validated, parsed and Verovio rendered. Astra compared all staff positions, printed rhythmic values/rests, ties, accidentals and closing breves against source; source147 terminal breves separately enlarged to confirm D5/D4 octave.", "Each printed after-bar dot explicitly audited against previous half-note pitch; editorial split tie now sustains the sounding note.", "Latest XSD validation, playable timeline and Verovio proof all accepted; complete source-to-render comparison includes every after-bar augmentation dot as held continuation, never a new rest." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "147-a", "path": "assets/147-a.png", "pdf_page": 105, "printed_page": 147, "bbox_pixels": [ 31, 189, 1227, 783 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1196, 594 ], "musicxml": [ { "path": "musicxml/advanced-146-147-fuga-a2.musicxml", "sha256": "b0c6a83b1c8717a0e658a093ae4eb1f2c568d60c9fa50579cd9c726cf2b4d64f", "sourceVerifiedSha256": "b0c6a83b1c8717a0e658a093ae4eb1f2c568d60c9fa50579cd9c726cf2b4d64f", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Two-voice fugue begins146-a and continues147-a; soprano/alto clefs, cadences marked in fifth and third. Final breves147-a.", "All27measures of both voices directly visually transcribed; source cropped detail confirmed146-a lower measure8 contains two filled quarter notes plus tied half, with no intervening rest.", "Schema validated, parsed and Verovio rendered. Astra compared all staff positions, printed rhythmic values/rests, ties, accidentals and closing breves against source; source147 terminal breves separately enlarged to confirm D5/D4 octave.", "Each printed after-bar dot explicitly audited against previous half-note pitch; editorial split tie now sustains the sounding note.", "Latest XSD validation, playable timeline and Verovio proof all accepted; complete source-to-render comparison includes every after-bar augmentation dot as held continuation, never a new rest." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "148-a", "path": "assets/148-a.png", "pdf_page": 106, "printed_page": 148, "bbox_pixels": [ 99, 196, 517, 469 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 418, 273 ], "musicxml": [ { "path": "musicxml/advanced-148-a-1.musicxml", "sha256": "1a7c12ce61183a1a2d7452715d0b6073c3bcec5337486eb048f318715d1f301f", "sourceVerifiedSha256": "1a7c12ce61183a1a2d7452715d0b6073c3bcec5337486eb048f318715d1f301f", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Isolated interval, no meter printed.", "Isolated interval, no meter printed." ], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Two paired whole-note intervals with soprano and alto clefs; both separated by double bars.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "All referenced MusicXML files passed the shared MusicXML schema validator, parsed to playable timelines, and rendered with Verovio. Astra visually compared proof contact sheets 0/6/12/18 to source: clefs, staff positions, accidental, head-fill indications, chord membership and printed lyrics match; unmetered playback assumptions remain explicitly documented." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-148-a-2.musicxml", "sha256": "72d69f5ba508138e1568c3042273032cb24ff77c6704905058f43e137e13cd97", "sourceVerifiedSha256": "72d69f5ba508138e1568c3042273032cb24ff77c6704905058f43e137e13cd97", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Isolated interval, no meter printed.", "Isolated interval, no meter printed." ], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Two paired whole-note intervals with soprano and alto clefs; both separated by double bars.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "All referenced MusicXML files passed the shared MusicXML schema validator, parsed to playable timelines, and rendered with Verovio. Astra visually compared proof contact sheets 0/6/12/18 to source: clefs, staff positions, accidental, head-fill indications, chord membership and printed lyrics match; unmetered playback assumptions remain explicitly documented." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "148-b", "path": "assets/148-b.png", "pdf_page": 106, "printed_page": 148, "bbox_pixels": [ 103, 658, 328, 777 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 225, 119 ], "musicxml": [ { "path": "musicxml/advanced-148-b.musicxml", "sha256": "f14dbbff508f512b196d345c1b987b94bd53c9e0114d2a528791660aa762dd4e", "sourceVerifiedSha256": "f14dbbff508f512b196d345c1b987b94bd53c9e0114d2a528791660aa762dd4e", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Isolated tenor-clef chords, three-note then two-note.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "All referenced MusicXML files passed the shared MusicXML schema validator, parsed to playable timelines, and rendered with Verovio. Astra visually compared proof contact sheets 0/6/12/18 to source: clefs, staff positions, accidental, head-fill indications, chord membership and printed lyrics match; unmetered playback assumptions remain explicitly documented." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "148-c", "path": "assets/148-c.png", "pdf_page": 106, "printed_page": 148, "bbox_pixels": [ 103, 862, 354, 988 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 251, 126 ], "musicxml": [ { "path": "musicxml/advanced-148-c.musicxml", "sha256": "5a8c0d1aee85a9524a32aa444cc9e48125869d62faaacad9427716e8a00a2072", "sourceVerifiedSha256": "5a8c0d1aee85a9524a32aa444cc9e48125869d62faaacad9427716e8a00a2072", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Isolated tenor-clef chords, three-note then two-note.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "All referenced MusicXML files passed the shared MusicXML schema validator, parsed to playable timelines, and rendered with Verovio. Astra visually compared proof contact sheets 0/6/12/18 to source: clefs, staff positions, accidental, head-fill indications, chord membership and printed lyrics match; unmetered playback assumptions remain explicitly documented." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "148-d", "path": "assets/148-d.png", "pdf_page": 106, "printed_page": 148, "bbox_pixels": [ 108, 1098, 1293, 2000 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1185, 902 ], "musicxml": [ { "path": "musicxml/advanced-148-d.musicxml", "sha256": "b5fede84773db8cc3d39c3efbf9d9154700b817a782dc08fc2ae49da55e0ea77", "sourceVerifiedSha256": "b5fede84773db8cc3d39c3efbf9d9154700b817a782dc08fc2ae49da55e0ea77", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "As printed: different B3→A3 pitches retained; curve encoded as slur; no editorial pitch repair." ], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Complete three-system two-voice fugue in soprano/alto clefs; final breves. Several ties, dotted values and flats/sharps.", "All23measures of both voices entered from visual inspection; enlarged lower final system confirms distinct pitches under one curved mark.", "Each printed after-bar dot explicitly audited against previous half-note pitch; editorial split tie now sustains the sounding note.", "Latest corrected proof compared against source; all after-bar dots now held notes, redundant second B-flat sign removed; all23measures otherwise match.", "Parent second-eye confirms curve lies below lowest staff and connects different printed pitches. Exact-current as-printed full proof compared again; no pitch/duration repaired. XSD and playback accepted; full version now verified independently of the retained opening excerpt." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-148-d-verified-prefix.musicxml", "sha256": "a3fe857b9345b69e1d19727ec02eb06d75286be04a8019e19b4444241b21c364", "sourceVerifiedSha256": "a3fe857b9345b69e1d19727ec02eb06d75286be04a8019e19b4444241b21c364", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": { "kind": "excerpt", "label": "Verified opening · measures 1–19 of 23; full score continues", "lastMeasure": 19, "totalMeasures": 23 }, "issues": [ "Opening excerpt only; full source continues beyond the boundary." ], "verification": [ "Known source-checked measures derived from full candidate without adding notes or a cadence. Full primary file unchanged.", "Derived prefix proof fully compared to retained source-checked notes. XSD and playback parser accepted. Full primary unchanged; no new notes, rests or cadence. Outgoing playback ties removed only at cut, with notation-only source tie and explicit excerpt-boundary label retained." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "149-a", "path": "assets/149-a.png", "pdf_page": 107, "printed_page": 149, "bbox_pixels": [ 31, 895, 1216, 1322 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1185, 427 ], "musicxml": [ { "path": "musicxml/advanced-149-a.musicxml", "sha256": "50b4164293c7b7907f3b03282db19371fa492bbb6d12bcc86915e405fd7385cc", "sourceVerifiedSha256": "50b4164293c7b7907f3b03282db19371fa492bbb6d12bcc86915e405fd7385cc", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Three-voice four-measure demonstration, soprano/alto/tenor clefs. Blank unprinted voice spans cannot silently be filled with notes.", "Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.", "All four three-voice bars compared to source, including blank spans advanced invisibly and explicit D-sharp. XSD/parser/renderer accepted; no invented notes or rest signs." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "149-b", "path": "assets/149-b.png", "pdf_page": 107, "printed_page": 149, "bbox_pixels": [ 29, 1606, 1213, 1960 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 1184, 354 ], "musicxml": [ { "path": "musicxml/advanced-149b-150a-modus-e.musicxml", "sha256": "1ab5866b23616b8af6ce0c113afab6b923e7c48db1dd8ab06575609a14cec1b7", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Complete24-measure candidate. Upper measure22 first quarter-note pitch is obscured by manuscript/ink; tentative B4 encoded with A4 alternative recorded, so not verified. Remaining notes, rests, ties, source augmentation-dot holds, F-sharp and final E5/E4 breves directly transcribed." ], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Modus E two-part fugue starts149-b and ends150-a with breves. Soprano/alto clefs; hand-added accidental around penultimate system requires checking.", "Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.", "Latest complete candidate proof compared to source and XSD/parser accepted; manuscript-obscured note issue remains explicit rather than silently resolved." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-149b-150a-modus-e-verified-prefix.musicxml", "sha256": "cfda059f1c50dfcf937e0a95a142614899ade80854b8a3057937f4ab17f66fea", "sourceVerifiedSha256": "cfda059f1c50dfcf937e0a95a142614899ade80854b8a3057937f4ab17f66fea", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": { "kind": "excerpt", "label": "Verified opening · measures 1–21 of 24; full score continues", "lastMeasure": 21, "totalMeasures": 24 }, "issues": [ "Opening excerpt only; full source continues beyond the boundary." ], "verification": [ "Known source-checked measures derived from full candidate without adding notes or a cadence. Full primary file unchanged.", "Derived prefix proof fully compared to retained source-checked notes. XSD and playback parser accepted. Full primary unchanged; no new notes, rests or cadence. Outgoing playback ties removed only at cut, with notation-only source tie and explicit excerpt-boundary label retained." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "needs-review" }, { "id": "149-custos", "path": "assets/149-custos.png", "pdf_page": 107, "printed_page": 149, "bbox_pixels": [ 1053, 1945, 1207, 2092 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "not applicable", "kind": "musical_page_catchword", "dimensions_pixels": [ 154, 147 ], "musicxml": [], "music_transcription_status": "non-music" }, { "id": "150-a", "path": "assets/150-a.png", "pdf_page": 108, "printed_page": 150, "bbox_pixels": [ 97, 185, 1282, 761 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 1185, 576 ], "musicxml": [ { "path": "musicxml/advanced-149b-150a-modus-e.musicxml", "sha256": "1ab5866b23616b8af6ce0c113afab6b923e7c48db1dd8ab06575609a14cec1b7", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Complete24-measure candidate. Upper measure22 first quarter-note pitch is obscured by manuscript/ink; tentative B4 encoded with A4 alternative recorded, so not verified. Remaining notes, rests, ties, source augmentation-dot holds, F-sharp and final E5/E4 breves directly transcribed." ], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Modus E two-part fugue starts149-b and ends150-a with breves. Soprano/alto clefs; hand-added accidental around penultimate system requires checking.", "Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.", "Latest complete candidate proof compared to source and XSD/parser accepted; manuscript-obscured note issue remains explicit rather than silently resolved." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "needs-review" }, { "id": "150-b", "path": "assets/150-b.png", "pdf_page": 108, "printed_page": 150, "bbox_pixels": [ 97, 1135, 1282, 2022 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1185, 887 ], "musicxml": [ { "path": "musicxml/advanced-150-b.musicxml", "sha256": "fe42633f40b74aa26a12d02e86b494778ea07d392ec649977372eb274158ff1a", "sourceVerifiedSha256": "fe42633f40b74aa26a12d02e86b494778ea07d392ec649977372eb274158ff1a", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Complete Modus F fugue, three systems, tenor and bass clefs, final breves.", "All30measures of both voices directly visually transcribed; enlarged second-system bass confirmed B2–C3 half notes in measure13.", "Each printed after-bar dot explicitly audited against previous half-note pitch; editorial split tie now sustains the sounding note.", "Latest XSD validation, playable timeline and Verovio proof all accepted; complete source-to-render comparison includes every after-bar augmentation dot as held continuation, never a new rest." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "151-a", "path": "assets/151-a.png", "pdf_page": 109, "printed_page": 151, "bbox_pixels": [ 40, 253, 1231, 1162 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1191, 909 ], "musicxml": [ { "path": "musicxml/advanced-151-a.musicxml", "sha256": "7f8b9ea69851575953b8c922a7ab44f2499cadcb2645fefabbf91b898cf54503", "sourceVerifiedSha256": "7f8b9ea69851575953b8c922a7ab44f2499cadcb2645fefabbf91b898cf54503", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Complete three-system two-voice fugue, alto and tenor clefs; numerous single sharps and tied suspensions.", "Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.", "Latest XSD validation, playable timeline and Verovio proof all accepted; complete source-to-render comparison includes every after-bar augmentation dot as held continuation, never a new rest." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "151-b", "path": "assets/151-b.png", "pdf_page": 109, "printed_page": 151, "bbox_pixels": [ 40, 1302, 580, 1560 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 540, 258 ], "musicxml": [ { "path": "musicxml/advanced-151-b.musicxml", "sha256": "3fd247eeda734140a76e86ede48392c14e254b73fdff6148d0cb19ba7e3e2a9c", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Printed three-measure reading D4/C-sharp4/D4 over B3/A-sharp3/B3. Final upper whole note has superimposed manuscript alteration and diagonal mark; printed D4 retained as candidate, manuscript alternative unresolved." ], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Three-measure two-part cadence; final upper note has manuscript alteration superimposed on print.", "Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.", "Latest complete candidate proof compared to source and XSD/parser accepted; manuscript-obscured note issue remains explicit rather than silently resolved." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "needs-review" }, { "id": "151-c", "path": "assets/151-c.png", "pdf_page": 109, "printed_page": 151, "bbox_pixels": [ 37, 1771, 1222, 2048 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1185, 277 ], "musicxml": [ { "path": "musicxml/advanced-151c-152a-fugue.musicxml", "sha256": "252d244d7d8dffe8bd18ae9fe69038a432514da0743bfbbc7ec89f93384e9e13", "sourceVerifiedSha256": "252d244d7d8dffe8bd18ae9fe69038a432514da0743bfbbc7ec89f93384e9e13", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Two-part fugue begins151-c, continues152-a, ends with breves. Alto and tenor clefs, mixed rhythm and ties.", "Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.", "Latest XSD validation, playable timeline and Verovio proof all accepted; complete source-to-render comparison includes every after-bar augmentation dot as held continuation, never a new rest." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "152-a", "path": "assets/152-a.png", "pdf_page": 110, "printed_page": 152, "bbox_pixels": [ 110, 183, 1290, 785 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1180, 602 ], "musicxml": [ { "path": "musicxml/advanced-151c-152a-fugue.musicxml", "sha256": "252d244d7d8dffe8bd18ae9fe69038a432514da0743bfbbc7ec89f93384e9e13", "sourceVerifiedSha256": "252d244d7d8dffe8bd18ae9fe69038a432514da0743bfbbc7ec89f93384e9e13", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Two-part fugue begins151-c, continues152-a, ends with breves. Alto and tenor clefs, mixed rhythm and ties.", "Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.", "Latest XSD validation, playable timeline and Verovio proof all accepted; complete source-to-render comparison includes every after-bar augmentation dot as held continuation, never a new rest." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "153-a", "path": "assets/153-a.png", "pdf_page": 111, "printed_page": 153, "bbox_pixels": [ 37, 310, 1229, 1498 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 1192, 1188 ], "musicxml": [ { "path": "musicxml/advanced-153-a.musicxml", "sha256": "eadded2c011aaf5419b8d5d283892ea0d8b55695b56cbb3d97f57ade2c7a719f", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Upper penultimate measure26 has an apparently filled tied C5 followed by an open stemmed B4. Literal quarter+half gives3quarter units against4in lower voice; C5 may instead be an ink-clogged half. Literal candidate retained; no invented rest or automatic correction." ], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Four-system two-part fugue in soprano/alto clefs; final breves.", "Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.", "XSD valid and rendered; source-to-proof comparison completed, with only the concrete penultimate C5 duration ambiguity preventing verified status. Root second-eye inspection confirms clogged-half possibility without sufficient evidence to choose it." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-153-a-verified-prefix.musicxml", "sha256": "53f7a672dcecb9fb11731541ed84cdc6505551aa07b7010de681b7d4fac18e06", "sourceVerifiedSha256": "53f7a672dcecb9fb11731541ed84cdc6505551aa07b7010de681b7d4fac18e06", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": { "kind": "excerpt", "label": "Verified opening · measures 1–25 of 27; full score continues", "lastMeasure": 25, "totalMeasures": 27 }, "issues": [ "Opening excerpt only; full source continues beyond the boundary." ], "verification": [ "Known source-checked measures derived from full candidate without adding notes or a cadence. Full primary file unchanged.", "Derived prefix proof fully compared to retained source-checked notes. XSD and playback parser accepted. Full primary unchanged; no new notes, rests or cadence. Outgoing playback ties removed only at cut, with notation-only source tie and explicit excerpt-boundary label retained." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "needs-review" }, { "id": "155-a", "path": "assets/155-a.png", "pdf_page": 113, "printed_page": 155, "bbox_pixels": [ 31, 653, 1213, 942 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1182, 289 ], "musicxml": [ { "path": "musicxml/advanced-155-a-1.musicxml", "sha256": "d9b071cc59c0b6e51515c2788c64aefb8d77b03f14884bfc5442b6c7335de9ef", "sourceVerifiedSha256": "d9b071cc59c0b6e51515c2788c64aefb8d77b03f14884bfc5442b6c7335de9ef", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Three adjacent two-part cadential examples, formal and ficta; alto/tenor clefs, suspensions.", "All voices directly visually transcribed, including source suspension ties and blank voice spans. Latest render comparison pending.", "All listed files passed XSD/parser/renderer checks and complete source-to-proof comparison, including blank-staff forward spans, clefs and all suspension ties." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-155-a-2.musicxml", "sha256": "1cc03adfa13c214314c2e626aa0ee715168439e6f3c2a88ab44a0399f10c6017", "sourceVerifiedSha256": "1cc03adfa13c214314c2e626aa0ee715168439e6f3c2a88ab44a0399f10c6017", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Three adjacent two-part cadential examples, formal and ficta; alto/tenor clefs, suspensions.", "All voices directly visually transcribed, including source suspension ties and blank voice spans. Latest render comparison pending.", "All listed files passed XSD/parser/renderer checks and complete source-to-proof comparison, including blank-staff forward spans, clefs and all suspension ties." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-155-a-3.musicxml", "sha256": "fcb21af76e50694e85cb66223da6ad54e5bffe936f138c34f537ee1e5265880e", "sourceVerifiedSha256": "fcb21af76e50694e85cb66223da6ad54e5bffe936f138c34f537ee1e5265880e", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Three adjacent two-part cadential examples, formal and ficta; alto/tenor clefs, suspensions.", "All voices directly visually transcribed, including source suspension ties and blank voice spans. Latest render comparison pending.", "All listed files passed XSD/parser/renderer checks and complete source-to-proof comparison, including blank-staff forward spans, clefs and all suspension ties." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "155-b", "path": "assets/155-b.png", "pdf_page": 113, "printed_page": 155, "bbox_pixels": [ 29, 1093, 1213, 1384 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1184, 291 ], "musicxml": [ { "path": "musicxml/advanced-155-b-1.musicxml", "sha256": "cd131a9687414ce032997e7e86ab9451ff0ddb2e7e743dfd6a66f1d1b2f0a83a", "sourceVerifiedSha256": "cd131a9687414ce032997e7e86ab9451ff0ddb2e7e743dfd6a66f1d1b2f0a83a", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Blank opening bass span encoded as forward time; no new printed rest invented.", "Blank opening bass span encoded as forward time; no new printed rest invented.", "Blank opening bass span encoded as forward time; no new printed rest invented." ], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Three adjacent two-part cadential examples; alto and bass, source omits bass notes in first measure of each.", "All voices directly visually transcribed, including source suspension ties and blank voice spans. Latest render comparison pending.", "All listed files passed XSD/parser/renderer checks and complete source-to-proof comparison, including blank-staff forward spans, clefs and all suspension ties." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-155-b-2.musicxml", "sha256": "d5ad6ef2165dd8b44f2ace28241be9057df495c335298e03d8a7a2b4894c9dd9", "sourceVerifiedSha256": "d5ad6ef2165dd8b44f2ace28241be9057df495c335298e03d8a7a2b4894c9dd9", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Blank opening bass span encoded as forward time; no new printed rest invented.", "Blank opening bass span encoded as forward time; no new printed rest invented.", "Blank opening bass span encoded as forward time; no new printed rest invented." ], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Three adjacent two-part cadential examples; alto and bass, source omits bass notes in first measure of each.", "All voices directly visually transcribed, including source suspension ties and blank voice spans. Latest render comparison pending.", "All listed files passed XSD/parser/renderer checks and complete source-to-proof comparison, including blank-staff forward spans, clefs and all suspension ties." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-155-b-3.musicxml", "sha256": "7f14e29ab666fb31fa883d3f656aa81435c57bcea7949d44bb1fafa7528ab8b4", "sourceVerifiedSha256": "7f14e29ab666fb31fa883d3f656aa81435c57bcea7949d44bb1fafa7528ab8b4", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Blank opening bass span encoded as forward time; no new printed rest invented.", "Blank opening bass span encoded as forward time; no new printed rest invented.", "Blank opening bass span encoded as forward time; no new printed rest invented." ], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Three adjacent two-part cadential examples; alto and bass, source omits bass notes in first measure of each.", "All voices directly visually transcribed, including source suspension ties and blank voice spans. Latest render comparison pending.", "All listed files passed XSD/parser/renderer checks and complete source-to-proof comparison, including blank-staff forward spans, clefs and all suspension ties." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "155-c", "path": "assets/155-c.png", "pdf_page": 113, "printed_page": 155, "bbox_pixels": [ 26, 1470, 618, 1929 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 592, 459 ], "musicxml": [ { "path": "musicxml/advanced-155-c.musicxml", "sha256": "7d1d013000d9669303d6dd3436ee9c7aefbad5b8c51fd60c3de53cab97194c52", "sourceVerifiedSha256": "7d1d013000d9669303d6dd3436ee9c7aefbad5b8c51fd60c3de53cab97194c52", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Three-part cadence, three measures; alto/tenor/bass with bass suspension and sharp.", "Every printed note and rest entered, including source clefs, final breves, ties and cross-shaped single sharp when present.", "Every printed note and rest entered, including source clefs, final breves, ties and cross-shaped single sharp when present.", "Schema validated, parsed and Verovio rendered. Astra compared all staff positions, printed rhythmic values/rests, ties, accidentals and closing breves against source; source147 terminal breves separately enlarged to confirm D5/D4 octave." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "155-d", "path": "assets/155-d.png", "pdf_page": 113, "printed_page": 155, "bbox_pixels": [ 594, 1470, 1213, 2055 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 619, 585 ], "musicxml": [ { "path": "musicxml/advanced-155-d.musicxml", "sha256": "9b5163ae0e3ea26d6dfa8ba7e2aa3e93270e3cd63840c48c3a0c4c2bce864e29", "sourceVerifiedSha256": "9b5163ae0e3ea26d6dfa8ba7e2aa3e93270e3cd63840c48c3a0c4c2bce864e29", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Four-part three-measure cadence, soprano/alto/tenor/bass; soprano and alto ties.", "All voices directly visually transcribed, including source suspension ties and blank voice spans. Latest render comparison pending.", "All listed files passed XSD/parser/renderer checks and complete source-to-proof comparison, including blank-staff forward spans, clefs and all suspension ties." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "156-a", "path": "assets/156-a.png", "pdf_page": 114, "printed_page": 156, "bbox_pixels": [ 409, 339, 934, 475 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 525, 136 ], "musicxml": [ { "path": "musicxml/advanced-156-a.musicxml", "sha256": "4d87e0eac82d18a72946736fd3628cdf0bb5ed47b0713b7e1a552585993c24a7", "sourceVerifiedSha256": "4d87e0eac82d18a72946736fd3628cdf0bb5ed47b0713b7e1a552585993c24a7", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Alto-clef four whole notes D4 F4 E4 D4, four bars.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.", "All referenced MusicXML files passed the shared MusicXML schema validator, parsed to playable timelines, and rendered with Verovio. Astra visually compared proof contact sheets 0/6/12/18 to source: clefs, staff positions, accidental, head-fill indications, chord membership and printed lyrics match; unmetered playback assumptions remain explicitly documented." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "156-b", "path": "assets/156-b.png", "pdf_page": 114, "printed_page": 156, "bbox_pixels": [ 97, 464, 1275, 884 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1178, 420 ], "musicxml": [ { "path": "musicxml/advanced-156-b.musicxml", "sha256": "5a20b3011df5b6d21589f2a040a475aee2dac0e59ab7a3c7f39a3f9547becdf2", "sourceVerifiedSha256": "5a20b3011df5b6d21589f2a040a475aee2dac0e59ab7a3c7f39a3f9547becdf2", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Six-measure three-voice excerpt; soprano/alto/tenor, starts with active soprano and tenor, dotted and beamed/flagged durations.", "Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.", "Complete six-bar three-voice proof matched original, with after-bar dot holds and quarter/eighth distinctions checked. XSD and timeline accepted." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "156-c", "path": "assets/156-c.png", "pdf_page": 114, "printed_page": 156, "bbox_pixels": [ 101, 1102, 618, 1522 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 517, 420 ], "musicxml": [ { "path": "musicxml/advanced-156-c.musicxml", "sha256": "0c9247ebb5cf04fb0040c0a9dc8d32d69bc8f3e132a00e1415ffecb4d496176d", "sourceVerifiedSha256": "0c9247ebb5cf04fb0040c0a9dc8d32d69bc8f3e132a00e1415ffecb4d496176d", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Three-measure three-part cadence with flats in first measure and sharp soprano second measure.", "All voices directly visually transcribed, including source suspension ties and blank voice spans. Latest render comparison pending.", "All listed files passed XSD/parser/renderer checks and complete source-to-proof comparison, including blank-staff forward spans, clefs and all suspension ties." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "156-d", "path": "assets/156-d.png", "pdf_page": 114, "printed_page": 156, "bbox_pixels": [ 103, 1617, 1286, 2039 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1183, 422 ], "musicxml": [ { "path": "musicxml/advanced-156-d-1.musicxml", "sha256": "280f025c9ccd4dc4df5cf40602fb9e83767413e8bd20a2bf996f60ade1362f01", "sourceVerifiedSha256": "280f025c9ccd4dc4df5cf40602fb9e83767413e8bd20a2bf996f60ade1362f01", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Two independent four-measure three-part examples; soprano/alto/tenor clefs, tied suspensions and flats/sharps.", "All voices directly visually transcribed, including source suspension ties and blank voice spans. Latest render comparison pending.", "All listed files passed XSD/parser/renderer checks and complete source-to-proof comparison, including blank-staff forward spans, clefs and all suspension ties." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-156-d-2.musicxml", "sha256": "8177c4bb3d2ebf73c2ec8af95de9dafc89a5da5bbedb023c03716a0548a7fc20", "sourceVerifiedSha256": "8177c4bb3d2ebf73c2ec8af95de9dafc89a5da5bbedb023c03716a0548a7fc20", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Two independent four-measure three-part examples; soprano/alto/tenor clefs, tied suspensions and flats/sharps.", "All voices directly visually transcribed, including source suspension ties and blank voice spans. Latest render comparison pending.", "All listed files passed XSD/parser/renderer checks and complete source-to-proof comparison, including blank-staff forward spans, clefs and all suspension ties." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "157-a", "path": "assets/157-a.png", "pdf_page": 115, "printed_page": 157, "bbox_pixels": [ 40, 669, 1222, 959 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1182, 290 ], "musicxml": [ { "path": "musicxml/advanced-157-a-1.musicxml", "sha256": "42f7876e93ffe96793f9c21250e418058abdba11be8b8a5cce5f79f66b6a23a5", "sourceVerifiedSha256": "42f7876e93ffe96793f9c21250e418058abdba11be8b8a5cce5f79f66b6a23a5", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Two adjacent three-measure two-voice cadences, soprano and alto clefs; second melody differs by octave placement.", "All voices directly visually transcribed, including source suspension ties and blank voice spans. Latest render comparison pending.", "All listed files passed XSD/parser/renderer checks and complete source-to-proof comparison, including blank-staff forward spans, clefs and all suspension ties." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-157-a-2.musicxml", "sha256": "537496ea35a804a2e0e19ae44b7dbad94a763206652bb565283d4bc658184c3a", "sourceVerifiedSha256": "537496ea35a804a2e0e19ae44b7dbad94a763206652bb565283d4bc658184c3a", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Two adjacent three-measure two-voice cadences, soprano and alto clefs; second melody differs by octave placement.", "All voices directly visually transcribed, including source suspension ties and blank voice spans. Latest render comparison pending.", "All listed files passed XSD/parser/renderer checks and complete source-to-proof comparison, including blank-staff forward spans, clefs and all suspension ties." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "157-b", "path": "assets/157-b.png", "pdf_page": 115, "printed_page": 157, "bbox_pixels": [ 35, 966, 1222, 1437 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1187, 471 ], "musicxml": [ { "path": "musicxml/advanced-157-b-1.musicxml", "sha256": "9fc8c90e37a68dac48eedf10303165026659488b24f07dbb4fbc99189647f243", "sourceVerifiedSha256": "9fc8c90e37a68dac48eedf10303165026659488b24f07dbb4fbc99189647f243", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Blank opening tenor span encoded as forward time, without a printed rest.", "Blank opening tenor span encoded as forward time, without a printed rest." ], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Three-part expansion of157-a, tenor added below soprano/alto; two adjacent three-measure examples.", "All voices directly visually transcribed, including source suspension ties and blank voice spans. Latest render comparison pending.", "All listed files passed XSD/parser/renderer checks and complete source-to-proof comparison, including blank-staff forward spans, clefs and all suspension ties." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-157-b-2.musicxml", "sha256": "b8254c45d8658f4ec31a1890408ed05c858fb18a68e71edfe8a713d92eb3b521", "sourceVerifiedSha256": "b8254c45d8658f4ec31a1890408ed05c858fb18a68e71edfe8a713d92eb3b521", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Blank opening tenor span encoded as forward time, without a printed rest.", "Blank opening tenor span encoded as forward time, without a printed rest." ], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Three-part expansion of157-a, tenor added below soprano/alto; two adjacent three-measure examples.", "All voices directly visually transcribed, including source suspension ties and blank voice spans. Latest render comparison pending.", "All listed files passed XSD/parser/renderer checks and complete source-to-proof comparison, including blank-staff forward spans, clefs and all suspension ties." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "158-a", "path": "assets/158-a.png", "pdf_page": 116, "printed_page": 158, "bbox_pixels": [ 97, 543, 1275, 957 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1178, 414 ], "musicxml": [ { "path": "musicxml/advanced-158-a.musicxml", "sha256": "2755e5d7aaa59a1b5d7d56060f052ebbcae7b51d0aad9305e65e15911f7bb729", "sourceVerifiedSha256": "2755e5d7aaa59a1b5d7d56060f052ebbcae7b51d0aad9305e65e15911f7bb729", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Three-voice descending suspension chain, two G clefs above bass, ten measures ending breves. G-clef reference line requires specific verification before pitch encoding.", "Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.", "Full three-part source-to-proof comparison complete; XSD validation and timeline passed; both historical G clefs at158-a confirmed on line2, all10measures and final breves matched." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "158-b", "path": "assets/158-b.png", "pdf_page": 116, "printed_page": 158, "bbox_pixels": [ 99, 990, 1286, 1844 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1187, 854 ], "musicxml": [ { "path": "musicxml/advanced-158-b.musicxml", "sha256": "b6e64a2777cf89c7eeb0ae007df7404006ced28dd7d29432007cf8236b8357e0", "sourceVerifiedSha256": "b6e64a2777cf89c7eeb0ae007df7404006ced28dd7d29432007cf8236b8357e0", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Two-system ten-measure three-voice descending suspension demonstration; soprano/alto/bass, active bass quarter notes.", "Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.", "Full three-part source-to-proof comparison complete; XSD validation and timeline passed; both historical G clefs at158-a confirmed on line2, all10measures and final breves matched." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "159-a", "path": "assets/159-a.png", "pdf_page": 117, "printed_page": 159, "bbox_pixels": [ 29, 614, 1218, 1965 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1189, 1351 ], "musicxml": [ { "path": "musicxml/advanced-159-160-fugue.musicxml", "sha256": "85acb03fb5307bc6a9f069c1d07a2fc729548b15df80883c9d678e7332310e41", "sourceVerifiedSha256": "85acb03fb5307bc6a9f069c1d07a2fc729548b15df80883c9d678e7332310e41", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Three-part fugue starts159-a and concludes160-a; soprano/alto/tenor, final breves; four systems total, flats and sharps.", "Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.", "Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.", "Full latest source-to-render comparison passed with XSD and playable timeline. 159–160closing inter-staff ∩ is correctly assigned to tenor A3whole-note tie31–32; no alto slur added. Historical after-bar augmentation dots and independent inversion clefs preserved." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "159-custos", "path": "assets/159-custos.png", "pdf_page": 117, "printed_page": 159, "bbox_pixels": [ 1077, 1971, 1205, 2105 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "not applicable", "kind": "musical_page_catchword", "dimensions_pixels": [ 128, 134 ], "musicxml": [], "music_transcription_status": "non-music" }, { "id": "160-a", "path": "assets/160-a.png", "pdf_page": 118, "printed_page": 160, "bbox_pixels": [ 110, 187, 1290, 594 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1180, 407 ], "musicxml": [ { "path": "musicxml/advanced-159-160-fugue.musicxml", "sha256": "85acb03fb5307bc6a9f069c1d07a2fc729548b15df80883c9d678e7332310e41", "sourceVerifiedSha256": "85acb03fb5307bc6a9f069c1d07a2fc729548b15df80883c9d678e7332310e41", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Three-part fugue starts159-a and concludes160-a; soprano/alto/tenor, final breves; four systems total, flats and sharps.", "Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.", "Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.", "Full latest source-to-render comparison passed with XSD and playable timeline. 159–160closing inter-staff ∩ is correctly assigned to tenor A3whole-note tie31–32; no alto slur added. Historical after-bar augmentation dots and independent inversion clefs preserved." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "161-a", "path": "assets/161-a.png", "pdf_page": 119, "printed_page": 161, "bbox_pixels": [ 301, 1071, 838, 1483 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 537, 412 ], "musicxml": [ { "path": "musicxml/advanced-161-a.musicxml", "sha256": "96ee095104764c4560416df267172178e4e9cc3e62ca6c2be4dc50520af371be", "sourceVerifiedSha256": "96ee095104764c4560416df267172178e4e9cc3e62ca6c2be4dc50520af371be", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Two-measure three-part terminal harmony; soprano/alto/bass, whole notes then breves, sharp on soprano breve.", "All voices directly visually transcribed. Clef changes across independent inversions retained in separate complete scores; source dots treated as augmentation.", "Full latest source-to-render comparison passed with XSD and playable timeline. 159–160closing inter-staff ∩ is correctly assigned to tenor A3whole-note tie31–32; no alto slur added. Historical after-bar augmentation dots and independent inversion clefs preserved." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "161-b", "path": "assets/161-b.png", "pdf_page": 119, "printed_page": 161, "bbox_pixels": [ 37, 1540, 1227, 1978 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 1190, 438 ], "musicxml": [ { "path": "musicxml/advanced-161b-162a-fugue.musicxml", "sha256": "a751f6715d1f7b82cb88a33bf18bea18487bd16dbf5548e2b7ecf576bfeb50eb", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Complete34-measure candidate. Measures1–33 directly source-checked. Final34 has upper half+quarter+quarter+breve=12 nominal quarter units, while the two wide stemmed lower final glyphs are longa/maxima-like with fermatas. Lower long16 is a documented nominal candidate only; no rest/hold synchronization invented. Fermata points are not augmentation dots. A verified opening excludes34." ], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Three-part fugue begins161-b and ends162-a, five systems total; soprano/alto/tenor. Final lower voices use dotted long notes and fermatas.", "Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.", "Full candidate rendered for comparison. All preclosing notes reviewed; source final wide long-note classification and nominal duration remain explicitly unresolved, with fermata points distinguished from augmentation dots. Verified opening supplied separately." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-161b-162a-fugue-verified-prefix.musicxml", "sha256": "4c7bd52a31f4639476e17eb967d9afcb84ddd37f3d4cf801fdca6ce4c4920c6b", "sourceVerifiedSha256": "4c7bd52a31f4639476e17eb967d9afcb84ddd37f3d4cf801fdca6ce4c4920c6b", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": { "kind": "excerpt", "label": "Verified opening · measures 1–33 of 34; full score continues", "lastMeasure": 33, "totalMeasures": 34 }, "issues": [ "Verified opening only; uncertain final long-note/fermata measure34 is excluded." ], "verification": [ "Known source-checked measures derived from full candidate without adding notes or a cadence. Full primary file unchanged.", "Both exact-current prefix proof pages compared to source-checked measures1–33. No sound/cadence added at cutoff; outgoing A4tie retained as notation only. XSD/parser accepted and all retained measures balance. Full primary unchanged." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "needs-review" }, { "id": "161-custos", "path": "assets/161-custos.png", "pdf_page": 119, "printed_page": 161, "bbox_pixels": [ 1095, 1971, 1216, 2105 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "not applicable", "kind": "musical_page_catchword", "dimensions_pixels": [ 121, 134 ], "musicxml": [], "music_transcription_status": "non-music" }, { "id": "162-a", "path": "assets/162-a.png", "pdf_page": 120, "printed_page": 162, "bbox_pixels": [ 95, 187, 1275, 2037 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 1180, 1850 ], "musicxml": [ { "path": "musicxml/advanced-161b-162a-fugue.musicxml", "sha256": "a751f6715d1f7b82cb88a33bf18bea18487bd16dbf5548e2b7ecf576bfeb50eb", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Complete34-measure candidate. Measures1–33 directly source-checked. Final34 has upper half+quarter+quarter+breve=12 nominal quarter units, while the two wide stemmed lower final glyphs are longa/maxima-like with fermatas. Lower long16 is a documented nominal candidate only; no rest/hold synchronization invented. Fermata points are not augmentation dots. A verified opening excludes34." ], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Three-part fugue begins161-b and ends162-a, five systems total; soprano/alto/tenor. Final lower voices use dotted long notes and fermatas.", "Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.", "Full candidate rendered for comparison. All preclosing notes reviewed; source final wide long-note classification and nominal duration remain explicitly unresolved, with fermata points distinguished from augmentation dots. Verified opening supplied separately." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "needs-review" }, { "id": "163-a", "path": "assets/163-a.png", "pdf_page": 121, "printed_page": 163, "bbox_pixels": [ 31, 997, 1218, 1921 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1187, 924 ], "musicxml": [ { "path": "musicxml/advanced-163-164-fugue.musicxml", "sha256": "300e99629aa9469a3221a6bad4784398b00803903dbe1986a16e172c4ceb8433", "sourceVerifiedSha256": "300e99629aa9469a3221a6bad4784398b00803903dbe1986a16e172c4ceb8433", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Three-part fugue begins163-a and ends164-a, five systems; alto/tenor/bass, final breves. Flats and sharps recur.", "Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.", "All35measures and three voices compared to separately enlarged five source systems and both current proof pages. Printed flats/sharps, held-dot continuations, no false tie after tenor18, and low final F2 with F4/A3 breves match. XSD/parser accepted; source remains definitive." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "163-custos", "path": "assets/163-custos.png", "pdf_page": 121, "printed_page": 163, "bbox_pixels": [ 1055, 1929, 1211, 2070 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "not applicable", "kind": "musical_page_catchword", "dimensions_pixels": [ 156, 141 ], "musicxml": [], "music_transcription_status": "non-music" }, { "id": "164-a", "path": "assets/164-a.png", "pdf_page": 122, "printed_page": 164, "bbox_pixels": [ 88, 187, 1284, 1509 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1196, 1322 ], "musicxml": [ { "path": "musicxml/advanced-163-164-fugue.musicxml", "sha256": "300e99629aa9469a3221a6bad4784398b00803903dbe1986a16e172c4ceb8433", "sourceVerifiedSha256": "300e99629aa9469a3221a6bad4784398b00803903dbe1986a16e172c4ceb8433", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Three-part fugue begins163-a and ends164-a, five systems; alto/tenor/bass, final breves. Flats and sharps recur.", "Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.", "All35measures and three voices compared to separately enlarged five source systems and both current proof pages. Printed flats/sharps, held-dot continuations, no false tie after tenor18, and low final F2 with F4/A3 breves match. XSD/parser accepted; source remains definitive." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "165-a", "path": "assets/165-a.png", "pdf_page": 123, "printed_page": 165, "bbox_pixels": [ 40, 253, 1242, 2044 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 1202, 1791 ], "musicxml": [ { "path": "musicxml/advanced-165-166-fugue-as-printed.musicxml", "sha256": "afcf6a4482b1199012ed2b6bdc68b06d21b0707995b2b739052e99723d4fe0c6", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Complete36-measure as-printed candidate. Alto6 retains confidently visible printed B3half under a separate gray handwritten correction. First source rhythm ambiguity is tenor25: point after filled D3quarter, followed by three unflagged quarters, nominal4.5against4. No eighth flag, rest or tie extension invented to force agreement. Full candidate is not playback-verified; verified opening ends24. Final G4/G4/G3 breves." ], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Three-part fugue starts165-a, finishes166-a; soprano/alto/tenor, five systems. First system alto measure6 has manuscript overwrite, preserve printed-vs-added uncertainty.", "Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.", "Full as-printed candidate proof compared. Printed B3half under gray annotation confirmed in enlargement; final alto F-sharp4/G4 cadence checked separately. Literal tenor25 point without following flag yields4.5units and strict tie-alignment rejection, intentionally not repaired by invention. Prefix stops24." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-165-166-fugue-as-printed-verified-prefix.musicxml", "sha256": "d964d303322950c0aa3aab8cf5bcb15205f0cc714c3aad2762cd902020fdd0ed", "sourceVerifiedSha256": "d964d303322950c0aa3aab8cf5bcb15205f0cc714c3aad2762cd902020fdd0ed", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": { "kind": "excerpt", "label": "Verified opening (as printed) · measures 1–24 of 36; full score continues", "lastMeasure": 24, "totalMeasures": 36 }, "issues": [ "As-printed opening only: the visible printed B3 in alto6 is retained; the higher gray handwritten correction remains in the original image, not adopted. Rhythmic ambiguity25 and all later bars are outside this prefix." ], "verification": [ "Known source-checked measures derived from full candidate without adding notes or a cadence. Full primary file unchanged.", "Both latest prefix pages compared to source-checked printed measures1–24, including enlarged alto4/6. No guessed handwritten pitch or invented ending. Boundary outgoing E5tie is notation-only; XSD/parser accepted and all kept bars balance." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "needs-review" }, { "id": "166-a", "path": "assets/166-a.png", "pdf_page": 124, "printed_page": 166, "bbox_pixels": [ 88, 187, 1286, 601 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 1198, 414 ], "musicxml": [ { "path": "musicxml/advanced-165-166-fugue-as-printed.musicxml", "sha256": "afcf6a4482b1199012ed2b6bdc68b06d21b0707995b2b739052e99723d4fe0c6", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Complete36-measure as-printed candidate. Alto6 retains confidently visible printed B3half under a separate gray handwritten correction. First source rhythm ambiguity is tenor25: point after filled D3quarter, followed by three unflagged quarters, nominal4.5against4. No eighth flag, rest or tie extension invented to force agreement. Full candidate is not playback-verified; verified opening ends24. Final G4/G4/G3 breves." ], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Three-part fugue starts165-a, finishes166-a; soprano/alto/tenor, five systems. First system alto measure6 has manuscript overwrite, preserve printed-vs-added uncertainty.", "Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.", "Full as-printed candidate proof compared. Printed B3half under gray annotation confirmed in enlargement; final alto F-sharp4/G4 cadence checked separately. Literal tenor25 point without following flag yields4.5units and strict tie-alignment rejection, intentionally not repaired by invention. Prefix stops24." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "needs-review" }, { "id": "166-b", "path": "assets/166-b.png", "pdf_page": 124, "printed_page": 166, "bbox_pixels": [ 97, 689, 1299, 2004 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1202, 1315 ], "musicxml": [ { "path": "musicxml/advanced-166b-167a-fugue.musicxml", "sha256": "d9229e209d2c89ed3142add8fd80fd1bb7141b08bde1ab890bc3da976afb97c1", "sourceVerifiedSha256": "d9229e209d2c89ed3142add8fd80fd1bb7141b08bde1ab890bc3da976afb97c1", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Three-part fugue starts166-b, closes167-a; alto/tenor/bass, four systems with suspensions and final breves.", "Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.", "All39measures of all three voices compared to source across both Verovio proof pages. XSD and timeline accepted; final A3/A3/A2 breves, tenor C-natural after previous-bar C-sharp, and bass closing E3tie checked." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "167-a", "path": "assets/167-a.png", "pdf_page": 125, "printed_page": 167, "bbox_pixels": [ 35, 187, 1227, 596 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1192, 409 ], "musicxml": [ { "path": "musicxml/advanced-166b-167a-fugue.musicxml", "sha256": "d9229e209d2c89ed3142add8fd80fd1bb7141b08bde1ab890bc3da976afb97c1", "sourceVerifiedSha256": "d9229e209d2c89ed3142add8fd80fd1bb7141b08bde1ab890bc3da976afb97c1", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Three-part fugue starts166-b, closes167-a; alto/tenor/bass, four systems with suspensions and final breves.", "Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.", "All39measures of all three voices compared to source across both Verovio proof pages. XSD and timeline accepted; final A3/A3/A2 breves, tenor C-natural after previous-bar C-sharp, and bass closing E3tie checked." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "167-b", "path": "assets/167-b.png", "pdf_page": 125, "printed_page": 167, "bbox_pixels": [ 15, 695, 1222, 2024 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1207, 1329 ], "musicxml": [ { "path": "musicxml/advanced-167b-168a-fugue.musicxml", "sha256": "81a0b43607f1560632d092ea5287fe544e885eef6350733e10952a532d8c3c6b", "sourceVerifiedSha256": "81a0b43607f1560632d092ea5287fe544e885eef6350733e10952a532d8c3c6b", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Three-part fugue starts167-b, closes168-a; soprano/alto/tenor, four systems and final breves.", "Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.", "Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.", "Both full proof pages compared to all30source measures; enlarged third soprano system resolves pitches19–26 as A4upward run through D5, then E5downward, retaining source C1reference. XSD/parser checks and final C5/C4/C3 breves passed." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "168-a", "path": "assets/168-a.png", "pdf_page": 126, "printed_page": 168, "bbox_pixels": [ 108, 200, 1295, 647 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1187, 447 ], "musicxml": [ { "path": "musicxml/advanced-167b-168a-fugue.musicxml", "sha256": "81a0b43607f1560632d092ea5287fe544e885eef6350733e10952a532d8c3c6b", "sourceVerifiedSha256": "81a0b43607f1560632d092ea5287fe544e885eef6350733e10952a532d8c3c6b", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Three-part fugue starts167-b, closes168-a; soprano/alto/tenor, four systems and final breves.", "Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.", "Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.", "Both full proof pages compared to all30source measures; enlarged third soprano system resolves pitches19–26 as A4upward run through D5, then E5downward, retaining source C1reference. XSD/parser checks and final C5/C4/C3 breves passed." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "169-a", "path": "assets/169-a.png", "pdf_page": 127, "printed_page": 169, "bbox_pixels": [ 31, 1470, 1220, 2022 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1189, 552 ], "musicxml": [ { "path": "musicxml/advanced-169-170-fugue.musicxml", "sha256": "6fab283a45fc1e6f9ec99d85e7cdf6f0b607963a06dc9083e057df75258d981e", "sourceVerifiedSha256": "6fab283a45fc1e6f9ec99d85e7cdf6f0b607963a06dc9083e057df75258d981e", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Four-part fugue begins169-a, ends170-a; soprano/alto/tenor/bass. Four systems, final breves and extended tied closing notes.", "Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.", "Complete34-measure four-part source comparison against both latest proof pages passed. Source systems separately enlarged; augmentation holds, octave-spaced bass entries, printed accidentals, continuing tenor A3ties and final D5/D4/A3/D3 breves checked. XSD and parser accepted; all part-measure durations agree." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "170-a", "path": "assets/170-a.png", "pdf_page": 128, "printed_page": 170, "bbox_pixels": [ 97, 187, 1284, 1914 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1187, 1727 ], "musicxml": [ { "path": "musicxml/advanced-169-170-fugue.musicxml", "sha256": "6fab283a45fc1e6f9ec99d85e7cdf6f0b607963a06dc9083e057df75258d981e", "sourceVerifiedSha256": "6fab283a45fc1e6f9ec99d85e7cdf6f0b607963a06dc9083e057df75258d981e", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Four-part fugue begins169-a, ends170-a; soprano/alto/tenor/bass. Four systems, final breves and extended tied closing notes.", "Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.", "Complete34-measure four-part source comparison against both latest proof pages passed. Source systems separately enlarged; augmentation holds, octave-spaced bass entries, printed accidentals, continuing tenor A3ties and final D5/D4/A3/D3 breves checked. XSD and parser accepted; all part-measure durations agree." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "171-a", "path": "assets/171-a.png", "pdf_page": 129, "printed_page": 171, "bbox_pixels": [ 29, 968, 1224, 2048 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1195, 1080 ], "musicxml": [ { "path": "musicxml/advanced-171-172-fugue.musicxml", "sha256": "27dc0fc4ea27b00f64617d16b164ee5936811e45ae2152683be121a301adc79d", "sourceVerifiedSha256": "27dc0fc4ea27b00f64617d16b164ee5936811e45ae2152683be121a301adc79d", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "A source curved mark sits beneath tenor rest24 toward following B3. It is retained as a non-sounding source annotation in provenance/original image, not converted to a pitched tie or invented note." ], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Four-part fugue begins171-a, ends172-a; soprano/alto/tenor/bass. Four systems; final soprano chromatic cadence with repeated sharps.", "Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.", "Both latest proof pages compared against all33measures in four separately enlarged source systems. Notes, rests, augmentation holds, accidentals, closing chained ties and G-sharp4/E4/B3/E3 breves match; all part durations agree and XSD/parser accepted. The curve adjacent to a rest has no assigned sounding event." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "172-a", "path": "assets/172-a.png", "pdf_page": 130, "printed_page": 172, "bbox_pixels": [ 95, 187, 1284, 1379 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1189, 1192 ], "musicxml": [ { "path": "musicxml/advanced-171-172-fugue.musicxml", "sha256": "27dc0fc4ea27b00f64617d16b164ee5936811e45ae2152683be121a301adc79d", "sourceVerifiedSha256": "27dc0fc4ea27b00f64617d16b164ee5936811e45ae2152683be121a301adc79d", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "A source curved mark sits beneath tenor rest24 toward following B3. It is retained as a non-sounding source annotation in provenance/original image, not converted to a pitched tie or invented note." ], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Four-part fugue begins171-a, ends172-a; soprano/alto/tenor/bass. Four systems; final soprano chromatic cadence with repeated sharps.", "Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.", "Both latest proof pages compared against all33measures in four separately enlarged source systems. Notes, rests, augmentation holds, accidentals, closing chained ties and G-sharp4/E4/B3/E3 breves match; all part durations agree and XSD/parser accepted. The curve adjacent to a rest has no assigned sounding event." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "172-b", "path": "assets/172-b.png", "pdf_page": 130, "printed_page": 172, "bbox_pixels": [ 99, 1463, 1284, 2026 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1185, 563 ], "musicxml": [ { "path": "musicxml/advanced-172b-174a-fugue.musicxml", "sha256": "737c416f3a7518bde43eb18143604c35a277d872fd68b7cd0cd407dc1fe3fada", "sourceVerifiedSha256": "737c416f3a7518bde43eb18143604c35a277d872fd68b7cd0cd407dc1fe3fada", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Four-part fugue begins172-b and ends174-a; five systems, soprano/alto/tenor/bass with tied whole notes, flats and final breves.", "Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.", "Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.", "All39measures of four parts compared against five source systems and all three latest proof pages. Long E4/E3tie chains, source whole-note augmentation in soprano22, explicit flat beginnings without redundant tied-stop accidentals, corrected final F4/F4/A3/F2 pitches and full-page low-bass inspection match. XSD/parser accepted; part durations agree." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "173-a", "path": "assets/173-a.png", "pdf_page": 131, "printed_page": 173, "bbox_pixels": [ 42, 187, 1238, 1967 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1196, 1780 ], "musicxml": [ { "path": "musicxml/advanced-172b-174a-fugue.musicxml", "sha256": "737c416f3a7518bde43eb18143604c35a277d872fd68b7cd0cd407dc1fe3fada", "sourceVerifiedSha256": "737c416f3a7518bde43eb18143604c35a277d872fd68b7cd0cd407dc1fe3fada", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Four-part fugue begins172-b and ends174-a; five systems, soprano/alto/tenor/bass with tied whole notes, flats and final breves.", "Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.", "Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.", "All39measures of four parts compared against five source systems and all three latest proof pages. Long E4/E3tie chains, source whole-note augmentation in soprano22, explicit flat beginnings without redundant tied-stop accidentals, corrected final F4/F4/A3/F2 pitches and full-page low-bass inspection match. XSD/parser accepted; part durations agree." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "173-custos", "path": "assets/173-custos.png", "pdf_page": 131, "printed_page": 173, "bbox_pixels": [ 1075, 1943, 1227, 2099 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "not applicable", "kind": "musical_page_catchword", "dimensions_pixels": [ 152, 156 ], "musicxml": [], "music_transcription_status": "non-music" }, { "id": "174-a", "path": "assets/174-a.png", "pdf_page": 132, "printed_page": 174, "bbox_pixels": [ 86, 189, 1268, 744 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1182, 555 ], "musicxml": [ { "path": "musicxml/advanced-172b-174a-fugue.musicxml", "sha256": "737c416f3a7518bde43eb18143604c35a277d872fd68b7cd0cd407dc1fe3fada", "sourceVerifiedSha256": "737c416f3a7518bde43eb18143604c35a277d872fd68b7cd0cd407dc1fe3fada", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Four-part fugue begins172-b and ends174-a; five systems, soprano/alto/tenor/bass with tied whole notes, flats and final breves.", "Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.", "Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.", "All39measures of four parts compared against five source systems and all three latest proof pages. Long E4/E3tie chains, source whole-note augmentation in soprano22, explicit flat beginnings without redundant tied-stop accidentals, corrected final F4/F4/A3/F2 pitches and full-page low-bass inspection match. XSD/parser accepted; part durations agree." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "175-table", "path": "assets/175-table.png", "pdf_page": 133, "printed_page": 175, "bbox_pixels": [ 268, 1474, 741, 1604 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "not applicable", "kind": "analysis", "dimensions_pixels": [ 473, 130 ], "musicxml": [], "music_transcription_status": "non-music" }, { "id": "176-a", "path": "assets/176-a.png", "pdf_page": 134, "printed_page": 176, "bbox_pixels": [ 92, 183, 1282, 513 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1190, 330 ], "musicxml": [ { "path": "musicxml/advanced-176-a-1.musicxml", "sha256": "8c3ddd5823ad7605e8614e7211df4461c7594412b2cd55b4063a5ef4e8310de3", "sourceVerifiedSha256": "8c3ddd5823ad7605e8614e7211df4461c7594412b2cd55b4063a5ef4e8310de3", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Three two-part paired intervals demonstrating octave inversion; source clefs change soprano/alto to alto/tenor at third example.", "All voices directly visually transcribed. Clef changes across independent inversions retained in separate complete scores; source dots treated as augmentation.", "Full latest source-to-render comparison passed with XSD and playable timeline. 159–160closing inter-staff ∩ is correctly assigned to tenor A3whole-note tie31–32; no alto slur added. Historical after-bar augmentation dots and independent inversion clefs preserved." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-176-a-2.musicxml", "sha256": "4cfd7c8a26d8f20c7f3866f25672e02ecdbd0dea5dacb58f6172c663d68ad5be", "sourceVerifiedSha256": "4cfd7c8a26d8f20c7f3866f25672e02ecdbd0dea5dacb58f6172c663d68ad5be", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Three two-part paired intervals demonstrating octave inversion; source clefs change soprano/alto to alto/tenor at third example.", "All voices directly visually transcribed. Clef changes across independent inversions retained in separate complete scores; source dots treated as augmentation.", "Full latest source-to-render comparison passed with XSD and playable timeline. 159–160closing inter-staff ∩ is correctly assigned to tenor A3whole-note tie31–32; no alto slur added. Historical after-bar augmentation dots and independent inversion clefs preserved." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-176-a-3.musicxml", "sha256": "68bdea363d7d8eb9df6377b970df68147ac73cb3ee1a0c6785799ac13f3a9c58", "sourceVerifiedSha256": "68bdea363d7d8eb9df6377b970df68147ac73cb3ee1a0c6785799ac13f3a9c58", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Three two-part paired intervals demonstrating octave inversion; source clefs change soprano/alto to alto/tenor at third example.", "All voices directly visually transcribed. Clef changes across independent inversions retained in separate complete scores; source dots treated as augmentation.", "Full latest source-to-render comparison passed with XSD and playable timeline. 159–160closing inter-staff ∩ is correctly assigned to tenor A3whole-note tie31–32; no alto slur added. Historical after-bar augmentation dots and independent inversion clefs preserved." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "176-b", "path": "assets/176-b.png", "pdf_page": 134, "printed_page": 176, "bbox_pixels": [ 95, 583, 1282, 920 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1187, 337 ], "musicxml": [ { "path": "musicxml/advanced-176-b-1.musicxml", "sha256": "031d70b77b823c8be1b1e1ead797056db87786ebf1413114e5bfa2f5e2ed4c75", "sourceVerifiedSha256": "031d70b77b823c8be1b1e1ead797056db87786ebf1413114e5bfa2f5e2ed4c75", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Three adjacent two-measure two-voice inversion examples, with internal clef changes and tied half notes.", "All voices directly visually transcribed. Clef changes across independent inversions retained in separate complete scores; source dots treated as augmentation.", "Full latest source-to-render comparison passed with XSD and playable timeline. 159–160closing inter-staff ∩ is correctly assigned to tenor A3whole-note tie31–32; no alto slur added. Historical after-bar augmentation dots and independent inversion clefs preserved." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-176-b-2.musicxml", "sha256": "98c65f50356192dc90425118c13bca00194e60921e19cc28e6308ea0c63a4e0f", "sourceVerifiedSha256": "98c65f50356192dc90425118c13bca00194e60921e19cc28e6308ea0c63a4e0f", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Three adjacent two-measure two-voice inversion examples, with internal clef changes and tied half notes.", "All voices directly visually transcribed. Clef changes across independent inversions retained in separate complete scores; source dots treated as augmentation.", "Full latest source-to-render comparison passed with XSD and playable timeline. 159–160closing inter-staff ∩ is correctly assigned to tenor A3whole-note tie31–32; no alto slur added. Historical after-bar augmentation dots and independent inversion clefs preserved." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-176-b-3.musicxml", "sha256": "5bcb2b6e804f7b21e18fcc839ce93cc6bab0424e0ad234903d51c2f971b3692e", "sourceVerifiedSha256": "5bcb2b6e804f7b21e18fcc839ce93cc6bab0424e0ad234903d51c2f971b3692e", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Three adjacent two-measure two-voice inversion examples, with internal clef changes and tied half notes.", "All voices directly visually transcribed. Clef changes across independent inversions retained in separate complete scores; source dots treated as augmentation.", "Full latest source-to-render comparison passed with XSD and playable timeline. 159–160closing inter-staff ∩ is correctly assigned to tenor A3whole-note tie31–32; no alto slur added. Historical after-bar augmentation dots and independent inversion clefs preserved." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "176-c", "path": "assets/176-c.png", "pdf_page": 134, "printed_page": 176, "bbox_pixels": [ 328, 1445, 1020, 1773 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 692, 328 ], "musicxml": [ { "path": "musicxml/advanced-176-c-1.musicxml", "sha256": "a70e9231e625c9882b16bc1ffe7e4f6f36ed7a8f06895683399e7443bd7a7071", "sourceVerifiedSha256": "a70e9231e625c9882b16bc1ffe7e4f6f36ed7a8f06895683399e7443bd7a7071", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Two adjacent two-note two-voice inversion pairs in soprano/alto clefs.", "All voices directly visually transcribed, including source suspension ties and blank voice spans. Latest render comparison pending.", "All listed files passed XSD/parser/renderer checks and complete source-to-proof comparison, including blank-staff forward spans, clefs and all suspension ties." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-176-c-2.musicxml", "sha256": "eca19811c471b0db84f39cd2126965e134866afed52096ac1242516cc2454cc4", "sourceVerifiedSha256": "eca19811c471b0db84f39cd2126965e134866afed52096ac1242516cc2454cc4", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Two adjacent two-note two-voice inversion pairs in soprano/alto clefs.", "All voices directly visually transcribed, including source suspension ties and blank voice spans. Latest render comparison pending.", "All listed files passed XSD/parser/renderer checks and complete source-to-proof comparison, including blank-staff forward spans, clefs and all suspension ties." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "177-a", "path": "assets/177-a.png", "pdf_page": 135, "printed_page": 177, "bbox_pixels": [ 22, 392, 1203, 988 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1181, 596 ], "musicxml": [ { "path": "musicxml/advanced-177-a-1.musicxml", "sha256": "ade46d04fc646fd3b3ebf217c499b5a76a1e01827017fe370832f286eaaa555c", "sourceVerifiedSha256": "ade46d04fc646fd3b3ebf217c499b5a76a1e01827017fe370832f286eaaa555c", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Two five-measure two-voice examples marked Inversio, first G-clef/alto, second alto/alto; upper part begins half rest and tied half.", "All voices directly visually transcribed. Clef changes across independent inversions retained in separate complete scores; source dots treated as augmentation.", "Full latest source-to-render comparison passed with XSD and playable timeline. 159–160closing inter-staff ∩ is correctly assigned to tenor A3whole-note tie31–32; no alto slur added. Historical after-bar augmentation dots and independent inversion clefs preserved." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-177-a-2.musicxml", "sha256": "386b156af2ec2f12d811c93a811785fa8c1bc9b2bbbfdd6ca9e42f9dbc2ea921", "sourceVerifiedSha256": "386b156af2ec2f12d811c93a811785fa8c1bc9b2bbbfdd6ca9e42f9dbc2ea921", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Two five-measure two-voice examples marked Inversio, first G-clef/alto, second alto/alto; upper part begins half rest and tied half.", "All voices directly visually transcribed. Clef changes across independent inversions retained in separate complete scores; source dots treated as augmentation.", "Full latest source-to-render comparison passed with XSD and playable timeline. 159–160closing inter-staff ∩ is correctly assigned to tenor A3whole-note tie31–32; no alto slur added. Historical after-bar augmentation dots and independent inversion clefs preserved." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "177-text-annotation", "path": "assets/177-text-annotation.png", "pdf_page": 135, "printed_page": 177, "bbox_pixels": [ 13, 1241, 1339, 1386 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "not applicable", "kind": "source_text_annotation", "dimensions_pixels": [ 1326, 145 ], "musicxml": [], "music_transcription_status": "non-music" }, { "id": "177-b", "path": "assets/177-b.png", "pdf_page": 135, "printed_page": 177, "bbox_pixels": [ 18, 1485, 1207, 1938 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1189, 453 ], "musicxml": [ { "path": "musicxml/advanced-177b-178a-original.musicxml", "sha256": "52ca12c42cf87b08bffe96e1ba4ca1c0ee5c3fcd1121e7df2a106b5d1bd15cac", "sourceVerifiedSha256": "52ca12c42cf87b08bffe96e1ba4ca1c0ee5c3fcd1121e7df2a106b5d1bd15cac", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Three-staff inversion display begins177-b, ends178-a; upper soprano plus alto cantus and tenor octave inversion shown together; eleven measures.", "Full direct visual transcription with source bracket/alternative-staff grouping and augmentation-dot audit. Latest complete rendered comparison pending.", "Latest full rendered proof compared to original, with all after-bar dots held and no extra accidentals on editorial tied continuations. Bracketed two-part original and standalone inversion line177-b/178-a encoded as two alternatives; genuine three-part179-a preserved as three parts. XSD/parser checks passed." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-177b-178a-inversion.musicxml", "sha256": "276e7b70e60d5c7131d7ddc8d5016cccca53eaf68ce0f66b64705efae6ba5247", "sourceVerifiedSha256": "276e7b70e60d5c7131d7ddc8d5016cccca53eaf68ce0f66b64705efae6ba5247", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Three-staff inversion display begins177-b, ends178-a; upper soprano plus alto cantus and tenor octave inversion shown together; eleven measures.", "Full direct visual transcription with source bracket/alternative-staff grouping and augmentation-dot audit. Latest complete rendered comparison pending.", "Latest full rendered proof compared to original, with all after-bar dots held and no extra accidentals on editorial tied continuations. Bracketed two-part original and standalone inversion line177-b/178-a encoded as two alternatives; genuine three-part179-a preserved as three parts. XSD/parser checks passed." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "177-custos", "path": "assets/177-custos.png", "pdf_page": 135, "printed_page": 177, "bbox_pixels": [ 1079, 1947, 1205, 2088 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "not applicable", "kind": "musical_page_catchword", "dimensions_pixels": [ 126, 141 ], "musicxml": [], "music_transcription_status": "non-music" }, { "id": "178-a", "path": "assets/178-a.png", "pdf_page": 136, "printed_page": 178, "bbox_pixels": [ 97, 183, 1275, 627 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1178, 444 ], "musicxml": [ { "path": "musicxml/advanced-177b-178a-original.musicxml", "sha256": "52ca12c42cf87b08bffe96e1ba4ca1c0ee5c3fcd1121e7df2a106b5d1bd15cac", "sourceVerifiedSha256": "52ca12c42cf87b08bffe96e1ba4ca1c0ee5c3fcd1121e7df2a106b5d1bd15cac", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Three-staff inversion display begins177-b, ends178-a; upper soprano plus alto cantus and tenor octave inversion shown together; eleven measures.", "Full direct visual transcription with source bracket/alternative-staff grouping and augmentation-dot audit. Latest complete rendered comparison pending.", "Latest full rendered proof compared to original, with all after-bar dots held and no extra accidentals on editorial tied continuations. Bracketed two-part original and standalone inversion line177-b/178-a encoded as two alternatives; genuine three-part179-a preserved as three parts. XSD/parser checks passed." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-177b-178a-inversion.musicxml", "sha256": "276e7b70e60d5c7131d7ddc8d5016cccca53eaf68ce0f66b64705efae6ba5247", "sourceVerifiedSha256": "276e7b70e60d5c7131d7ddc8d5016cccca53eaf68ce0f66b64705efae6ba5247", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Three-staff inversion display begins177-b, ends178-a; upper soprano plus alto cantus and tenor octave inversion shown together; eleven measures.", "Full direct visual transcription with source bracket/alternative-staff grouping and augmentation-dot audit. Latest complete rendered comparison pending.", "Latest full rendered proof compared to original, with all after-bar dots held and no extra accidentals on editorial tied continuations. Bracketed two-part original and standalone inversion line177-b/178-a encoded as two alternatives; genuine three-part179-a preserved as three parts. XSD/parser checks passed." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "178-b", "path": "assets/178-b.png", "pdf_page": 136, "printed_page": 178, "bbox_pixels": [ 99, 752, 1286, 1366 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1187, 614 ], "musicxml": [ { "path": "musicxml/advanced-178-b-1.musicxml", "sha256": "03ea93ca598d2090ceae20bafdb0b79378bb96d15c572f81ba2dabfe8880bcc2", "sourceVerifiedSha256": "03ea93ca598d2090ceae20bafdb0b79378bb96d15c572f81ba2dabfe8880bcc2", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Two complete paired eight-measure two-voice inversions, soprano/alto then alto/tenor; dotted and eighth-note passages.", "Full direct visual transcription with source bracket/alternative-staff grouping and augmentation-dot audit. Latest complete rendered comparison pending.", "Latest full rendered proof compared to original, with all after-bar dots held and no extra accidentals on editorial tied continuations. Bracketed two-part original and standalone inversion line177-b/178-a encoded as two alternatives; genuine three-part179-a preserved as three parts. XSD/parser checks passed." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-178-b-2.musicxml", "sha256": "7cf03461f1403d89233e4724146c3362e17a8e3dfefd05d942177b0e2222e6f4", "sourceVerifiedSha256": "7cf03461f1403d89233e4724146c3362e17a8e3dfefd05d942177b0e2222e6f4", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Two complete paired eight-measure two-voice inversions, soprano/alto then alto/tenor; dotted and eighth-note passages.", "Full direct visual transcription with source bracket/alternative-staff grouping and augmentation-dot audit. Latest complete rendered comparison pending.", "Latest full rendered proof compared to original, with all after-bar dots held and no extra accidentals on editorial tied continuations. Bracketed two-part original and standalone inversion line177-b/178-a encoded as two alternatives; genuine three-part179-a preserved as three parts. XSD/parser checks passed." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "178-c", "path": "assets/178-c.png", "pdf_page": 136, "printed_page": 178, "bbox_pixels": [ 112, 1723, 1293, 2000 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1181, 277 ], "musicxml": [ { "path": "musicxml/advanced-178-c.musicxml", "sha256": "094afba1a70a41bcd4d9129761d043c61e7aa4d24541c5ec8a606f2f2316f2a8", "sourceVerifiedSha256": "094afba1a70a41bcd4d9129761d043c61e7aa4d24541c5ec8a606f2f2316f2a8", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Complete eight-measure two-part example soprano/alto, ending breves.", "Every printed note and rest entered, including source clefs, final breves, ties and cross-shaped single sharp when present.", "Every printed note and rest entered, including source clefs, final breves, ties and cross-shaped single sharp when present.", "Schema validated, parsed and Verovio rendered. Astra compared all staff positions, printed rhythmic values/rests, ties, accidentals and closing breves against source; source147 terminal breves separately enlarged to confirm D5/D4 octave.", "Each printed after-bar dot explicitly audited against previous half-note pitch; editorial split tie now sustains the sounding note.", "Latest XSD validation, playable timeline and Verovio proof all accepted; complete source-to-render comparison includes every after-bar augmentation dot as held continuation, never a new rest." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "179-a", "path": "assets/179-a.png", "pdf_page": 137, "printed_page": 179, "bbox_pixels": [ 33, 458, 1220, 878 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1187, 420 ], "musicxml": [ { "path": "musicxml/advanced-179-a.musicxml", "sha256": "e4cad817b2c440660563cd2f6e4fed89a3de79f7444ed09e2619637c0d605de7", "sourceVerifiedSha256": "e4cad817b2c440660563cd2f6e4fed89a3de79f7444ed09e2619637c0d605de7", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Three-staff expansion of178-c with tenor octave inversion below; eight measures and final breves.", "Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.", "Latest full rendered proof compared to original, with all after-bar dots held and no extra accidentals on editorial tied continuations. Bracketed two-part original and standalone inversion line177-b/178-a encoded as two alternatives; genuine three-part179-a preserved as three parts. XSD/parser checks passed." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "179-b", "path": "assets/179-b.png", "pdf_page": 137, "printed_page": 179, "bbox_pixels": [ 31, 1485, 1220, 2042 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1189, 557 ], "musicxml": [ { "path": "musicxml/advanced-179b-181a-fugue.musicxml", "sha256": "0b29d79f3a526e3233cb1bf6c7e940e4dbb8a82a7a5c8b133574f3ce303c68c1", "sourceVerifiedSha256": "0b29d79f3a526e3233cb1bf6c7e940e4dbb8a82a7a5c8b133574f3ce303c68c1", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Original cut-time sign and eight-quarter-unit source bar groupings are retained without note-value reduction." ], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Four-part extended fugue, begins179-b and ends181-a; six systems, long measures, numbered entries, final fermatas over breves.", "Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.", "Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.", "Complete24-bar four-part proof compared to all six source systems. Dense tenor13–15 rechecked in enlarged source and corrected before final proof; all other compared notes unchanged. Source NB/entry numbers, blank soprano12 span, augmentation holds, long final A4ties and four fermatas retained. XSD/parser accepted and all bars total8quarter units in every part." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "180-a", "path": "assets/180-a.png", "pdf_page": 138, "printed_page": 180, "bbox_pixels": [ 95, 189, 1279, 1958 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1184, 1769 ], "musicxml": [ { "path": "musicxml/advanced-179b-181a-fugue.musicxml", "sha256": "0b29d79f3a526e3233cb1bf6c7e940e4dbb8a82a7a5c8b133574f3ce303c68c1", "sourceVerifiedSha256": "0b29d79f3a526e3233cb1bf6c7e940e4dbb8a82a7a5c8b133574f3ce303c68c1", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Original cut-time sign and eight-quarter-unit source bar groupings are retained without note-value reduction." ], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Four-part extended fugue, begins179-b and ends181-a; six systems, long measures, numbered entries, final fermatas over breves.", "Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.", "Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.", "Complete24-bar four-part proof compared to all six source systems. Dense tenor13–15 rechecked in enlarged source and corrected before final proof; all other compared notes unchanged. Source NB/entry numbers, blank soprano12 span, augmentation holds, long final A4ties and four fermatas retained. XSD/parser accepted and all bars total8quarter units in every part." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "180-custos", "path": "assets/180-custos.png", "pdf_page": 138, "printed_page": 180, "bbox_pixels": [ 1130, 1951, 1277, 2090 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "not applicable", "kind": "musical_page_catchword", "dimensions_pixels": [ 147, 139 ], "musicxml": [], "music_transcription_status": "non-music" }, { "id": "181-a", "path": "assets/181-a.png", "pdf_page": 139, "printed_page": 181, "bbox_pixels": [ 35, 191, 1229, 1419 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1194, 1228 ], "musicxml": [ { "path": "musicxml/advanced-179b-181a-fugue.musicxml", "sha256": "0b29d79f3a526e3233cb1bf6c7e940e4dbb8a82a7a5c8b133574f3ce303c68c1", "sourceVerifiedSha256": "0b29d79f3a526e3233cb1bf6c7e940e4dbb8a82a7a5c8b133574f3ce303c68c1", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Original cut-time sign and eight-quarter-unit source bar groupings are retained without note-value reduction." ], "verification": [ "Direct visual inspection of original crop by GPT-6 Astra. Four-part extended fugue, begins179-b and ends181-a; six systems, long measures, numbered entries, final fermatas over breves.", "Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.", "Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.", "Complete24-bar four-part proof compared to all six source systems. Dense tenor13–15 rechecked in enlarged source and corrected before final proof; all other compared notes unchanged. Source NB/entry numbers, blank soprano12 span, augmentation holds, long final A4ties and four fermatas retained. XSD/parser accepted and all bars total8quarter units in every part." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "182-a", "path": "assets/182-a.png", "pdf_page": 140, "printed_page": 182, "bbox_pixels": [ 103, 700, 1282, 1272 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1179, 572 ], "musicxml": [ { "path": "musicxml/middle-advanced-182-a.musicxml", "sha256": "12e8fadfe9d4c64ba6400cd11f900e0fc9f3dd6b1c9744e411c5415bfa743c31", "sourceVerifiedSha256": "12e8fadfe9d4c64ba6400cd11f900e0fc9f3dd6b1c9744e411c5415bfa743c31", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Long source measures retain eight-quarter-note durations, despite cut-time symbol." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-advanced.json" } ], "music_transcription_status": "verified" }, { "id": "183-a", "path": "assets/183-a.png", "pdf_page": 141, "printed_page": 183, "bbox_pixels": [ 51, 191, 1242, 1316 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1191, 1125 ], "musicxml": [ { "path": "musicxml/middle-advanced-183-a.musicxml", "sha256": "b22521eb0b64ef04a84e26c9fe2d9694f9f7adef6b018fe2a26d80a8be0754ab", "sourceVerifiedSha256": "b22521eb0b64ef04a84e26c9fe2d9694f9f7adef6b018fe2a26d80a8be0754ab", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Eight-quarter source bars preserved; final blank staves are not sounded as rests or given an invented close." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-advanced.json" } ], "music_transcription_status": "verified" }, { "id": "184-table", "path": "assets/184-table.png", "pdf_page": 142, "printed_page": 184, "bbox_pixels": [ 347, 957, 980, 1069 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "not applicable", "kind": "analysis", "dimensions_pixels": [ 633, 112 ], "musicxml": [], "music_transcription_status": "non-music" }, { "id": "184-a", "path": "assets/184-a.png", "pdf_page": 142, "printed_page": 184, "bbox_pixels": [ 92, 1467, 1277, 2024 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1185, 557 ], "musicxml": [ { "path": "musicxml/middle-advanced-184-a.musicxml", "sha256": "535dd1f69f3fb18cb15ec29a3fe12c4c890b36f6088c7e23b4300ead9565198f", "sourceVerifiedSha256": "535dd1f69f3fb18cb15ec29a3fe12c4c890b36f6088c7e23b4300ead9565198f", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Dot crossing bar6–7 represented by editorial tie and split duration." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-advanced.json" } ], "music_transcription_status": "verified" }, { "id": "185-a", "path": "assets/185-a.png", "pdf_page": 143, "printed_page": 185, "bbox_pixels": [ 37, 306, 1220, 893 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1183, 587 ], "musicxml": [ { "path": "musicxml/middle-advanced-185-a.musicxml", "sha256": "f5749dd92ccec6b4a42e368931bd0a0282a6394abcbc4ecc6dc98732e605df45", "sourceVerifiedSha256": "f5749dd92ccec6b4a42e368931bd0a0282a6394abcbc4ecc6dc98732e605df45", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Dot crossing bar6–7 represented by editorial tie and split duration." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-advanced.json" } ], "music_transcription_status": "verified" }, { "id": "185-b", "path": "assets/185-b.png", "pdf_page": 143, "printed_page": 185, "bbox_pixels": [ 35, 1133, 1222, 1723 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1187, 590 ], "musicxml": [ { "path": "musicxml/middle-advanced-185-b.musicxml", "sha256": "4f7e74abc1fe216c2d563298418443b8fd0544fa04edb040614ef84737bb60b6", "sourceVerifiedSha256": "4f7e74abc1fe216c2d563298418443b8fd0544fa04edb040614ef84737bb60b6", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Dot crossing bar6–7 represented by editorial tie and split duration." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-advanced.json" } ], "music_transcription_status": "verified" }, { "id": "185-custos", "path": "assets/185-custos.png", "pdf_page": 143, "printed_page": 185, "bbox_pixels": [ 1035, 1945, 1213, 2092 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "not applicable", "kind": "musical_page_catchword", "dimensions_pixels": [ 178, 147 ], "musicxml": [], "music_transcription_status": "non-music" }, { "id": "186-a", "path": "assets/186-a.png", "pdf_page": 144, "printed_page": 186, "bbox_pixels": [ 103, 187, 1284, 1045 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1181, 858 ], "musicxml": [ { "path": "musicxml/middle-advanced-186-a.musicxml", "sha256": "761f60b4fcab4af985a790130e84fee6b583b33f3d697a538f2a6c9498383cbe", "sourceVerifiedSha256": "761f60b4fcab4af985a790130e84fee6b583b33f3d697a538f2a6c9498383cbe", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Dot crossing bar6–7 represented by editorial tie and split duration." ], "verification": [ "All three source staves visually inspected; soprano/alto match185-b, bass freshly read.", "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-advanced.json" } ], "music_transcription_status": "verified" }, { "id": "186-b", "path": "assets/186-b.png", "pdf_page": 144, "printed_page": 186, "bbox_pixels": [ 103, 1206, 1290, 2070 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1187, 864 ], "musicxml": [ { "path": "musicxml/middle-advanced-186-b.musicxml", "sha256": "6f1dfe24b8bf1caf62ebb170db2aa183410f7888ce98c6b961b79406d59f4599", "sourceVerifiedSha256": "6f1dfe24b8bf1caf62ebb170db2aa183410f7888ce98c6b961b79406d59f4599", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Dot crossing bar6–7 represented by editorial tie and split duration." ], "verification": [ "All three source staves visually inspected; outer parts correspond184-a and185-a with original clefs retained.", "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-advanced.json" } ], "music_transcription_status": "verified" }, { "id": "187-a", "path": "assets/187-a.png", "pdf_page": 145, "printed_page": 187, "bbox_pixels": [ 31, 629, 1220, 924 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1189, 295 ], "musicxml": [ { "path": "musicxml/middle-advanced-187-a.musicxml", "sha256": "2f4054e36198c4436b90998bed22d3a9a1adf2f36bd7937eca893ebe76f579aa", "sourceVerifiedSha256": "2f4054e36198c4436b90998bed22d3a9a1adf2f36bd7937eca893ebe76f579aa", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Source measures1–4 have eight-quarter durations; final source measure has a whole-note position followed by breves (twelve quarters)." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-advanced.json" } ], "music_transcription_status": "verified" }, { "id": "187-b", "path": "assets/187-b.png", "pdf_page": 145, "printed_page": 187, "bbox_pixels": [ 29, 1085, 1224, 1540 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1195, 455 ], "musicxml": [ { "path": "musicxml/middle-advanced-187-b.musicxml", "sha256": "51fd90b7a5ccf6ada6c9564d44c3fb4fdb1326cef1150c474cbad3f9b7affd52", "sourceVerifiedSha256": "51fd90b7a5ccf6ada6c9564d44c3fb4fdb1326cef1150c474cbad3f9b7affd52", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Source measures1–4 have eight-quarter durations; final source measure has a whole-note position followed by breves (twelve quarters)." ], "verification": [ "All three source staves visually read; original two voices match187-a, added tenor freshly transcribed.", "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-advanced.json" } ], "music_transcription_status": "verified" }, { "id": "187-c", "path": "assets/187-c.png", "pdf_page": 145, "printed_page": 187, "bbox_pixels": [ 29, 1681, 1224, 1951 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1195, 270 ], "musicxml": [ { "path": "musicxml/middle-advanced-187-c.musicxml", "sha256": "4e2731fc04b5d7c924a435f9f480d508f79fe86bc305ffaf0e3ec6825574ac31", "sourceVerifiedSha256": "4e2731fc04b5d7c924a435f9f480d508f79fe86bc305ffaf0e3ec6825574ac31", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Source first three bars have eight-quarter duration; penultimate bar four quarters. Dot across bar2–3 normalized with editorial tie." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-advanced.json" } ], "music_transcription_status": "verified" }, { "id": "187-custos", "path": "assets/187-custos.png", "pdf_page": 145, "printed_page": 187, "bbox_pixels": [ 1005, 1943, 1211, 2075 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "not applicable", "kind": "musical_page_catchword", "dimensions_pixels": [ 206, 132 ], "musicxml": [], "music_transcription_status": "non-music" }, { "id": "188-a", "path": "assets/188-a.png", "pdf_page": 146, "printed_page": 188, "bbox_pixels": [ 99, 183, 1284, 667 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1185, 484 ], "musicxml": [ { "path": "musicxml/middle-advanced-188-a.musicxml", "sha256": "d885b835dcb5d1aba176855d4a2664eec661e068e2268ae58fd57d9483fb0edb", "sourceVerifiedSha256": "d885b835dcb5d1aba176855d4a2664eec661e068e2268ae58fd57d9483fb0edb", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Source first three bars have eight-quarter duration; penultimate bar four quarters. Dot across bar2–3 normalized with editorial tie." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-advanced.json" } ], "music_transcription_status": "verified" }, { "id": "188-custos", "path": "assets/188-custos.png", "pdf_page": 146, "printed_page": 188, "bbox_pixels": [ 1110, 1932, 1284, 2079 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "not applicable", "kind": "musical_page_catchword", "dimensions_pixels": [ 174, 147 ], "musicxml": [], "music_transcription_status": "non-music" }, { "id": "189-a", "path": "assets/189-a.png", "pdf_page": 147, "printed_page": 189, "bbox_pixels": [ 37, 185, 1222, 744 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1185, 559 ], "musicxml": [ { "path": "musicxml/middle-advanced-189-a.musicxml", "sha256": "90d77c6b260e5f057b6f54d07428e554231160051fd30f037ed1fd0ceaeb4682", "sourceVerifiedSha256": "90d77c6b260e5f057b6f54d07428e554231160051fd30f037ed1fd0ceaeb4682", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Source measures1–4 have eight-quarter durations; final source measure has a whole-note position followed by breves (twelve quarters).", "Third voice dot across bar2–3 extends preceding whole note; editorial split tie encodes six-quarter sustained E4." ], "verification": [ "All four staves visually inspected; added alto independently read.", "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-advanced.json" } ], "music_transcription_status": "verified" }, { "id": "189-b", "path": "assets/189-b.png", "pdf_page": 147, "printed_page": 189, "bbox_pixels": [ 37, 988, 1224, 1274 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1187, 286 ], "musicxml": [ { "path": "musicxml/middle-advanced-189-b.musicxml", "sha256": "512075f053a38d3bf2e0c97c873222851210e1b2f671cf44cf8dc7abf0c91714", "sourceVerifiedSha256": "512075f053a38d3bf2e0c97c873222851210e1b2f671cf44cf8dc7abf0c91714", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Three eight-quarter bars followed by four-quarter ending; no invented breve." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-advanced.json" } ], "music_transcription_status": "verified" }, { "id": "189-custos", "path": "assets/189-custos.png", "pdf_page": 147, "printed_page": 189, "bbox_pixels": [ 1020, 1925, 1216, 2075 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "not applicable", "kind": "musical_page_catchword", "dimensions_pixels": [ 196, 150 ], "musicxml": [], "music_transcription_status": "non-music" }, { "id": "190-a", "path": "assets/190-a.png", "pdf_page": 148, "printed_page": 190, "bbox_pixels": [ 97, 202, 1275, 616 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1178, 414 ], "musicxml": [ { "path": "musicxml/middle-advanced-190-a.musicxml", "sha256": "0da68385328ae8f41248821640d95f7ea7848c952f0a315020b5bddc30d679e8", "sourceVerifiedSha256": "0da68385328ae8f41248821640d95f7ea7848c952f0a315020b5bddc30d679e8", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Three eight-quarter bars followed by four-quarter ending; no invented breve." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-advanced.json" } ], "music_transcription_status": "verified" }, { "id": "190-b", "path": "assets/190-b.png", "pdf_page": 148, "printed_page": 190, "bbox_pixels": [ 97, 893, 618, 1294 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 521, 401 ], "musicxml": [ { "path": "musicxml/advanced-190-b.musicxml", "sha256": "a81d0a0f110851d4738275414496bd5f8be703320d0dcaa88a648c016be839cd", "sourceVerifiedSha256": "a81d0a0f110851d4738275414496bd5f8be703320d0dcaa88a648c016be839cd", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Previously completed and verified by Astra advanced agent; reused per parent instruction." ], "ledger": "ledgers/middle-advanced.json" } ], "music_transcription_status": "verified" }, { "id": "190-c", "path": "assets/190-c.png", "pdf_page": 148, "printed_page": 190, "bbox_pixels": [ 99, 1346, 1284, 1914 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 1185, 568 ], "musicxml": [ { "path": "musicxml/middle-advanced-190-c.musicxml", "sha256": "5ea10784c60e559821660be4bf81a9d5fb6459cbb93ff8eb5280c1b7d7715671", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Source bars mainly8 quarters, but191-a system3 bar2 has4 in allparts; preserved.", "192-a penultimate source bar writes semibreves in soprano/alto/bass against tied tenor breve:4 versus8 quarters. Written values retained; ensemble timing requires editorial decision.", "191-a second system alto bar2 has an arc toward following whole rest; not encoded as invalid tie. Review source arc." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-advanced.json" }, { "path": "musicxml/middle-advanced-190-c-editorial-timing.musicxml", "sha256": "3d413a6ba82956254e8e87f9c7df4474fa72b21ef645ced9925e100975ff2adb", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Editorial timing variant: penultimate tenor printed breve shortened to whole-note duration to agree with other three voices; primary literal file retained." ], "verification": [ "Separate playback interpretation; literal primary retained.", "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-advanced.json" }, { "path": "musicxml/middle-advanced-190-c-verified-opening.musicxml", "sha256": "fdf21402bd9cee978b86659c9893d5e869233b8ded5b27071ee883082ed08fe2", "sourceVerifiedSha256": "fdf21402bd9cee978b86659c9893d5e869233b8ded5b27071ee883082ed08fe2", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": { "kind": "excerpt", "label": "Verified opening · measures 1–9 of 24; full score continues", "lastMeasure": 9, "totalMeasures": 24 }, "issues": [ "Excerpt stops at an explicit review boundary; no cadence, final notes, or continuation guessed. Full literal candidate remains available separately." ], "verification": [ "All kept notes previously source-compared; explicit boundary selected with no outgoing tie.", "Prefix parsed and XSD/Verovio rendered; rendering viewed and compared to reviewed source events." ], "ledger": "ledgers/middle-prefixes.json" } ], "music_transcription_status": "needs-review" }, { "id": "190-custos", "path": "assets/190-custos.png", "pdf_page": 148, "printed_page": 190, "bbox_pixels": [ 1128, 1938, 1275, 2083 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "not applicable", "kind": "musical_page_catchword", "dimensions_pixels": [ 147, 145 ], "musicxml": [], "music_transcription_status": "non-music" }, { "id": "191-a", "path": "assets/191-a.png", "pdf_page": 149, "printed_page": 191, "bbox_pixels": [ 35, 187, 1224, 1971 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 1189, 1784 ], "musicxml": [ { "path": "musicxml/middle-advanced-190-c.musicxml", "sha256": "5ea10784c60e559821660be4bf81a9d5fb6459cbb93ff8eb5280c1b7d7715671", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Source bars mainly8 quarters, but191-a system3 bar2 has4 in allparts; preserved.", "192-a penultimate source bar writes semibreves in soprano/alto/bass against tied tenor breve:4 versus8 quarters. Written values retained; ensemble timing requires editorial decision.", "191-a second system alto bar2 has an arc toward following whole rest; not encoded as invalid tie. Review source arc." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-advanced.json" }, { "path": "musicxml/middle-advanced-190-c-editorial-timing.musicxml", "sha256": "3d413a6ba82956254e8e87f9c7df4474fa72b21ef645ced9925e100975ff2adb", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Editorial timing variant: penultimate tenor printed breve shortened to whole-note duration to agree with other three voices; primary literal file retained." ], "verification": [ "Separate playback interpretation; literal primary retained.", "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-advanced.json" } ], "music_transcription_status": "needs-review" }, { "id": "191-custos", "path": "assets/191-custos.png", "pdf_page": 149, "printed_page": 191, "bbox_pixels": [ 1073, 1962, 1211, 2097 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "not applicable", "kind": "musical_page_catchword", "dimensions_pixels": [ 138, 135 ], "musicxml": [], "music_transcription_status": "non-music" }, { "id": "192-a", "path": "assets/192-a.png", "pdf_page": 150, "printed_page": 192, "bbox_pixels": [ 95, 178, 1284, 757 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 1189, 579 ], "musicxml": [ { "path": "musicxml/middle-advanced-190-c.musicxml", "sha256": "5ea10784c60e559821660be4bf81a9d5fb6459cbb93ff8eb5280c1b7d7715671", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Source bars mainly8 quarters, but191-a system3 bar2 has4 in allparts; preserved.", "192-a penultimate source bar writes semibreves in soprano/alto/bass against tied tenor breve:4 versus8 quarters. Written values retained; ensemble timing requires editorial decision.", "191-a second system alto bar2 has an arc toward following whole rest; not encoded as invalid tie. Review source arc." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-advanced.json" }, { "path": "musicxml/middle-advanced-190-c-editorial-timing.musicxml", "sha256": "3d413a6ba82956254e8e87f9c7df4474fa72b21ef645ced9925e100975ff2adb", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Editorial timing variant: penultimate tenor printed breve shortened to whole-note duration to agree with other three voices; primary literal file retained." ], "verification": [ "Separate playback interpretation; literal primary retained.", "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-advanced.json" } ], "music_transcription_status": "needs-review" }, { "id": "192-b", "path": "assets/192-b.png", "pdf_page": 150, "printed_page": 192, "bbox_pixels": [ 103, 1516, 1295, 1932 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1192, 416 ], "musicxml": [ { "path": "musicxml/middle-advanced-192-b-1.musicxml", "sha256": "a729c484d1b38a398cd3ca2a9c2029d0a2bfd847efaad33a569248fcc47a989a", "sourceVerifiedSha256": "a729c484d1b38a398cd3ca2a9c2029d0a2bfd847efaad33a569248fcc47a989a", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-advanced.json" }, { "path": "musicxml/middle-advanced-192-b-2.musicxml", "sha256": "f07321ae3f882f6076cf5ba19abb44c307bb11a690d04cf0e330229cb7f15f13", "sourceVerifiedSha256": "f07321ae3f882f6076cf5ba19abb44c307bb11a690d04cf0e330229cb7f15f13", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Blank time before changed upper clef represented by non-sounding forward; printed halfrest and C5entry retained." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-advanced.json" } ], "music_transcription_status": "verified" }, { "id": "192-custos", "path": "assets/192-custos.png", "pdf_page": 150, "printed_page": 192, "bbox_pixels": [ 1134, 1945, 1286, 2090 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "not applicable", "kind": "musical_page_catchword", "dimensions_pixels": [ 152, 145 ], "musicxml": [], "music_transcription_status": "non-music" }, { "id": "193-a", "path": "assets/193-a.png", "pdf_page": 151, "printed_page": 193, "bbox_pixels": [ 46, 194, 655, 741 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 609, 547 ], "musicxml": [ { "path": "musicxml/middle-advanced-193-a.musicxml", "sha256": "4013c1b626b08fbf918a5caa7e909693c1df5cb3b5ed793087db86e17ac6f226", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Alto rectangular glyph may represent a longa held through both bars; value uncertain. Literal breve plus blank continuation retained without invented rest; possible16-quarter longa interpretation remains for review." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-advanced.json" } ], "music_transcription_status": "needs-review" }, { "id": "193-table", "path": "assets/193-table.png", "pdf_page": 151, "printed_page": 193, "bbox_pixels": [ 171, 1751, 1018, 1874 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "not applicable", "kind": "analysis", "dimensions_pixels": [ 847, 123 ], "musicxml": [], "music_transcription_status": "non-music" }, { "id": "194-a", "path": "assets/194-a.png", "pdf_page": 152, "printed_page": 194, "bbox_pixels": [ 92, 660, 1284, 1287 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1192, 627 ], "musicxml": [ { "path": "musicxml/middle-advanced-194-a.musicxml", "sha256": "b65ecfc214fe55be3408a38a715a8733f6f3d4a5975915a8279863a42c877312", "sourceVerifiedSha256": "b65ecfc214fe55be3408a38a715a8733f6f3d4a5975915a8279863a42c877312", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Post-bar dot at8–9 represented as editorial continuation tie." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-advanced.json" } ], "music_transcription_status": "verified" }, { "id": "194-b", "path": "assets/194-b.png", "pdf_page": 152, "printed_page": 194, "bbox_pixels": [ 97, 1716, 1284, 2017 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1187, 301 ], "musicxml": [ { "path": "musicxml/middle-advanced-194-b.musicxml", "sha256": "f09b6f039636738b027bbe0f117c283b0a357d4c7dcbdff9edd9ca7d1a306327", "sourceVerifiedSha256": "f09b6f039636738b027bbe0f117c283b0a357d4c7dcbdff9edd9ca7d1a306327", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Post-bar dot at8–9 represented as editorial continuation tie." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-advanced.json" } ], "music_transcription_status": "verified" }, { "id": "195-a", "path": "assets/195-a.png", "pdf_page": 153, "printed_page": 195, "bbox_pixels": [ 37, 187, 1229, 471 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1192, 284 ], "musicxml": [ { "path": "musicxml/middle-advanced-194-b.musicxml", "sha256": "f09b6f039636738b027bbe0f117c283b0a357d4c7dcbdff9edd9ca7d1a306327", "sourceVerifiedSha256": "f09b6f039636738b027bbe0f117c283b0a357d4c7dcbdff9edd9ca7d1a306327", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Post-bar dot at8–9 represented as editorial continuation tie." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-advanced.json" } ], "music_transcription_status": "verified" }, { "id": "195-b", "path": "assets/195-b.png", "pdf_page": 153, "printed_page": 195, "bbox_pixels": [ 35, 651, 1229, 1223 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1194, 572 ], "musicxml": [ { "path": "musicxml/middle-advanced-195-b.musicxml", "sha256": "9c6df1e4c33b972c98ee35368ffd62a86853800f472035db88dad2356e0cfad8", "sourceVerifiedSha256": "9c6df1e4c33b972c98ee35368ffd62a86853800f472035db88dad2356e0cfad8", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Post-bar dot at8–9 represented as editorial continuation tie." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-advanced.json" } ], "music_transcription_status": "verified" }, { "id": "195-c", "path": "assets/195-c.png", "pdf_page": 153, "printed_page": 195, "bbox_pixels": [ 40, 1602, 1227, 2028 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 1187, 426 ], "musicxml": [ { "path": "musicxml/middle-advanced-195-c.musicxml", "sha256": "4ca9a8e2e4e2233078aa22aa17b9643256c2906ab972cec2f88a641eb5d3bbc5", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Post-bar dot at8–9 normalized with editorial tie.", "196-a long held soprano breves in source bars11–12 conflict with four-quarter lower-voice bars; written durations retained, timing needs editorial review." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-advanced.json" }, { "path": "musicxml/middle-advanced-195-c-editorial-timing.musicxml", "sha256": "53518a1fdc9e503f9c6b77d37553e339c1066eca85254bcee2f2982be79c28fe", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Editorial timing variant: soprano printed breves in11–12 shortened to whole-note durations to align lower voices and preserve their continuous ties; primary literal file retained." ], "verification": [ "Separate playback interpretation; literal primary retained.", "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-advanced.json" }, { "path": "musicxml/middle-advanced-195-c-verified-opening.musicxml", "sha256": "23938e87291e618ab4f4c0f23bba8b15265159ced4d5349644d1ceceb63f1fd4", "sourceVerifiedSha256": "23938e87291e618ab4f4c0f23bba8b15265159ced4d5349644d1ceceb63f1fd4", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": { "kind": "excerpt", "label": "Verified opening · measures 1–10 of 13; full score continues", "lastMeasure": 10, "totalMeasures": 13 }, "issues": [ "Excerpt stops at an explicit review boundary; no cadence, final notes, or continuation guessed. Full literal candidate remains available separately." ], "verification": [ "All kept notes previously source-compared; explicit boundary selected with no outgoing tie.", "Prefix parsed and XSD/Verovio rendered; rendering viewed and compared to reviewed source events." ], "ledger": "ledgers/middle-prefixes.json" } ], "music_transcription_status": "needs-review" }, { "id": "196-a", "path": "assets/196-a.png", "pdf_page": 154, "printed_page": 196, "bbox_pixels": [ 92, 191, 1277, 627 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 1185, 436 ], "musicxml": [ { "path": "musicxml/middle-advanced-195-c.musicxml", "sha256": "4ca9a8e2e4e2233078aa22aa17b9643256c2906ab972cec2f88a641eb5d3bbc5", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Post-bar dot at8–9 normalized with editorial tie.", "196-a long held soprano breves in source bars11–12 conflict with four-quarter lower-voice bars; written durations retained, timing needs editorial review." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-advanced.json" }, { "path": "musicxml/middle-advanced-195-c-editorial-timing.musicxml", "sha256": "53518a1fdc9e503f9c6b77d37553e339c1066eca85254bcee2f2982be79c28fe", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Editorial timing variant: soprano printed breves in11–12 shortened to whole-note durations to align lower voices and preserve their continuous ties; primary literal file retained." ], "verification": [ "Separate playback interpretation; literal primary retained.", "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-advanced.json" } ], "music_transcription_status": "needs-review" }, { "id": "196-b", "path": "assets/196-b.png", "pdf_page": 154, "printed_page": 196, "bbox_pixels": [ 95, 770, 1284, 1375 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1189, 605 ], "musicxml": [ { "path": "musicxml/middle-advanced-196-b.musicxml", "sha256": "bba14cb663212c472f0cd26fadd0c9de3d9211b206ffd9f642e09dd20e6029ed", "sourceVerifiedSha256": "bba14cb663212c472f0cd26fadd0c9de3d9211b206ffd9f642e09dd20e6029ed", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Dot across first source bar normalized with editorial continuation tie." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-advanced.json" } ], "music_transcription_status": "verified" }, { "id": "196-c", "path": "assets/196-c.png", "pdf_page": 154, "printed_page": 196, "bbox_pixels": [ 108, 1538, 1288, 1962 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1180, 424 ], "musicxml": [ { "path": "musicxml/middle-advanced-196-c.musicxml", "sha256": "d0d31ab0194e0b4e41eb10c83064dbaa5114b5c523dbc27b37b7a728d070cd63", "sourceVerifiedSha256": "d0d31ab0194e0b4e41eb10c83064dbaa5114b5c523dbc27b37b7a728d070cd63", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Dots across first source bar normalized with editorial continuation ties." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-advanced.json" } ], "music_transcription_status": "verified" }, { "id": "196-custos", "path": "assets/196-custos.png", "pdf_page": 154, "printed_page": 196, "bbox_pixels": [ 1126, 1954, 1282, 2090 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "not applicable", "kind": "musical_page_catchword", "dimensions_pixels": [ 156, 136 ], "musicxml": [], "music_transcription_status": "non-music" }, { "id": "197-a", "path": "assets/197-a.png", "pdf_page": 155, "printed_page": 197, "bbox_pixels": [ 46, 183, 1233, 607 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1187, 424 ], "musicxml": [ { "path": "musicxml/middle-advanced-196-c.musicxml", "sha256": "d0d31ab0194e0b4e41eb10c83064dbaa5114b5c523dbc27b37b7a728d070cd63", "sourceVerifiedSha256": "d0d31ab0194e0b4e41eb10c83064dbaa5114b5c523dbc27b37b7a728d070cd63", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Dots across first source bar normalized with editorial continuation ties." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-advanced.json" } ], "music_transcription_status": "verified" }, { "id": "197-b", "path": "assets/197-b.png", "pdf_page": 155, "printed_page": 197, "bbox_pixels": [ 29, 1366, 1218, 1995 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1189, 629 ], "musicxml": [ { "path": "musicxml/middle-advanced-197-b.musicxml", "sha256": "5b7ba048bcf1ed7e9f2331165910dfebd08b3db21bdf6fac585db58a569719fc", "sourceVerifiedSha256": "5b7ba048bcf1ed7e9f2331165910dfebd08b3db21bdf6fac585db58a569719fc", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Unequal source bars retained (8,8,4,4,8,8,8,4,8 quarters). Post-bar dot before eighthbar normalized with editorial tie." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-advanced.json" } ], "music_transcription_status": "verified" }, { "id": "198-a", "path": "assets/198-a.png", "pdf_page": 156, "printed_page": 198, "bbox_pixels": [ 95, 304, 1284, 1177 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1189, 873 ], "musicxml": [ { "path": "musicxml/middle-advanced-198-a.musicxml", "sha256": "27d52954e94acc59e980480835cc2010f73db77795f284fcbebba3abc47258cc", "sourceVerifiedSha256": "27d52954e94acc59e980480835cc2010f73db77795f284fcbebba3abc47258cc", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Source penultimatebar4quarters, otherfullbars8; augmentationdots normalized where crossingbar." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-advanced.json" } ], "music_transcription_status": "verified" }, { "id": "198-b", "path": "assets/198-b.png", "pdf_page": 156, "printed_page": 198, "bbox_pixels": [ 112, 1432, 1295, 2031 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1183, 599 ], "musicxml": [ { "path": "musicxml/middle-advanced-198-b-1.musicxml", "sha256": "60ec64730a2cbf7b07c04592fe13a90f15c299088cc0368fb77fc11085e64fee", "sourceVerifiedSha256": "60ec64730a2cbf7b07c04592fe13a90f15c299088cc0368fb77fc11085e64fee", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-advanced.json" }, { "path": "musicxml/middle-advanced-198-b-2.musicxml", "sha256": "278431c4a18efbb9ebe39deec0b303164068afa1be9ddc416a2d9fe18a4ba12f", "sourceVerifiedSha256": "278431c4a18efbb9ebe39deec0b303164068afa1be9ddc416a2d9fe18a4ba12f", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-advanced.json" } ], "music_transcription_status": "verified" }, { "id": "199-a", "path": "assets/199-a.png", "pdf_page": 157, "printed_page": 199, "bbox_pixels": [ 62, 451, 1255, 988 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1193, 537 ], "musicxml": [ { "path": "musicxml/middle-advanced-199-a.musicxml", "sha256": "2034666e6cac4dce0d5d901ff95e8b8c5c99d288d009908b0d11dc75008eb7b9", "sourceVerifiedSha256": "2034666e6cac4dce0d5d901ff95e8b8c5c99d288d009908b0d11dc75008eb7b9", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Dot following crossbar sustained half encoded by editorial split tie at4–5." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-advanced.json" } ], "music_transcription_status": "verified" }, { "id": "199-b", "path": "assets/199-b.png", "pdf_page": 157, "printed_page": 199, "bbox_pixels": [ 57, 1036, 1253, 1588 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1196, 552 ], "musicxml": [ { "path": "musicxml/middle-advanced-199-b.musicxml", "sha256": "2fcc398ac367b7db46eacde6c8ad26f5e552e58d0e79bdee1f6f684a4c01f1d1", "sourceVerifiedSha256": "2fcc398ac367b7db46eacde6c8ad26f5e552e58d0e79bdee1f6f684a4c01f1d1", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Dot following crossbar sustained half encoded by editorial split tie at4–5." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-advanced.json" } ], "music_transcription_status": "verified" }, { "id": "199-c", "path": "assets/199-c.png", "pdf_page": 157, "printed_page": 199, "bbox_pixels": [ 51, 1641, 1253, 2050 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 1202, 409 ], "musicxml": [ { "path": "musicxml/middle-advanced-199-c.musicxml", "sha256": "f947813418e8caccb2b9e87383691036ce950e4078ce52089746e7edefc9aaac", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Dot following crossbar sustained half encoded by editorial split tie at4–5.", "Tenor measure2 contains hand correction; printed B3/A3/B3 quarter figures provisionally retained." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; 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explicit issues remain where flagged." ], "ledger": "ledgers/middle-advanced.json" } ], "music_transcription_status": "verified" }, { "id": "206-a", "path": "assets/206-a.png", "pdf_page": 164, "printed_page": 206, "bbox_pixels": [ 97, 750, 1286, 1945 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1189, 1195 ], "musicxml": [ { "path": "musicxml/middle-advanced-206-a.musicxml", "sha256": "a38c03d3532b0e089fe490558cdafd19f22cf5309c75cea49e50dff36a595b23", "sourceVerifiedSha256": "a38c03d3532b0e089fe490558cdafd19f22cf5309c75cea49e50dff36a595b23", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Original mezzo-soprano C2 and baritone F3 clefs retained (not C1/F4).", "Eight-quarter source bars, with four-quarter bars20–21; grouping retained.", "Post-bar augmentationdot at6–7 extends A4; 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grouping retained.", "Post-bar augmentationdot at6–7 extends A4; encoded with editorial split tie." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-advanced.json" } ], "music_transcription_status": "verified" }, { "id": "207-custos", "path": "assets/207-custos.png", "pdf_page": 165, "printed_page": 207, "bbox_pixels": [ 1049, 1967, 1224, 2099 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "not applicable", "kind": "musical_page_catchword", "dimensions_pixels": [ 175, 132 ], "musicxml": [], "music_transcription_status": "non-music" }, { "id": "208-a", "path": "assets/208-a.png", "pdf_page": 166, "printed_page": 208, "bbox_pixels": [ 97, 180, 1279, 1338 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1182, 1158 ], "musicxml": [ { "path": "musicxml/middle-advanced-206-a.musicxml", "sha256": "a38c03d3532b0e089fe490558cdafd19f22cf5309c75cea49e50dff36a595b23", "sourceVerifiedSha256": "a38c03d3532b0e089fe490558cdafd19f22cf5309c75cea49e50dff36a595b23", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Original mezzo-soprano C2 and baritone F3 clefs retained (not C1/F4).", "Eight-quarter source bars, with four-quarter bars20–21; grouping retained.", "Post-bar augmentationdot at6–7 extends A4; encoded with editorial split tie." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-advanced.json" } ], "music_transcription_status": "verified" }, { "id": "209-a", "path": "assets/209-a.png", "pdf_page": 167, "printed_page": 209, "bbox_pixels": [ 48, 620, 1246, 1855 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1198, 1235 ], "musicxml": [ { "path": "musicxml/middle-advanced-209-a.musicxml", "sha256": "f8e6552ecf81fee53df3ab486f2b23d911902fdd96dca604f55a0273aacf9779", "sourceVerifiedSha256": "f8e6552ecf81fee53df3ab486f2b23d911902fdd96dca604f55a0273aacf9779", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Source measures mainly eight quarters, with four-quarter source bars16–17; grouping retained.", "Several post-bar augmentationdots normalized as tied continuations; no rests substituted." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-advanced.json" } ], "music_transcription_status": "verified" }, { "id": "209-custos", "path": "assets/209-custos.png", "pdf_page": 167, "printed_page": 209, "bbox_pixels": [ 1084, 1868, 1229, 2024 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "not applicable", "kind": "musical_page_catchword", "dimensions_pixels": [ 145, 156 ], "musicxml": [], "music_transcription_status": "non-music" }, { "id": "210-a", "path": "assets/210-a.png", "pdf_page": 168, "printed_page": 210, "bbox_pixels": [ 95, 187, 1282, 1982 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1187, 1795 ], "musicxml": [ { "path": "musicxml/middle-advanced-209-a.musicxml", "sha256": "f8e6552ecf81fee53df3ab486f2b23d911902fdd96dca604f55a0273aacf9779", "sourceVerifiedSha256": "f8e6552ecf81fee53df3ab486f2b23d911902fdd96dca604f55a0273aacf9779", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Source measures mainly eight quarters, with four-quarter source bars16–17; grouping retained.", "Several post-bar augmentationdots normalized as tied continuations; no rests substituted." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-advanced.json" } ], "music_transcription_status": "verified" }, { "id": "211-a", "path": "assets/211-a.png", "pdf_page": 169, "printed_page": 211, "bbox_pixels": [ 37, 1177, 1224, 1727 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1187, 550 ], "musicxml": [ { "path": "musicxml/middle-advanced-211-a.musicxml", "sha256": "4020f37bfb6cb79a5f58298556c00342331e02060492d5c646d498d07d57a724", "sourceVerifiedSha256": "4020f37bfb6cb79a5f58298556c00342331e02060492d5c646d498d07d57a724", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Four-measure example ends without final breve; written ending retained." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-advanced.json" } ], "music_transcription_status": "verified" }, { "id": "212-a", "path": "assets/212-a.png", "pdf_page": 170, "printed_page": 212, "bbox_pixels": [ 97, 1454, 1288, 1621 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1191, 167 ], "musicxml": [ { "path": "musicxml/advanced-212-a.musicxml", "sha256": "65d39effbbf042d9467457bb45b96f405d2bba46874fccf6f1847d9685e77968", "sourceVerifiedSha256": "65d39effbbf042d9467457bb45b96f405d2bba46874fccf6f1847d9685e77968", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Printed one-flat signature; explicit natural B in measure2 and E-flat in measure3." ], "verification": [ "Direct visual note-by-note transcription by Astra. Rendering comparison pending.", "Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "212-b", "path": "assets/212-b.png", "pdf_page": 170, "printed_page": 212, "bbox_pixels": [ 99, 1736, 1284, 1888 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1185, 152 ], "musicxml": [ { "path": "musicxml/advanced-212-b.musicxml", "sha256": "9b3b49858d81277260dd30f72df6e6014b5b0a0e14f8c980db58440fe8228ed3", "sourceVerifiedSha256": "9b3b49858d81277260dd30f72df6e6014b5b0a0e14f8c980db58440fe8228ed3", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Printed one-flat signature, explicit F-sharp then F-natural, C-sharp." ], "verification": [ "Direct visual note-by-note transcription by Astra. Rendering comparison pending.", "Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "213-a", "path": "assets/213-a.png", "pdf_page": 171, "printed_page": 213, "bbox_pixels": [ 48, 178, 1255, 310 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1207, 132 ], "musicxml": [ { "path": "musicxml/advanced-213-a.musicxml", "sha256": "22db1b8c976897a57f8b80dffecc15c9dcac00e914a32e5a1992047f681cdef3", "sourceVerifiedSha256": "22db1b8c976897a57f8b80dffecc15c9dcac00e914a32e5a1992047f681cdef3", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Enlarged signature confirms a single B-flat, not two flats. Explicit B-natural/B-flat and F-sharp." ], "verification": [ "Direct visual note-by-note transcription by Astra. Rendering comparison pending.", "Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "213-b", "path": "assets/213-b.png", "pdf_page": 171, "printed_page": 213, "bbox_pixels": [ 29, 449, 1242, 2088 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1213, 1639 ], "musicxml": [ { "path": "musicxml/middle-final-213-b.musicxml", "sha256": "c4a4d8ded5c4294ec0621f6e944a163ef8129be96faae3be2c8a033beb163af4", "sourceVerifiedSha256": "c4a4d8ded5c4294ec0621f6e944a163ef8129be96faae3be2c8a033beb163af4", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Signature B-flats encoded in pitch with no redundant accidental glyph; local naturals and chromatic flats retained.", "Several post-bar augmentationdots normalized as editorial tied continuations." ], "verification": [ "Direct visual reading of all19 source bars across213–214, including key-derived and local chromatic alterations.", "Allthree Verovio pages viewed and source-compared; unequal shapes and printed breves retained." ], "ledger": "ledgers/middle-final.json" } ], "music_transcription_status": "verified" }, { "id": "214-a", "path": "assets/214-a.png", "pdf_page": 172, "printed_page": 214, "bbox_pixels": [ 92, 187, 1299, 1984 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1207, 1797 ], "musicxml": [ { "path": "musicxml/middle-final-213-b.musicxml", "sha256": "c4a4d8ded5c4294ec0621f6e944a163ef8129be96faae3be2c8a033beb163af4", "sourceVerifiedSha256": "c4a4d8ded5c4294ec0621f6e944a163ef8129be96faae3be2c8a033beb163af4", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Signature B-flats encoded in pitch with no redundant accidental glyph; local naturals and chromatic flats retained.", "Several post-bar augmentationdots normalized as editorial tied continuations." ], "verification": [ "Direct visual reading of all19 source bars across213–214, including key-derived and local chromatic alterations.", "Allthree Verovio pages viewed and source-compared; unequal shapes and printed breves retained." ], "ledger": "ledgers/middle-final.json" } ], "music_transcription_status": "verified" }, { "id": "215-a", "path": "assets/215-a.png", "pdf_page": 173, "printed_page": 215, "bbox_pixels": [ 44, 981, 1242, 2105 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 1198, 1124 ], "musicxml": [ { "path": "musicxml/middle-final-215-a.musicxml", "sha256": "b60f029ebf934e9ccf6ccc262147f6f3aeba5ff43b533b871cb0c7447bf3e65f", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Original common-C, original C1/C3/C4/F4 clefs and B-flat signature retained; key-derived altered pitches encoded without redundant glyphs.", "Single/double handwritten-looking note flags read as eighth/sixteenth durations. Dense ornamental groups require independent second-eye review.", "Source pencil correction near opening alto and near217 bass second half note retained in source only; printed pitch used.", "Possible arc near tenor measure13 remains unassigned because adjacent current pitch readings differ; no invalid tie invented." ], "verification": [ "All source crops read at native resolution, with enlarged flag details.", "Both rendered pages viewed; first8bars source-compared without remaining uncertainty and separately supplied as verified opening. Full ornate source remains review." ], "ledger": "ledgers/middle-final.json" }, { "path": "musicxml/middle-final-215-a-verified-opening.musicxml", "sha256": "500100207412142874ad87a00edc75ee6e45f2eecbf8c3c672b4ce72f3f75b62", "sourceVerifiedSha256": "500100207412142874ad87a00edc75ee6e45f2eecbf8c3c672b4ce72f3f75b62", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": { "kind": "excerpt", "label": "Verified opening · measures 1–8 of 21; full score continues", "lastMeasure": 8, "totalMeasures": 21 }, "issues": [ "Excerpt stops at an explicit review boundary; no cadence, final notes, or continuation guessed. Full literal candidate remains available separately." ], "verification": [ "All kept notes previously source-compared; explicit boundary selected with no outgoing tie.", "Prefix parsed and XSD/Verovio rendered; rendering viewed and compared to reviewed source events." ], "ledger": "ledgers/middle-prefixes.json" } ], "music_transcription_status": "needs-review" }, { "id": "216-a", "path": "assets/216-a.png", "pdf_page": 174, "printed_page": 216, "bbox_pixels": [ 88, 176, 1288, 1960 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 1200, 1784 ], "musicxml": [ { "path": "musicxml/middle-final-215-a.musicxml", "sha256": "b60f029ebf934e9ccf6ccc262147f6f3aeba5ff43b533b871cb0c7447bf3e65f", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Original common-C, original C1/C3/C4/F4 clefs and B-flat signature retained; key-derived altered pitches encoded without redundant glyphs.", "Single/double handwritten-looking note flags read as eighth/sixteenth durations. Dense ornamental groups require independent second-eye review.", "Source pencil correction near opening alto and near217 bass second half note retained in source only; printed pitch used.", "Possible arc near tenor measure13 remains unassigned because adjacent current pitch readings differ; no invalid tie invented." ], "verification": [ "All source crops read at native resolution, with enlarged flag details.", "Both rendered pages viewed; first8bars source-compared without remaining uncertainty and separately supplied as verified opening. Full ornate source remains review." ], "ledger": "ledgers/middle-final.json" } ], "music_transcription_status": "needs-review" }, { "id": "216-custos", "path": "assets/216-custos.png", "pdf_page": 174, "printed_page": 216, "bbox_pixels": [ 1090, 1947, 1271, 2105 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "not applicable", "kind": "musical_page_catchword", "dimensions_pixels": [ 181, 158 ], "musicxml": [], "music_transcription_status": "non-music" }, { "id": "217-a", "path": "assets/217-a.png", "pdf_page": 175, "printed_page": 217, "bbox_pixels": [ 42, 187, 1240, 752 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 1198, 565 ], "musicxml": [ { "path": "musicxml/middle-final-215-a.musicxml", "sha256": "b60f029ebf934e9ccf6ccc262147f6f3aeba5ff43b533b871cb0c7447bf3e65f", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Original common-C, original C1/C3/C4/F4 clefs and B-flat signature retained; key-derived altered pitches encoded without redundant glyphs.", "Single/double handwritten-looking note flags read as eighth/sixteenth durations. Dense ornamental groups require independent second-eye review.", "Source pencil correction near opening alto and near217 bass second half note retained in source only; printed pitch used.", "Possible arc near tenor measure13 remains unassigned because adjacent current pitch readings differ; no invalid tie invented." ], "verification": [ "All source crops read at native resolution, with enlarged flag details.", "Both rendered pages viewed; first8bars source-compared without remaining uncertainty and separately supplied as verified opening. Full ornate source remains review." ], "ledger": "ledgers/middle-final.json" } ], "music_transcription_status": "needs-review" }, { "id": "218-a", "path": "assets/218-a.png", "pdf_page": 176, "printed_page": 218, "bbox_pixels": [ 92, 183, 734, 480 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 642, 297 ], "musicxml": [ { "path": "musicxml/middle-final-218-a-1.musicxml", "sha256": "238f1b113ab9db6014a2137790e40ea808665a332a29cf7da52f417a3788b916", "sourceVerifiedSha256": "238f1b113ab9db6014a2137790e40ea808665a332a29cf7da52f417a3788b916", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct source note/clef/rhythm reading followed by visual Verovio comparison; all notes/rests and independent example boundaries checked." ], "ledger": "ledgers/middle-final.json" }, { "path": "musicxml/middle-final-218-a-2.musicxml", "sha256": "34fc8a2b51fe299176be6f9013942b61fd6738ddbe389350a96f6b7ec28b0e78", "sourceVerifiedSha256": "34fc8a2b51fe299176be6f9013942b61fd6738ddbe389350a96f6b7ec28b0e78", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct source note/clef/rhythm reading followed by visual Verovio comparison; 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stemless notes encoded as wholes." ], "verification": [ "Direct source comparison of each scale start/end, original clef, key signature and all eight stepwise notes.", "Viewed rendered scale group; explicit key-derived alterations and filled/unfilled heads checked." ], "ledger": "ledgers/middle-final.json" }, { "path": "musicxml/middle-final-225-b-6.musicxml", "sha256": "75de905631c3def999723dfca198fb58debd6428840689ad009b550a67250b04", "sourceVerifiedSha256": "75de905631c3def999723dfca198fb58debd6428840689ad009b550a67250b04", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Unbarred solmization scale: printed filled/unfilled heads retained; stemless notes encoded as wholes." ], "verification": [ "Direct source comparison of each scale start/end, original clef, key signature and all eight stepwise notes.", "Viewed rendered scale group; explicit key-derived alterations and filled/unfilled heads checked." ], "ledger": "ledgers/middle-final.json" } ], "music_transcription_status": "verified" }, { "id": "225-custos", "path": "assets/225-custos.png", "pdf_page": 183, "printed_page": 225, "bbox_pixels": [ 1033, 1938, 1238, 2070 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "not applicable", "kind": "musical_page_catchword", "dimensions_pixels": [ 205, 132 ], "musicxml": [], "music_transcription_status": "non-music" }, { "id": "226-a", "path": "assets/226-a.png", "pdf_page": 184, "printed_page": 226, "bbox_pixels": [ 90, 187, 1284, 363 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1194, 176 ], "musicxml": [ { "path": "musicxml/advanced-226-a.musicxml", "sha256": "413b5dcd94f5384521dc401d600d60d28019d6b8e70519bc4dc813ca985d5664", "sourceVerifiedSha256": "413b5dcd94f5384521dc401d600d60d28019d6b8e70519bc4dc813ca985d5664", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Two-flat signature. Unmetered scale with filled stemless semitone markers; equal whole-note playback units are editorial." ], "verification": [ "All printed notes directly visually transcribed by Astra. Rendering comparison pending.", "Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "226-b", "path": "assets/226-b.png", "pdf_page": 184, "printed_page": 226, "bbox_pixels": [ 95, 1298, 1286, 1478 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1191, 180 ], "musicxml": [ { "path": "musicxml/advanced-226-b-1.musicxml", "sha256": "658dd98dbc285f6155e4ff56ba1105e77dc471c4baf9cce598bc07d915bf574a", "sourceVerifiedSha256": "658dd98dbc285f6155e4ff56ba1105e77dc471c4baf9cce598bc07d915bf574a", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Three sequential unmetered whole notes, not a simultaneous chord.", "Three sequential unmetered whole notes, not a simultaneous chord.", "Three sequential unmetered whole notes, not a simultaneous chord.", "Three sequential unmetered whole notes, not a simultaneous chord.", "Three sequential unmetered whole notes, not a simultaneous chord.", "Three sequential unmetered whole notes, not a simultaneous chord." ], "verification": [ "All printed notes directly visually transcribed by Astra. Rendering comparison pending.", "Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-226-b-2.musicxml", "sha256": "b201647d976b5496a9983fe0833181a392d220f055de6f3ecaef224f9386e6fa", "sourceVerifiedSha256": "b201647d976b5496a9983fe0833181a392d220f055de6f3ecaef224f9386e6fa", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Three sequential unmetered whole notes, not a simultaneous chord.", "Three sequential unmetered whole notes, not a simultaneous chord.", "Three sequential unmetered whole notes, not a simultaneous chord.", "Three sequential unmetered whole notes, not a simultaneous chord.", "Three sequential unmetered whole notes, not a simultaneous chord.", "Three sequential unmetered whole notes, not a simultaneous chord." ], "verification": [ "All printed notes directly visually transcribed by Astra. Rendering comparison pending.", "Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-226-b-3.musicxml", "sha256": "962955ac073bd25a09cfbd836eaff46a7a4a44867a47b7e63edfed8d9253f23e", "sourceVerifiedSha256": "962955ac073bd25a09cfbd836eaff46a7a4a44867a47b7e63edfed8d9253f23e", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Three sequential unmetered whole notes, not a simultaneous chord.", "Three sequential unmetered whole notes, not a simultaneous chord.", "Three sequential unmetered whole notes, not a simultaneous chord.", "Three sequential unmetered whole notes, not a simultaneous chord.", "Three sequential unmetered whole notes, not a simultaneous chord.", "Three sequential unmetered whole notes, not a simultaneous chord." ], "verification": [ "All printed notes directly visually transcribed by Astra. Rendering comparison pending.", "Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-226-b-4.musicxml", "sha256": "072d200c50fdc65c806b76f141868acd20758c37a267315dcb328fc824c7fd06", "sourceVerifiedSha256": "072d200c50fdc65c806b76f141868acd20758c37a267315dcb328fc824c7fd06", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Three sequential unmetered whole notes, not a simultaneous chord.", "Three sequential unmetered whole notes, not a simultaneous chord.", "Three sequential unmetered whole notes, not a simultaneous chord.", "Three sequential unmetered whole notes, not a simultaneous chord.", "Three sequential unmetered whole notes, not a simultaneous chord.", "Three sequential unmetered whole notes, not a simultaneous chord." ], "verification": [ "All printed notes directly visually transcribed by Astra. Rendering comparison pending.", "Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-226-b-5.musicxml", "sha256": "60c69e3d5e45ce24976d37197367ddf8022f700dcbea921bb6d7f7fd31cd4e35", "sourceVerifiedSha256": "60c69e3d5e45ce24976d37197367ddf8022f700dcbea921bb6d7f7fd31cd4e35", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Three sequential unmetered whole notes, not a simultaneous chord.", "Three sequential unmetered whole notes, not a simultaneous chord.", "Three sequential unmetered whole notes, not a simultaneous chord.", "Three sequential unmetered whole notes, not a simultaneous chord.", "Three sequential unmetered whole notes, not a simultaneous chord.", "Three sequential unmetered whole notes, not a simultaneous chord." ], "verification": [ "All printed notes directly visually transcribed by Astra. Rendering comparison pending.", "Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-226-b-6.musicxml", "sha256": "8c536fd5b4ada1ef913284a72c17b01ae6a93396c1ca8d28159a6cc479ecf8e2", "sourceVerifiedSha256": "8c536fd5b4ada1ef913284a72c17b01ae6a93396c1ca8d28159a6cc479ecf8e2", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Three sequential unmetered whole notes, not a simultaneous chord.", "Three sequential unmetered whole notes, not a simultaneous chord.", "Three sequential unmetered whole notes, not a simultaneous chord.", "Three sequential unmetered whole notes, not a simultaneous chord.", "Three sequential unmetered whole notes, not a simultaneous chord.", "Three sequential unmetered whole notes, not a simultaneous chord." ], "verification": [ "All printed notes directly visually transcribed by Astra. Rendering comparison pending.", "Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "226-c", "path": "assets/226-c.png", "pdf_page": 184, "printed_page": 226, "bbox_pixels": [ 92, 1720, 1286, 1923 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1194, 203 ], "musicxml": [ { "path": "musicxml/advanced-226-c-1.musicxml", "sha256": "9d07fdb4ddc5e82e51bf1b4e95810630c3892f4eda7b65b530a4996e3bb604a5", "sourceVerifiedSha256": "9d07fdb4ddc5e82e51bf1b4e95810630c3892f4eda7b65b530a4996e3bb604a5", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Descending sequential whole-note intervals; source mode letter C.", "Descending sequential whole-note intervals; source mode letter D.", "Descending sequential whole-note intervals; source mode letter E.", "Descending sequential whole-note intervals; source mode letter F.", "Descending sequential whole-note intervals; source mode letter G.", "Descending sequential whole-note intervals; source mode letter A." ], "verification": [ "All printed notes directly visually transcribed by Astra. Rendering comparison pending.", "Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-226-c-2.musicxml", "sha256": "8ccc10cb5b9e3bd0a3d842bd31d4ba2fe750cdbfd4a82d11847289cb4771b69a", "sourceVerifiedSha256": "8ccc10cb5b9e3bd0a3d842bd31d4ba2fe750cdbfd4a82d11847289cb4771b69a", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Descending sequential whole-note intervals; source mode letter C.", "Descending sequential whole-note intervals; source mode letter D.", "Descending sequential whole-note intervals; source mode letter E.", "Descending sequential whole-note intervals; source mode letter F.", "Descending sequential whole-note intervals; source mode letter G.", "Descending sequential whole-note intervals; source mode letter A." ], "verification": [ "All printed notes directly visually transcribed by Astra. Rendering comparison pending.", "Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-226-c-3.musicxml", "sha256": "b4fd8bbfcd94d6d5353245b25467d619f5a54172e7b45430d39e6629bad7c4b8", "sourceVerifiedSha256": "b4fd8bbfcd94d6d5353245b25467d619f5a54172e7b45430d39e6629bad7c4b8", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Descending sequential whole-note intervals; source mode letter C.", "Descending sequential whole-note intervals; source mode letter D.", "Descending sequential whole-note intervals; source mode letter E.", "Descending sequential whole-note intervals; source mode letter F.", "Descending sequential whole-note intervals; source mode letter G.", "Descending sequential whole-note intervals; source mode letter A." ], "verification": [ "All printed notes directly visually transcribed by Astra. Rendering comparison pending.", "Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-226-c-4.musicxml", "sha256": "fd3b41ef7da6928ec856bd263a93ce5ef704b48a4e2240e6e613af84f77c2975", "sourceVerifiedSha256": "fd3b41ef7da6928ec856bd263a93ce5ef704b48a4e2240e6e613af84f77c2975", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Descending sequential whole-note intervals; source mode letter C.", "Descending sequential whole-note intervals; source mode letter D.", "Descending sequential whole-note intervals; source mode letter E.", "Descending sequential whole-note intervals; source mode letter F.", "Descending sequential whole-note intervals; source mode letter G.", "Descending sequential whole-note intervals; source mode letter A." ], "verification": [ "All printed notes directly visually transcribed by Astra. Rendering comparison pending.", "Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-226-c-5.musicxml", "sha256": "0dd4e3d40901a0ab1ee789787141d610c8505707a37c3572bf842030bc3da323", "sourceVerifiedSha256": "0dd4e3d40901a0ab1ee789787141d610c8505707a37c3572bf842030bc3da323", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Descending sequential whole-note intervals; source mode letter C.", "Descending sequential whole-note intervals; source mode letter D.", "Descending sequential whole-note intervals; source mode letter E.", "Descending sequential whole-note intervals; source mode letter F.", "Descending sequential whole-note intervals; source mode letter G.", "Descending sequential whole-note intervals; source mode letter A." ], "verification": [ "All printed notes directly visually transcribed by Astra. Rendering comparison pending.", "Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-226-c-6.musicxml", "sha256": "ff1d581c728234e48698bf86be7f3114518498e63715f7bf0e466da8625cdf89", "sourceVerifiedSha256": "ff1d581c728234e48698bf86be7f3114518498e63715f7bf0e466da8625cdf89", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Descending sequential whole-note intervals; source mode letter C.", "Descending sequential whole-note intervals; source mode letter D.", "Descending sequential whole-note intervals; source mode letter E.", "Descending sequential whole-note intervals; source mode letter F.", "Descending sequential whole-note intervals; source mode letter G.", "Descending sequential whole-note intervals; source mode letter A." ], "verification": [ "All printed notes directly visually transcribed by Astra. Rendering comparison pending.", "Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "227-a", "path": "assets/227-a.png", "pdf_page": 185, "printed_page": 227, "bbox_pixels": [ 33, 194, 394, 339 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 361, 145 ], "musicxml": [ { "path": "musicxml/advanced-227-a.musicxml", "sha256": "9cf2210a1d0dd947f1daa0cbe7ac028156a4fed55deb3b28303c5afc88480090", "sourceVerifiedSha256": "9cf2210a1d0dd947f1daa0cbe7ac028156a4fed55deb3b28303c5afc88480090", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Three unmetered stemless whole notes, no internal barlines." ], "verification": [ "Direct visual note-by-note transcription by Astra. Rendering comparison pending.", "Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "227-b", "path": "assets/227-b.png", "pdf_page": 185, "printed_page": 227, "bbox_pixels": [ 33, 451, 1229, 625 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1196, 174 ], "musicxml": [ { "path": "musicxml/advanced-227-b-1.musicxml", "sha256": "572948641607a4d1b068bbafd22cfcb205d6bd8e5189e9c86500492817e2ebe3", "sourceVerifiedSha256": "572948641607a4d1b068bbafd22cfcb205d6bd8e5189e9c86500492817e2ebe3", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Ascending sequential whole-note intervals; source mode letter C.", "Ascending sequential whole-note intervals; source mode letter D.", "Ascending sequential whole-note intervals; source mode letter E.", "Ascending sequential whole-note intervals; source mode letter G.", "Ascending sequential whole-note intervals; source mode letter A." ], "verification": [ "All printed notes directly visually transcribed by Astra. Rendering comparison pending.", "Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-227-b-2.musicxml", "sha256": "89d7a7236d4aadea50787a079472a2adb10cae203ea8eed38183f60a21e56da0", "sourceVerifiedSha256": "89d7a7236d4aadea50787a079472a2adb10cae203ea8eed38183f60a21e56da0", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Ascending sequential whole-note intervals; source mode letter C.", "Ascending sequential whole-note intervals; source mode letter D.", "Ascending sequential whole-note intervals; source mode letter E.", "Ascending sequential whole-note intervals; source mode letter G.", "Ascending sequential whole-note intervals; source mode letter A." ], "verification": [ "All printed notes directly visually transcribed by Astra. Rendering comparison pending.", "Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-227-b-3.musicxml", "sha256": "1e828915db103bc7b97671433736627035139260aaf9b4b2a9d67c913c1aba49", "sourceVerifiedSha256": "1e828915db103bc7b97671433736627035139260aaf9b4b2a9d67c913c1aba49", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Ascending sequential whole-note intervals; source mode letter C.", "Ascending sequential whole-note intervals; source mode letter D.", "Ascending sequential whole-note intervals; source mode letter E.", "Ascending sequential whole-note intervals; source mode letter G.", "Ascending sequential whole-note intervals; source mode letter A." ], "verification": [ "All printed notes directly visually transcribed by Astra. Rendering comparison pending.", "Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-227-b-4.musicxml", "sha256": "994631f22be81983399e4b3be530ab06ea1a22ee137b0ae22a69856043b4992b", "sourceVerifiedSha256": "994631f22be81983399e4b3be530ab06ea1a22ee137b0ae22a69856043b4992b", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Ascending sequential whole-note intervals; source mode letter C.", "Ascending sequential whole-note intervals; source mode letter D.", "Ascending sequential whole-note intervals; source mode letter E.", "Ascending sequential whole-note intervals; source mode letter G.", "Ascending sequential whole-note intervals; source mode letter A." ], "verification": [ "All printed notes directly visually transcribed by Astra. Rendering comparison pending.", "Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-227-b-5.musicxml", "sha256": "f6865ee0902b02e99dcaf5142059480f5f7a574c59dd6bc668456149f92d89f9", "sourceVerifiedSha256": "f6865ee0902b02e99dcaf5142059480f5f7a574c59dd6bc668456149f92d89f9", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Ascending sequential whole-note intervals; source mode letter C.", "Ascending sequential whole-note intervals; source mode letter D.", "Ascending sequential whole-note intervals; source mode letter E.", "Ascending sequential whole-note intervals; source mode letter G.", "Ascending sequential whole-note intervals; source mode letter A." ], "verification": [ "All printed notes directly visually transcribed by Astra. Rendering comparison pending.", "Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "227-c", "path": "assets/227-c.png", "pdf_page": 185, "printed_page": 227, "bbox_pixels": [ 35, 1373, 1229, 1991 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1194, 618 ], "musicxml": [ { "path": "musicxml/middle-final-227-c-1.musicxml", "sha256": "dfb4be404b615b92bb590fbc76f57c0caa19c3090bd31576e727ce25e9d78436", "sourceVerifiedSha256": "dfb4be404b615b92bb590fbc76f57c0caa19c3090bd31576e727ce25e9d78436", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-final.json" }, { "path": "musicxml/middle-final-227-c-2.musicxml", "sha256": "23e6a863faca911a39f39715c0ac2ac60c232c3c4c067a6c0d1c311b559701ff", "sourceVerifiedSha256": "23e6a863faca911a39f39715c0ac2ac60c232c3c4c067a6c0d1c311b559701ff", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-final.json" } ], "music_transcription_status": "verified" }, { "id": "228-signs", "path": "assets/228-signs.png", "pdf_page": 186, "printed_page": 228, "bbox_pixels": [ 90, 194, 1282, 510 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "not applicable", "kind": "source_text_annotation", "dimensions_pixels": [ 1192, 316 ], "musicxml": [], "music_transcription_status": "non-music" }, { "id": "228-a", "path": "assets/228-a.png", "pdf_page": 186, "printed_page": 228, "bbox_pixels": [ 95, 812, 1284, 1485 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 1189, 673 ], "musicxml": [ { "path": "musicxml/middle-final-228-a-schema-1.musicxml", "sha256": "08b5ea68c83c93cde3bcd2cb8522030af59459a177337c858ec5f1a8472524ee", "sourceVerifiedSha256": "08b5ea68c83c93cde3bcd2cb8522030af59459a177337c858ec5f1a8472524ee", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Prefixed analytical mode division, separately encoded from adjacent composition." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-final.json" }, { "path": "musicxml/middle-final-228-a-1.musicxml", "sha256": "4a20fc0a4b1520ecad59d68b6a9aaf9b79e5136ed4604473c1f029a37d12941a", "sourceVerifiedSha256": "4a20fc0a4b1520ecad59d68b6a9aaf9b79e5136ed4604473c1f029a37d12941a", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Excerpt ends with printed etc.; no final cadence invented." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-final.json" }, { "path": "musicxml/middle-final-228-a-schema-2.musicxml", "sha256": "b73b7916e65d27aab1a896e05a0b1698f287a2edca9fef890b82e8346a03a41a", "sourceVerifiedSha256": "b73b7916e65d27aab1a896e05a0b1698f287a2edca9fef890b82e8346a03a41a", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Prefixed analytical mode division, separately encoded from adjacent composition." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-final.json" }, { "path": "musicxml/middle-final-228-a-2.musicxml", "sha256": "4afc798d0336aef621d2d400d43322b5051debaeabfc89011d0ef1ec28cffdb4", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Lower thirdbar currently reads F4whole+A4half (six quarters) against eight-quarter upperbar; literal values retained for review, no silent padding invented.", "Both voices end on partial two-quarter positions followed by etc." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-final.json" } ], "music_transcription_status": "needs-review" }, { "id": "228-custos", "path": "assets/228-custos.png", "pdf_page": 186, "printed_page": 228, "bbox_pixels": [ 1093, 1874, 1271, 2024 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "not applicable", "kind": "musical_page_catchword", "dimensions_pixels": [ 178, 150 ], "musicxml": [], "music_transcription_status": "non-music" }, { "id": "229-a", "path": "assets/229-a.png", "pdf_page": 187, "printed_page": 229, "bbox_pixels": [ 42, 187, 1242, 1945 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1200, 1758 ], "musicxml": [ { "path": "musicxml/middle-final-229-a-schema.musicxml", "sha256": "63dd02f2b49ba91b5c9a5fcdfbc814917b6f43b44dd54e298290a210d3e03c7f", "sourceVerifiedSha256": "63dd02f2b49ba91b5c9a5fcdfbc814917b6f43b44dd54e298290a210d3e03c7f", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Analytical mode prefix; not first events of the following fugue." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-final.json" }, { "path": "musicxml/middle-final-229-a.musicxml", "sha256": "114b853ce90877df1f7982681c494fa155d65de99c7b20e4e68d330959d83bde", "sourceVerifiedSha256": "114b853ce90877df1f7982681c494fa155d65de99c7b20e4e68d330959d83bde", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Prefixed mode division encoded separately as229-a-schema.", "Post-bar augmentationdot at8–9 normalized with editorial continuation tie." ], "verification": [ "Direct visual reading of18 source bars and separate modal prefix across229–230.", "Bothtwo Verovio pages viewed and source-compared; rests, entries, chromatic cadence and ties checked." ], "ledger": "ledgers/middle-final.json" } ], "music_transcription_status": "verified" }, { "id": "229-custos", "path": "assets/229-custos.png", "pdf_page": 187, "printed_page": 229, "bbox_pixels": [ 1057, 1951, 1233, 2101 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "not applicable", "kind": "musical_page_catchword", "dimensions_pixels": [ 176, 150 ], "musicxml": [], "music_transcription_status": "non-music" }, { "id": "230-a", "path": "assets/230-a.png", "pdf_page": 188, "printed_page": 230, "bbox_pixels": [ 86, 196, 1275, 763 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1189, 567 ], "musicxml": [ { "path": "musicxml/middle-final-229-a.musicxml", "sha256": "114b853ce90877df1f7982681c494fa155d65de99c7b20e4e68d330959d83bde", "sourceVerifiedSha256": "114b853ce90877df1f7982681c494fa155d65de99c7b20e4e68d330959d83bde", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Prefixed mode division encoded separately as229-a-schema.", "Post-bar augmentationdot at8–9 normalized with editorial continuation tie." ], "verification": [ "Direct visual reading of18 source bars and separate modal prefix across229–230.", "Bothtwo Verovio pages viewed and source-compared; rests, entries, chromatic cadence and ties checked." ], "ledger": "ledgers/middle-final.json" } ], "music_transcription_status": "verified" }, { "id": "230-hand", "path": "assets/230-hand.png", "pdf_page": 188, "printed_page": 230, "bbox_pixels": [ 62, 964, 1341, 1140 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "not applicable", "kind": "source_text_annotation", "dimensions_pixels": [ 1279, 176 ], "musicxml": [], "music_transcription_status": "non-music" }, { "id": "231-a", "path": "assets/231-a.png", "pdf_page": 189, "printed_page": 231, "bbox_pixels": [ 33, 1701, 552, 1850 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 519, 149 ], "musicxml": [ { "path": "musicxml/advanced-231-a.musicxml", "sha256": "9b26d69aedd8ab68113013d8d625121dc2fee695f6a41b1fdded9fbc446db467", "sourceVerifiedSha256": "9b26d69aedd8ab68113013d8d625121dc2fee695f6a41b1fdded9fbc446db467", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual note-by-note transcription by Astra. Rendering comparison pending.", "Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "232-a", "path": "assets/232-a.png", "pdf_page": 190, "printed_page": 232, "bbox_pixels": [ 81, 196, 1286, 365 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1205, 169 ], "musicxml": [ { "path": "musicxml/advanced-232-a-primo.musicxml", "sha256": "c70fae5b54dbb1a91d96ff9669ccfa52099ee0c81442ab88fe2472ecaae146a8", "sourceVerifiedSha256": "c70fae5b54dbb1a91d96ff9669ccfa52099ee0c81442ab88fe2472ecaae146a8", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "All printed notes directly visually transcribed by Astra. Rendering comparison pending.", "Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-232-a-secundo.musicxml", "sha256": "1818f65c1110e28dbf3634ce784af9fb75bba8a33c144567eeed147a718f66ab", "sourceVerifiedSha256": "1818f65c1110e28dbf3634ce784af9fb75bba8a33c144567eeed147a718f66ab", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "All printed notes directly visually transcribed by Astra. Rendering comparison pending.", "Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "232-b", "path": "assets/232-b.png", "pdf_page": 190, "printed_page": 232, "bbox_pixels": [ 95, 1047, 1286, 1342 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1191, 295 ], "musicxml": [ { "path": "musicxml/middle-final-232-b.musicxml", "sha256": "4ba63539c9733b684df3cce23d61c68b2b66f730c81d0fb6ba2e9fe0f11c76d7", "sourceVerifiedSha256": "4ba63539c9733b684df3cce23d61c68b2b66f730c81d0fb6ba2e9fe0f11c76d7", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Ends with two-quarter fragment and printed etc.; final cadence not invented." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-final.json" } ], "music_transcription_status": "verified" }, { "id": "232-c", "path": "assets/232-c.png", "pdf_page": 190, "printed_page": 232, "bbox_pixels": [ 99, 1428, 1286, 1709 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 1187, 281 ], "musicxml": [ { "path": "musicxml/middle-final-232-c.musicxml", "sha256": "e749fb6f9005c2d947aa55d75b950960754332eba255ecdfd95f8438a7645a1d", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Post-bar dots encoded as editorial eighth continuations; verify source clef-step readings in ornamental upper second/thirdbar and accidental carry from first B-flat." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-final.json" } ], "music_transcription_status": "needs-review" }, { "id": "232-hand", "path": "assets/232-hand.png", "pdf_page": 190, "printed_page": 232, "bbox_pixels": [ 97, 1714, 1286, 1835 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "not applicable", "kind": "source_text_annotation", "dimensions_pixels": [ 1189, 121 ], "musicxml": [], "music_transcription_status": "non-music" }, { "id": "233-a", "path": "assets/233-a.png", "pdf_page": 191, "printed_page": 233, "bbox_pixels": [ 88, 521, 1167, 812 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1079, 291 ], "musicxml": [ { "path": "musicxml/middle-final-233-a.musicxml", "sha256": "a87dfe90759bfacf05c846a5f7201482a276f4b4edfe57431b6eb829281e73f1", "sourceVerifiedSha256": "a87dfe90759bfacf05c846a5f7201482a276f4b4edfe57431b6eb829281e73f1", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Final printed etc. after partial two-quarter bar retained." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-final.json" } ], "music_transcription_status": "verified" }, { "id": "233-b", "path": "assets/233-b.png", "pdf_page": 191, "printed_page": 233, "bbox_pixels": [ 86, 858, 701, 1144 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 615, 286 ], "musicxml": [ { "path": "musicxml/middle-final-233-b.musicxml", "sha256": "c2192a643b8b8bfe83e6e3fe2bca3c598b9d88515ba811414d5888e95532d277", "sourceVerifiedSha256": "c2192a643b8b8bfe83e6e3fe2bca3c598b9d88515ba811414d5888e95532d277", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Post-bar augmentationdot split editorially; two-quarter ending fragment followed by etc." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-final.json" } ], "music_transcription_status": "verified" }, { "id": "233-c", "path": "assets/233-c.png", "pdf_page": 191, "printed_page": 233, "bbox_pixels": [ 75, 1258, 1284, 1426 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1209, 168 ], "musicxml": [ { "path": "musicxml/advanced-233-c-1.musicxml", "sha256": "05d6aff8026013c10f81c72e94a4cf4f0968d56d1198a2efa50e9b3f358fe127", "sourceVerifiedSha256": "05d6aff8026013c10f81c72e94a4cf4f0968d56d1198a2efa50e9b3f358fe127", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "One-flat signature.", "One-flat signature and common time inherited from first example." ], "verification": [ "All printed notes directly visually transcribed by Astra. Rendering comparison pending.", "Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed." ], "ledger": "ledgers/advanced.json" }, { "path": "musicxml/advanced-233-c-2.musicxml", "sha256": "25d86361d8d42e1e01e45957c293b583a7fbfc48846d10061a6894bd81cc1a9f", "sourceVerifiedSha256": "25d86361d8d42e1e01e45957c293b583a7fbfc48846d10061a6894bd81cc1a9f", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "One-flat signature.", "One-flat signature and common time inherited from first example." ], "verification": [ "All printed notes directly visually transcribed by Astra. Rendering comparison pending.", "Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "233-d", "path": "assets/233-d.png", "pdf_page": 191, "printed_page": 233, "bbox_pixels": [ 88, 1628, 1277, 1954 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1189, 326 ], "musicxml": [ { "path": "musicxml/middle-final-233-d.musicxml", "sha256": "0832e6061e89872bfd8dad3029233ec9c1ba96576a5712e1ae9dd662a569d0a0", "sourceVerifiedSha256": "0832e6061e89872bfd8dad3029233ec9c1ba96576a5712e1ae9dd662a569d0a0", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Deliberate erroneous answering interval retained; arched analytical interval marks preserved in original crop rather than encoded as ties.", "Final one-quarter fragment retained." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-final.json" } ], "music_transcription_status": "verified" }, { "id": "234-a", "path": "assets/234-a.png", "pdf_page": 192, "printed_page": 234, "bbox_pixels": [ 92, 768, 1282, 1078 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1190, 310 ], "musicxml": [ { "path": "musicxml/middle-final-234-a.musicxml", "sha256": "0a9bcf9f1c49510c2a5ba9d6f3792570a3742ba33f388cb7f1fcdbd5f53fac2d", "sourceVerifiedSha256": "0a9bcf9f1c49510c2a5ba9d6f3792570a3742ba33f388cb7f1fcdbd5f53fac2d", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Analytical interval arches remain in source; no false ties between different pitches. Final one-quarter fragment." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-final.json" } ], "music_transcription_status": "verified" }, { "id": "234-b", "path": "assets/234-b.png", "pdf_page": 192, "printed_page": 234, "bbox_pixels": [ 97, 1507, 1282, 1786 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1185, 279 ], "musicxml": [ { "path": "musicxml/middle-final-234-b.musicxml", "sha256": "ff08e0f47625a3ac9b442ee913d780883def5b9aa5f786908180bfe7c2a73ebb", "sourceVerifiedSha256": "ff08e0f47625a3ac9b442ee913d780883def5b9aa5f786908180bfe7c2a73ebb", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Signature-derived F-sharps explicitly encoded in pitch; final one-quarter fragment and printed etc. retained." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-final.json" } ], "music_transcription_status": "verified" }, { "id": "234-custos", "path": "assets/234-custos.png", "pdf_page": 192, "printed_page": 234, "bbox_pixels": [ 1077, 1943, 1275, 2090 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "not applicable", "kind": "musical_page_catchword", "dimensions_pixels": [ 198, 147 ], "musicxml": [], "music_transcription_status": "non-music" }, { "id": "235-a", "path": "assets/235-a.png", "pdf_page": 193, "printed_page": 235, "bbox_pixels": [ 68, 180, 690, 337 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 622, 157 ], "musicxml": [ { "path": "musicxml/advanced-235-a.musicxml", "sha256": "6c4bce1ece6d9339e292f8a2bdc6613323ce7773d922613d68224423e7ff4336", "sourceVerifiedSha256": "6c4bce1ece6d9339e292f8a2bdc6613323ce7773d922613d68224423e7ff4336", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Explicit C-sharp then C-natural; B-natural then B-flat." ], "verification": [ "Direct visual note-by-note transcription by Astra. Rendering comparison pending.", "Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "235-b", "path": "assets/235-b.png", "pdf_page": 193, "printed_page": 235, "bbox_pixels": [ 66, 618, 580, 755 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 514, 137 ], "musicxml": [ { "path": "musicxml/advanced-235-b.musicxml", "sha256": "6e2d914dd3f0ec23afe82748e2db54035f768555bb456c48c0ed6ca1ef8e1a60", "sourceVerifiedSha256": "6e2d914dd3f0ec23afe82748e2db54035f768555bb456c48c0ed6ca1ef8e1a60", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual note-by-note transcription by Astra. Rendering comparison pending.", "Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "235-c", "path": "assets/235-c.png", "pdf_page": 193, "printed_page": 235, "bbox_pixels": [ 66, 770, 583, 909 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 517, 139 ], "musicxml": [ { "path": "musicxml/advanced-235-c.musicxml", "sha256": "a0c49dd85e16baddf880c11e824557fcfb7edc6da344877d0ebdc30a2c7847f4", "sourceVerifiedSha256": "a0c49dd85e16baddf880c11e824557fcfb7edc6da344877d0ebdc30a2c7847f4", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Printed opening A4 (space above the top line in alto clef) preserved exactly; subsequent motion to F4/F-sharp4 is not silently regularized." ], "verification": [ "Direct visual note-by-note transcription by Astra. Rendering comparison pending.", "Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "235-d", "path": "assets/235-d.png", "pdf_page": 193, "printed_page": 235, "bbox_pixels": [ 73, 915, 1279, 1195 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1206, 280 ], "musicxml": [ { "path": "musicxml/middle-final-235-d.musicxml", "sha256": "49e240a13608e4cfa7292ddbdad38485c0f6257f143eb2694598803188f1ff80", "sourceVerifiedSha256": "49e240a13608e4cfa7292ddbdad38485c0f6257f143eb2694598803188f1ff80", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Post-bar dot retained as editorial eighth continuation." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-final.json" } ], "music_transcription_status": "verified" }, { "id": "235-e", "path": "assets/235-e.png", "pdf_page": 193, "printed_page": 235, "bbox_pixels": [ 70, 1302, 675, 1441 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 605, 139 ], "musicxml": [ { "path": "musicxml/advanced-235-e.musicxml", "sha256": "d67f301a3d57fcebc6494a0e937467b2a848c87245c57f31cb5cab5f08b02966", "sourceVerifiedSha256": "d67f301a3d57fcebc6494a0e937467b2a848c87245c57f31cb5cab5f08b02966", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Printed opening A4 (space above the top line in alto clef) preserved exactly; subsequent motion to F4/F-sharp4 is not silently regularized." ], "verification": [ "Direct visual note-by-note transcription by Astra. Rendering comparison pending.", "Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed." ], "ledger": "ledgers/advanced.json" } ], "music_transcription_status": "verified" }, { "id": "235-f", "path": "assets/235-f.png", "pdf_page": 193, "printed_page": 235, "bbox_pixels": [ 86, 1527, 1279, 1811 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1193, 284 ], "musicxml": [ { "path": "musicxml/middle-final-235-f.musicxml", "sha256": "b7b899293c87593fbb989469d0005fedceee1286527748ba997d91355ba51076", "sourceVerifiedSha256": "b7b899293c87593fbb989469d0005fedceee1286527748ba997d91355ba51076", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-final.json" } ], "music_transcription_status": "verified" }, { "id": "235-custos", "path": "assets/235-custos.png", "pdf_page": 193, "printed_page": 235, "bbox_pixels": [ 1101, 1940, 1275, 2086 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "not applicable", "kind": "musical_page_catchword", "dimensions_pixels": [ 174, 146 ], "musicxml": [], "music_transcription_status": "non-music" }, { "id": "236-a", "path": "assets/236-a.png", "pdf_page": 194, "printed_page": 236, "bbox_pixels": [ 101, 211, 1279, 513 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 1178, 302 ], "musicxml": [ { "path": "musicxml/middle-final-236-a.musicxml", "sha256": "f5bbacb4b381734ef9f11de7ddb2080e8ced3462d426fbeea9ffdb21d105fcd0", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Upper ornamental secondbar flags need independent check; encoded four-quarter grouping. Crossbar arc retained as D5 tie." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-final.json" } ], "music_transcription_status": "needs-review" }, { "id": "236-b", "path": "assets/236-b.png", "pdf_page": 194, "printed_page": 236, "bbox_pixels": [ 97, 737, 1279, 1019 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1182, 282 ], "musicxml": [ { "path": "musicxml/middle-final-236-b.musicxml", "sha256": "6c60eacd406d430a2e75ccf8fa91325b87eedd16342f4f7293a270c1de4ffc99", "sourceVerifiedSha256": "6c60eacd406d430a2e75ccf8fa91325b87eedd16342f4f7293a270c1de4ffc99", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-final.json" } ], "music_transcription_status": "verified" }, { "id": "236-c", "path": "assets/236-c.png", "pdf_page": 194, "printed_page": 236, "bbox_pixels": [ 97, 1188, 1282, 1868 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1185, 680 ], "musicxml": [ { "path": "musicxml/middle-final-236-c.musicxml", "sha256": "75adc3d839233379ed4e55d20b6d88d598f9107867c3d58671f9902c021fd91a", "sourceVerifiedSha256": "75adc3d839233379ed4e55d20b6d88d598f9107867c3d58671f9902c021fd91a", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Original3/4; full-bar rest glyphs have three-quarter durations. Wide instrumental range and final dottedhalf retained." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-final.json" } ], "music_transcription_status": "verified" }, { "id": "236-custos", "path": "assets/236-custos.png", "pdf_page": 194, "printed_page": 236, "bbox_pixels": [ 1066, 1881, 1264, 2033 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "not applicable", "kind": "musical_page_catchword", "dimensions_pixels": [ 198, 152 ], "musicxml": [], "music_transcription_status": "non-music" }, { "id": "237-a", "path": "assets/237-a.png", "pdf_page": 195, "printed_page": 237, "bbox_pixels": [ 73, 183, 1275, 906 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 1202, 723 ], "musicxml": [ { "path": "musicxml/middle-final-237-a.musicxml", "sha256": "448bc2b087151fa406f4d464eb80b5f93c4203ae5a63fdd0efd5dfe7ae93221f", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Source clearly prints6/4 but visible upper quarter/eighth/sixteenth values generally total3quarter units per bar. Original signature and literal note values retained; historical proportion convention remains unresolved.", "Lower entrybar reads halfrest+D4quarter+G4eighth (3.5 quarters); fullbar rests use printed6/4 duration6. Full playback remains needs-review; no time signature or note values silently doubled." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-final.json" } ], "music_transcription_status": "needs-review" }, { "id": "238-a", "path": "assets/238-a.png", "pdf_page": 196, "printed_page": 238, "bbox_pixels": [ 75, 211, 477, 691 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 402, 480 ], "printed_label": "228", "pagination_note": "Source misprint; sequence reference 238.", "musicxml": [ { "path": "musicxml/middle-final-238-a-1.musicxml", "sha256": "68a1039e67147f49c087270c51cbde94cea5848c64cd87b5ade1d7c51d63fa0d", "sourceVerifiedSha256": "68a1039e67147f49c087270c51cbde94cea5848c64cd87b5ade1d7c51d63fa0d", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "click", "coverage": null, "issues": [ "No pitch is specified by source; unpitched notation is faithful, but current playback parser cannot play it." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-final.json" }, { "path": "musicxml/middle-final-238-a-2.musicxml", "sha256": "3d20217c7f8c5430f2c7edc48de0f9b7e14da8593b3676c429482de2229f7596", "sourceVerifiedSha256": "3d20217c7f8c5430f2c7edc48de0f9b7e14da8593b3676c429482de2229f7596", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "click", "coverage": null, "issues": [ "No pitch is specified by source; unpitched notation is faithful, but current playback parser cannot play it." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-final.json" }, { "path": "musicxml/middle-final-238-a-3.musicxml", "sha256": "2e2a5b9cec181b5b38dbc8b78970b867f0cae8769a94742b7fe0f7fbb79bc4ba", "sourceVerifiedSha256": "2e2a5b9cec181b5b38dbc8b78970b867f0cae8769a94742b7fe0f7fbb79bc4ba", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "click", "coverage": null, "issues": [ "No pitch is specified by source; unpitched notation is faithful, but current playback parser cannot play it." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-final.json" } ], "music_transcription_status": "verified" }, { "id": "238-b", "path": "assets/238-b.png", "pdf_page": 196, "printed_page": 238, "bbox_pixels": [ 88, 689, 1282, 1654 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1194, 965 ], "printed_label": "228", "pagination_note": "Source misprint; sequence reference 238.", "musicxml": [ { "path": "musicxml/middle-final-238-b-1.musicxml", "sha256": "b90bb76ee8207c5f72cc300364bced975a5f087b378c745ba61f1d7f85252d6f", "sourceVerifiedSha256": "b90bb76ee8207c5f72cc300364bced975a5f087b378c745ba61f1d7f85252d6f", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Post-bar dots encoded by editorial tied continuations." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-final.json" }, { "path": "musicxml/middle-final-238-b-2.musicxml", "sha256": "cf30bbcc61bde6b4ed30883fb54e7703c393554fc627fba76dae006f6b9807dd", "sourceVerifiedSha256": "cf30bbcc61bde6b4ed30883fb54e7703c393554fc627fba76dae006f6b9807dd", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Post-bar dot in upperbar2 encoded editorially. Presto word retained without invented metronome value." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-final.json" }, { "path": "musicxml/middle-final-238-b-3.musicxml", "sha256": "d8a0fc5a6038bf3646229815e663ba052bebba58afc5381df68200050eb4e9ce", "sourceVerifiedSha256": "d8a0fc5a6038bf3646229815e663ba052bebba58afc5381df68200050eb4e9ce", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Adagio word retained without invented metronome value." ], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-final.json" } ], "music_transcription_status": "verified" }, { "id": "238-sign", "path": "assets/238-sign.png", "pdf_page": 196, "printed_page": 238, "bbox_pixels": [ 90, 1866, 1277, 1984 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "not applicable", "kind": "source_text_annotation", "dimensions_pixels": [ 1187, 118 ], "printed_label": "228", "pagination_note": "Source misprint; sequence reference 238.", "musicxml": [], "music_transcription_status": "non-music" }, { "id": "239-a", "path": "assets/239-a.png", "pdf_page": 197, "printed_page": 239, "bbox_pixels": [ 68, 183, 624, 466 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 556, 283 ], "musicxml": [ { "path": "musicxml/middle-final-239-a.musicxml", "sha256": "44c0b4be0c9587a20c1b104903c0496923570084940ee6736ad66c27dc7c3e3e", "sourceVerifiedSha256": "44c0b4be0c9587a20c1b104903c0496923570084940ee6736ad66c27dc7c3e3e", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-final.json" } ], "music_transcription_status": "verified" }, { "id": "239-b", "path": "assets/239-b.png", "pdf_page": 197, "printed_page": 239, "bbox_pixels": [ 59, 471, 1253, 1078 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1194, 607 ], "musicxml": [ { "path": "musicxml/middle-final-239-b-1.musicxml", "sha256": "ccb2a461bc4e3f9c4651affa3048a30c839ebdd0ab230bdca95fcdc7be4cd2e6", "sourceVerifiedSha256": "ccb2a461bc4e3f9c4651affa3048a30c839ebdd0ab230bdca95fcdc7be4cd2e6", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-final.json" }, { "path": "musicxml/middle-final-239-b-2.musicxml", "sha256": "7793756a32fc0988ee38ba24ad7def44688fb4a0e5532396561c7215a8e855dd", "sourceVerifiedSha256": "7793756a32fc0988ee38ba24ad7def44688fb4a0e5532396561c7215a8e855dd", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged." ], "ledger": "ledgers/middle-final.json" }, { "path": "musicxml/middle-final-239-b-3.musicxml", "sha256": "13d3782eb3583df2c651afaf38b10fe87d4546a0e7523738caa534861ec2fe7c", "sourceVerifiedSha256": "13d3782eb3583df2c651afaf38b10fe87d4546a0e7523738caa534861ec2fe7c", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; 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Literal values retained; possible missing rest or augmentation requires source review." ], "verification": [ "Every assigned source crop visually inspected and transcribed; source dialogue consulted for continuity, text and intentional examples.", "All rendered pages of the joined candidate visually inspected; unresolved source/notation ambiguities are explicitly listed and full candidate is not semantically verified." ], "ledger": "ledgers/late.json" } ], "music_transcription_status": "continuation" }, { "id": "251-a", "path": "assets/251-a.png", "pdf_page": 209, "printed_page": 251, "bbox_pixels": [ 26, 180, 1266, 2033 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 1240, 1853 ], "musicxml": [ { "path": "musicxml/247-254-offertory.musicxml", "sha256": "cac7f15c144def530621e2c531d20b60eb5345cf3797447a8a43a86826e6f930", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Complete92 sourcebars across247–254, including two bars split across source page/system boundaries. Known rhythm conflicts: alto251bar50 totals10; alto253bar84 totals6; otherparts8.", "Tenor250 third system measure containing ri-de-ant: following two small angled glyphs unclear. Encoded4-quarter forward gap after C4quarter+B3quarter+A3half, not invented sounding notes/rests. Needs source review.", "Soprano250 first-to-second-system arc connects A4 whole to G4 whole (different staff positions); encoded as slur, not forced into same-pitch tie. Needs source review.", "Alto251 firstsystem lastbar/global50: literal E4half+D4half tied to stemlessD4whole+E4half totals10quarters, versus8 elsewhere. Possible missing stem or correction; literal durations retained pending source review.", "Alto253 opening joined rectangles interpreted as D4+C4 semibreveligature, analogous to246tenor.", "Alto253 lastsourcebar/global84 visibly has three stemmed halfnotes Eb4 C4 F4 (6quarterunits), while otherparts total8. Literal values retained; possible missing rest or augmentation requires source review." ], "verification": [ "Every assigned source crop visually inspected and transcribed; source dialogue consulted for continuity, text and intentional examples.", "All rendered pages of the joined candidate visually inspected; unresolved source/notation ambiguities are explicitly listed and full candidate is not semantically verified." ], "ledger": "ledgers/late.json" } ], "music_transcription_status": "continuation" }, { "id": "252-a", "path": "assets/252-a.png", "pdf_page": 210, "printed_page": 252, "bbox_pixels": [ 84, 183, 1293, 2083 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 1209, 1900 ], "musicxml": [ { "path": "musicxml/247-254-offertory.musicxml", "sha256": "cac7f15c144def530621e2c531d20b60eb5345cf3797447a8a43a86826e6f930", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Complete92 sourcebars across247–254, including two bars split across source page/system boundaries. Known rhythm conflicts: alto251bar50 totals10; alto253bar84 totals6; otherparts8.", "Tenor250 third system measure containing ri-de-ant: following two small angled glyphs unclear. Encoded4-quarter forward gap after C4quarter+B3quarter+A3half, not invented sounding notes/rests. Needs source review.", "Soprano250 first-to-second-system arc connects A4 whole to G4 whole (different staff positions); encoded as slur, not forced into same-pitch tie. Needs source review.", "Alto251 firstsystem lastbar/global50: literal E4half+D4half tied to stemlessD4whole+E4half totals10quarters, versus8 elsewhere. Possible missing stem or correction; literal durations retained pending source review.", "Alto253 opening joined rectangles interpreted as D4+C4 semibreveligature, analogous to246tenor.", "Alto253 lastsourcebar/global84 visibly has three stemmed halfnotes Eb4 C4 F4 (6quarterunits), while otherparts total8. Literal values retained; possible missing rest or augmentation requires source review." ], "verification": [ "Every assigned source crop visually inspected and transcribed; source dialogue consulted for continuity, text and intentional examples.", "All rendered pages of the joined candidate visually inspected; unresolved source/notation ambiguities are explicitly listed and full candidate is not semantically verified." ], "ledger": "ledgers/late.json" } ], "music_transcription_status": "continuation" }, { "id": "253-a", "path": "assets/253-a.png", "pdf_page": 211, "printed_page": 253, "bbox_pixels": [ 24, 176, 1275, 2059 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 1251, 1883 ], "musicxml": [ { "path": "musicxml/247-254-offertory.musicxml", "sha256": "cac7f15c144def530621e2c531d20b60eb5345cf3797447a8a43a86826e6f930", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Complete92 sourcebars across247–254, including two bars split across source page/system boundaries. Known rhythm conflicts: alto251bar50 totals10; alto253bar84 totals6; otherparts8.", "Tenor250 third system measure containing ri-de-ant: following two small angled glyphs unclear. Encoded4-quarter forward gap after C4quarter+B3quarter+A3half, not invented sounding notes/rests. Needs source review.", "Soprano250 first-to-second-system arc connects A4 whole to G4 whole (different staff positions); encoded as slur, not forced into same-pitch tie. Needs source review.", "Alto251 firstsystem lastbar/global50: literal E4half+D4half tied to stemlessD4whole+E4half totals10quarters, versus8 elsewhere. Possible missing stem or correction; literal durations retained pending source review.", "Alto253 opening joined rectangles interpreted as D4+C4 semibreveligature, analogous to246tenor.", "Alto253 lastsourcebar/global84 visibly has three stemmed halfnotes Eb4 C4 F4 (6quarterunits), while otherparts total8. Literal values retained; possible missing rest or augmentation requires source review." ], "verification": [ "Every assigned source crop visually inspected and transcribed; source dialogue consulted for continuity, text and intentional examples.", "All rendered pages of the joined candidate visually inspected; unresolved source/notation ambiguities are explicitly listed and full candidate is not semantically verified." ], "ledger": "ledgers/late.json" } ], "music_transcription_status": "continuation" }, { "id": "254-a", "path": "assets/254-a.png", "pdf_page": 212, "printed_page": 254, "bbox_pixels": [ 77, 183, 1286, 1494 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 1209, 1311 ], "musicxml": [ { "path": "musicxml/247-254-offertory.musicxml", "sha256": "cac7f15c144def530621e2c531d20b60eb5345cf3797447a8a43a86826e6f930", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Complete92 sourcebars across247–254, including two bars split across source page/system boundaries. Known rhythm conflicts: alto251bar50 totals10; alto253bar84 totals6; otherparts8.", "Tenor250 third system measure containing ri-de-ant: following two small angled glyphs unclear. Encoded4-quarter forward gap after C4quarter+B3quarter+A3half, not invented sounding notes/rests. Needs source review.", "Soprano250 first-to-second-system arc connects A4 whole to G4 whole (different staff positions); encoded as slur, not forced into same-pitch tie. Needs source review.", "Alto251 firstsystem lastbar/global50: literal E4half+D4half tied to stemlessD4whole+E4half totals10quarters, versus8 elsewhere. Possible missing stem or correction; literal durations retained pending source review.", "Alto253 opening joined rectangles interpreted as D4+C4 semibreveligature, analogous to246tenor.", "Alto253 lastsourcebar/global84 visibly has three stemmed halfnotes Eb4 C4 F4 (6quarterunits), while otherparts total8. Literal values retained; possible missing rest or augmentation requires source review." ], "verification": [ "Every assigned source crop visually inspected and transcribed; source dialogue consulted for continuity, text and intentional examples.", "All rendered pages of the joined candidate visually inspected; unresolved source/notation ambiguities are explicitly listed and full candidate is not semantically verified." ], "ledger": "ledgers/late.json" } ], "music_transcription_status": "continuation" }, { "id": "255-a", "path": "assets/255-a.png", "pdf_page": 213, "printed_page": 255, "bbox_pixels": [ 53, 1027, 541, 1313 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 488, 286 ], "musicxml": [ { "path": "musicxml/255-a.musicxml", "sha256": "a5cfd07d51ccddb35b1c6fb7e33e2f5ff1cfdf0d15ac6f9f8c2b3c2b2c557884", "sourceVerifiedSha256": "a5cfd07d51ccddb35b1c6fb7e33e2f5ff1cfdf0d15ac6f9f8c2b3c2b2c557884", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual source reading completed, including staff-position pitches, printed clefs, local/key-derived alterations, flags/dots, note/rest values, and lyric onset placement when present.", "Every rendered page of this exact file compared to source; MusicXML schema/Verovio rendering and parseScore passed." ], "ledger": "ledgers/late.json" } ], "music_transcription_status": "verified" }, { "id": "256-a", "path": "assets/256-a.png", "pdf_page": 214, "printed_page": 256, "bbox_pixels": [ 84, 315, 620, 939 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 536, 624 ], "musicxml": [ { "path": "musicxml/256-a.musicxml", "sha256": "f16f4dce680e6df0c18ce8051306802b63a55bb17261614008a5db8c7160879c", "sourceVerifiedSha256": "f16f4dce680e6df0c18ce8051306802b63a55bb17261614008a5db8c7160879c", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Direct visual source reading completed, including staff-position pitches, printed clefs, local/key-derived alterations, flags/dots, note/rest values, and lyric onset placement when present.", "Every rendered page of this exact file compared to source; MusicXML schema/Verovio rendering and parseScore passed." ], "ledger": "ledgers/late.json" } ], "music_transcription_status": "verified" }, { "id": "256-b", "path": "assets/256-b.png", "pdf_page": 214, "printed_page": 256, "bbox_pixels": [ 90, 1208, 1286, 1850 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 1196, 642 ], "musicxml": [ { "path": "musicxml/256-261-avemaria.musicxml", "sha256": "f89246b912b03b05437204a4c76eb8430b898b4a6a8be4ac81117e5d203d3247", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Complete70 sourcebars across256–261; Gregorian rectangle ligatures represented as semibrevepairs, subject to two explicit timing questions.", "Soprano258 second-system firstbar/global23: two upward-stem rectangle notes plus a final black C5quarter. Literal4+4+1 interpretation totals9; ligature duration needs specialist confirmation.", "Tenor258 firstbar/global19 lastnote shows overlaid open heads around F3/A3 with handwritten a; F3 entered as candidate printed lowerhead, alternative A3 not sounded. Needs source review.", "Tenor259 thirdsystem after G3whole on bus: blank remainder and following blank bar represented as forward gaps(4+8) rather than invented printed rests/notes; duration/hold convention needs review.", "Soprano260firstbar/global45 has same ligature+quarter timing question as258global23: literal4+4+1=9 pending duration interpretation." ], "verification": [ "Every assigned source crop visually inspected and transcribed; source dialogue consulted for continuity, text and intentional examples.", "All rendered pages of the joined candidate visually inspected; unresolved source/notation ambiguities are explicitly listed and full candidate is not semantically verified." ], "ledger": "ledgers/late.json" }, { "path": "musicxml/256-261-avemaria-prefix-18.musicxml", "sha256": "0c3d23c42a1b119ed9c7c57806b91b73f3ce78993749100cc7ad2816722eabf5", "sourceVerifiedSha256": "0c3d23c42a1b119ed9c7c57806b91b73f3ce78993749100cc7ad2816722eabf5", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": { "kind": "excerpt", "label": "Verified opening · measures 1–18 of 70; full score continues", "lastMeasure": 18, "totalMeasures": 70 }, "issues": [ "Verified opening excerpt only; full work continues. No cadence or notes added." ], "verification": [ "Direct visual source reading completed, including staff-position pitches, printed clefs, local/key-derived alterations, flags/dots, note/rest values, and lyric onset placement when present.", "Every rendered page of this exact file compared to source; MusicXML schema/Verovio rendering and parseScore passed.", "Only original opening measures retained. No new cadence, note, rest or fermata added. Outgoing soundties at cutoff removed while source arcs remain notation/metadata; full source score continues." ], "ledger": "ledgers/late.json" } ], "music_transcription_status": "needs-review" }, { "id": "256-custos", "path": "assets/256-custos.png", "pdf_page": 214, "printed_page": 256, "bbox_pixels": [ 1108, 1892, 1275, 2046 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "not applicable", "kind": "musical_page_catchword", "dimensions_pixels": [ 167, 154 ], "musicxml": [], "music_transcription_status": "non-music" }, { "id": "257-a", "path": "assets/257-a.png", "pdf_page": 215, "printed_page": 257, "bbox_pixels": [ 33, 180, 1268, 2044 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 1235, 1864 ], "musicxml": [ { "path": "musicxml/256-261-avemaria.musicxml", "sha256": "f89246b912b03b05437204a4c76eb8430b898b4a6a8be4ac81117e5d203d3247", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Complete70 sourcebars across256–261; Gregorian rectangle ligatures represented as semibrevepairs, subject to two explicit timing questions.", "Soprano258 second-system firstbar/global23: two upward-stem rectangle notes plus a final black C5quarter. Literal4+4+1 interpretation totals9; ligature duration needs specialist confirmation.", "Tenor258 firstbar/global19 lastnote shows overlaid open heads around F3/A3 with handwritten a; F3 entered as candidate printed lowerhead, alternative A3 not sounded. Needs source review.", "Tenor259 thirdsystem after G3whole on bus: blank remainder and following blank bar represented as forward gaps(4+8) rather than invented printed rests/notes; duration/hold convention needs review.", "Soprano260firstbar/global45 has same ligature+quarter timing question as258global23: literal4+4+1=9 pending duration interpretation." ], "verification": [ "Every assigned source crop visually inspected and transcribed; source dialogue consulted for continuity, text and intentional examples.", "All rendered pages of the joined candidate visually inspected; unresolved source/notation ambiguities are explicitly listed and full candidate is not semantically verified." ], "ledger": "ledgers/late.json" } ], "music_transcription_status": "continuation" }, { "id": "258-a", "path": "assets/258-a.png", "pdf_page": 216, "printed_page": 258, "bbox_pixels": [ 77, 174, 1288, 2079 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 1211, 1905 ], "musicxml": [ { "path": "musicxml/256-261-avemaria.musicxml", "sha256": "f89246b912b03b05437204a4c76eb8430b898b4a6a8be4ac81117e5d203d3247", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Complete70 sourcebars across256–261; Gregorian rectangle ligatures represented as semibrevepairs, subject to two explicit timing questions.", "Soprano258 second-system firstbar/global23: two upward-stem rectangle notes plus a final black C5quarter. Literal4+4+1 interpretation totals9; ligature duration needs specialist confirmation.", "Tenor258 firstbar/global19 lastnote shows overlaid open heads around F3/A3 with handwritten a; F3 entered as candidate printed lowerhead, alternative A3 not sounded. Needs source review.", "Tenor259 thirdsystem after G3whole on bus: blank remainder and following blank bar represented as forward gaps(4+8) rather than invented printed rests/notes; duration/hold convention needs review.", "Soprano260firstbar/global45 has same ligature+quarter timing question as258global23: literal4+4+1=9 pending duration interpretation." ], "verification": [ "Every assigned source crop visually inspected and transcribed; source dialogue consulted for continuity, text and intentional examples.", "All rendered pages of the joined candidate visually inspected; unresolved source/notation ambiguities are explicitly listed and full candidate is not semantically verified." ], "ledger": "ledgers/late.json" } ], "music_transcription_status": "continuation" }, { "id": "259-a", "path": "assets/259-a.png", "pdf_page": 217, "printed_page": 259, "bbox_pixels": [ 29, 178, 1266, 2064 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 1237, 1886 ], "musicxml": [ { "path": "musicxml/256-261-avemaria.musicxml", "sha256": "f89246b912b03b05437204a4c76eb8430b898b4a6a8be4ac81117e5d203d3247", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Complete70 sourcebars across256–261; Gregorian rectangle ligatures represented as semibrevepairs, subject to two explicit timing questions.", "Soprano258 second-system firstbar/global23: two upward-stem rectangle notes plus a final black C5quarter. Literal4+4+1 interpretation totals9; ligature duration needs specialist confirmation.", "Tenor258 firstbar/global19 lastnote shows overlaid open heads around F3/A3 with handwritten a; F3 entered as candidate printed lowerhead, alternative A3 not sounded. Needs source review.", "Tenor259 thirdsystem after G3whole on bus: blank remainder and following blank bar represented as forward gaps(4+8) rather than invented printed rests/notes; duration/hold convention needs review.", "Soprano260firstbar/global45 has same ligature+quarter timing question as258global23: literal4+4+1=9 pending duration interpretation." ], "verification": [ "Every assigned source crop visually inspected and transcribed; source dialogue consulted for continuity, text and intentional examples.", "All rendered pages of the joined candidate visually inspected; unresolved source/notation ambiguities are explicitly listed and full candidate is not semantically verified." ], "ledger": "ledgers/late.json" } ], "music_transcription_status": "continuation" }, { "id": "260-a", "path": "assets/260-a.png", "pdf_page": 218, "printed_page": 260, "bbox_pixels": [ 68, 183, 1295, 2048 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 1227, 1865 ], "musicxml": [ { "path": "musicxml/256-261-avemaria.musicxml", "sha256": "f89246b912b03b05437204a4c76eb8430b898b4a6a8be4ac81117e5d203d3247", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Complete70 sourcebars across256–261; Gregorian rectangle ligatures represented as semibrevepairs, subject to two explicit timing questions.", "Soprano258 second-system firstbar/global23: two upward-stem rectangle notes plus a final black C5quarter. Literal4+4+1 interpretation totals9; ligature duration needs specialist confirmation.", "Tenor258 firstbar/global19 lastnote shows overlaid open heads around F3/A3 with handwritten a; F3 entered as candidate printed lowerhead, alternative A3 not sounded. Needs source review.", "Tenor259 thirdsystem after G3whole on bus: blank remainder and following blank bar represented as forward gaps(4+8) rather than invented printed rests/notes; duration/hold convention needs review.", "Soprano260firstbar/global45 has same ligature+quarter timing question as258global23: literal4+4+1=9 pending duration interpretation." ], "verification": [ "Every assigned source crop visually inspected and transcribed; source dialogue consulted for continuity, text and intentional examples.", "All rendered pages of the joined candidate visually inspected; unresolved source/notation ambiguities are explicitly listed and full candidate is not semantically verified." ], "ledger": "ledgers/late.json" } ], "music_transcription_status": "continuation" }, { "id": "261-a", "path": "assets/261-a.png", "pdf_page": 219, "printed_page": 261, "bbox_pixels": [ 29, 180, 1273, 2026 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 1244, 1846 ], "musicxml": [ { "path": "musicxml/256-261-avemaria.musicxml", "sha256": "f89246b912b03b05437204a4c76eb8430b898b4a6a8be4ac81117e5d203d3247", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Complete70 sourcebars across256–261; Gregorian rectangle ligatures represented as semibrevepairs, subject to two explicit timing questions.", "Soprano258 second-system firstbar/global23: two upward-stem rectangle notes plus a final black C5quarter. Literal4+4+1 interpretation totals9; ligature duration needs specialist confirmation.", "Tenor258 firstbar/global19 lastnote shows overlaid open heads around F3/A3 with handwritten a; F3 entered as candidate printed lowerhead, alternative A3 not sounded. Needs source review.", "Tenor259 thirdsystem after G3whole on bus: blank remainder and following blank bar represented as forward gaps(4+8) rather than invented printed rests/notes; duration/hold convention needs review.", "Soprano260firstbar/global45 has same ligature+quarter timing question as258global23: literal4+4+1=9 pending duration interpretation." ], "verification": [ "Every assigned source crop visually inspected and transcribed; source dialogue consulted for continuity, text and intentional examples.", "All rendered pages of the joined candidate visually inspected; unresolved source/notation ambiguities are explicitly listed and full candidate is not semantically verified." ], "ledger": "ledgers/late.json" } ], "music_transcription_status": "continuation" }, { "id": "263-a", "path": "assets/263-a.png", "pdf_page": 221, "printed_page": 263, "bbox_pixels": [ 42, 244, 1273, 1956 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 1231, 1712 ], "musicxml": [ { "path": "musicxml/263-265-kyrie.musicxml", "sha256": "8ef1ceb14305a55dac7822c4c79261fcf364b7c61e258d6b23a282a4b937177f", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Complete16 sourcebars across263–265; organfirstbar2voices and subsequentC/F clefchanges retained without addedchords.", "Alto264 firstsystem middlebar/global7 has overlaid gray correction above lower D4head; D4 printed lowerhead retained as candidate.", "Tenor264 secondsystem firstbar/global9 short ornament flags are faint; .5 .5 .25 .25 .5 reading totals2beforetwoquarters. Needs independent rhythmcheck.", "Alto265penultimatebar/global15 contains smeared rectangular long note read as C4breve(8), while otherparts have4quarters; lastbarallpartsbreve. Retain long-note duration as candidate pending source review." ], "verification": [ "Every assigned source crop visually inspected and transcribed; source dialogue consulted for continuity, text and intentional examples.", "All rendered pages of the joined candidate visually inspected; unresolved source/notation ambiguities are explicitly listed and full candidate is not semantically verified." ], "ledger": "ledgers/late.json" }, { "path": "musicxml/263-265-kyrie-prefix-6.musicxml", "sha256": "2f60040f741c7041a3b4bf06ae90fc12a7abb2ac8d0cc92cb72cdc8ea5615131", "sourceVerifiedSha256": "2f60040f741c7041a3b4bf06ae90fc12a7abb2ac8d0cc92cb72cdc8ea5615131", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": { "kind": "excerpt", "label": "Verified opening · measures 1–6 of 16; full score continues", "lastMeasure": 6, "totalMeasures": 16 }, "issues": [ "Verified opening excerpt only; full work continues. No cadence or notes added.", "Outgoing source tie at excerpt boundary retained as notation/metadata only; playback ends at last written duration without invented receiver.", "Outgoing source tie at excerpt boundary retained as notation/metadata only; playback ends at last written duration without invented receiver." ], "verification": [ "Direct visual source reading completed, including staff-position pitches, printed clefs, local/key-derived alterations, flags/dots, note/rest values, and lyric onset placement when present.", "Every rendered page of this exact file compared to source; MusicXML schema/Verovio rendering and parseScore passed.", "Only original opening measures retained. No new cadence, note, rest or fermata added. Outgoing soundties at cutoff removed while source arcs remain notation/metadata; full source score continues." ], "ledger": "ledgers/late.json" } ], "music_transcription_status": "needs-review" }, { "id": "263-custos", "path": "assets/263-custos.png", "pdf_page": 221, "printed_page": 263, "bbox_pixels": [ 1064, 1934, 1244, 2083 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "not applicable", "kind": "musical_page_catchword", "dimensions_pixels": [ 180, 149 ], "musicxml": [], "music_transcription_status": "non-music" }, { "id": "264-a", "path": "assets/264-a.png", "pdf_page": 222, "printed_page": 264, "bbox_pixels": [ 75, 169, 1284, 1868 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 1209, 1699 ], "musicxml": [ { "path": "musicxml/263-265-kyrie.musicxml", "sha256": "8ef1ceb14305a55dac7822c4c79261fcf364b7c61e258d6b23a282a4b937177f", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Complete16 sourcebars across263–265; organfirstbar2voices and subsequentC/F clefchanges retained without addedchords.", "Alto264 firstsystem middlebar/global7 has overlaid gray correction above lower D4head; D4 printed lowerhead retained as candidate.", "Tenor264 secondsystem firstbar/global9 short ornament flags are faint; .5 .5 .25 .25 .5 reading totals2beforetwoquarters. Needs independent rhythmcheck.", "Alto265penultimatebar/global15 contains smeared rectangular long note read as C4breve(8), while otherparts have4quarters; lastbarallpartsbreve. Retain long-note duration as candidate pending source review." ], "verification": [ "Every assigned source crop visually inspected and transcribed; source dialogue consulted for continuity, text and intentional examples.", "All rendered pages of the joined candidate visually inspected; unresolved source/notation ambiguities are explicitly listed and full candidate is not semantically verified." ], "ledger": "ledgers/late.json" } ], "music_transcription_status": "continuation" }, { "id": "264-custos", "path": "assets/264-custos.png", "pdf_page": 222, "printed_page": 264, "bbox_pixels": [ 1066, 1890, 1277, 2083 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "not applicable", "kind": "musical_page_catchword", "dimensions_pixels": [ 211, 193 ], "musicxml": [], "music_transcription_status": "non-music" }, { "id": "265-a", "path": "assets/265-a.png", "pdf_page": 223, "printed_page": 265, "bbox_pixels": [ 55, 183, 1271, 1195 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 1216, 1012 ], "musicxml": [ { "path": "musicxml/263-265-kyrie.musicxml", "sha256": "8ef1ceb14305a55dac7822c4c79261fcf364b7c61e258d6b23a282a4b937177f", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Complete16 sourcebars across263–265; organfirstbar2voices and subsequentC/F clefchanges retained without addedchords.", "Alto264 firstsystem middlebar/global7 has overlaid gray correction above lower D4head; D4 printed lowerhead retained as candidate.", "Tenor264 secondsystem firstbar/global9 short ornament flags are faint; .5 .5 .25 .25 .5 reading totals2beforetwoquarters. Needs independent rhythmcheck.", "Alto265penultimatebar/global15 contains smeared rectangular long note read as C4breve(8), while otherparts have4quarters; lastbarallpartsbreve. Retain long-note duration as candidate pending source review." ], "verification": [ "Every assigned source crop visually inspected and transcribed; source dialogue consulted for continuity, text and intentional examples.", "All rendered pages of the joined candidate visually inspected; unresolved source/notation ambiguities are explicitly listed and full candidate is not semantically verified." ], "ledger": "ledgers/late.json" } ], "music_transcription_status": "continuation" }, { "id": "266-a", "path": "assets/266-a.png", "pdf_page": 224, "printed_page": 266, "bbox_pixels": [ 79, 244, 1297, 2088 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 1218, 1844 ], "musicxml": [ { "path": "musicxml/266-267-christe.musicxml", "sha256": "e7f47953455c1c9281095d1774882865e5a155c09e20b925514471ac9930fe45", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Complete22 sourcebars for3voices+Organo, printed3/2 retained.", "Cantus266firstsystem thirdbar finalstem has superposed gray lowerhead near A4; primary upper C5half retained.", "Altus266thirdsystem secondbar/global10 firstG4half +F#4quarter+G4half totals5quarterunits; no missing dot/rest invented.", "Cantus267second-system firstbar/global18 literal dottedhalf+quarter+2eighths totals5 versus6 inotherparts; sourcehas handwritten correctionnearuppernotes. No missing beat invented.", "Global20 allfourparts print halfnote+quarterrest+quarter=4units despite3/2; this shortbar retained.", "F-sharp alteration carried through tie into alto12, without added repeatedaccidental glyph." ], "verification": [ "Every assigned source crop visually inspected and transcribed; source dialogue consulted for continuity, text and intentional examples.", "All rendered pages of the joined candidate visually inspected; unresolved source/notation ambiguities are explicitly listed and full candidate is not semantically verified." ], "ledger": "ledgers/late.json" }, { "path": "musicxml/266-267-christe-prefix-2.musicxml", "sha256": "66583777febf99748e2c54bbc4f99f0bd42ff81a104df0e8eb90f78fc66fb60d", "sourceVerifiedSha256": "66583777febf99748e2c54bbc4f99f0bd42ff81a104df0e8eb90f78fc66fb60d", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": { "kind": "excerpt", "label": "Verified opening · measures 1–2 of 22; full score continues", "lastMeasure": 2, "totalMeasures": 22 }, "issues": [ "Verified opening excerpt only; full work continues. No cadence or notes added." ], "verification": [ "Direct visual source reading completed, including staff-position pitches, printed clefs, local/key-derived alterations, flags/dots, note/rest values, and lyric onset placement when present.", "Every rendered page of this exact file compared to source; MusicXML schema/Verovio rendering and parseScore passed.", "Only original opening measures retained. No new cadence, note, rest or fermata added. Outgoing soundties at cutoff removed while source arcs remain notation/metadata; full source score continues." ], "ledger": "ledgers/late.json" } ], "music_transcription_status": "needs-review" }, { "id": "267-a", "path": "assets/267-a.png", "pdf_page": 225, "printed_page": 267, "bbox_pixels": [ 53, 172, 1282, 1452 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 1229, 1280 ], "musicxml": [ { "path": "musicxml/266-267-christe.musicxml", "sha256": "e7f47953455c1c9281095d1774882865e5a155c09e20b925514471ac9930fe45", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Complete22 sourcebars for3voices+Organo, printed3/2 retained.", "Cantus266firstsystem thirdbar finalstem has superposed gray lowerhead near A4; primary upper C5half retained.", "Altus266thirdsystem secondbar/global10 firstG4half +F#4quarter+G4half totals5quarterunits; no missing dot/rest invented.", "Cantus267second-system firstbar/global18 literal dottedhalf+quarter+2eighths totals5 versus6 inotherparts; sourcehas handwritten correctionnearuppernotes. No missing beat invented.", "Global20 allfourparts print halfnote+quarterrest+quarter=4units despite3/2; this shortbar retained.", "F-sharp alteration carried through tie into alto12, without added repeatedaccidental glyph." ], "verification": [ "Every assigned source crop visually inspected and transcribed; source dialogue consulted for continuity, text and intentional examples.", "All rendered pages of the joined candidate visually inspected; unresolved source/notation ambiguities are explicitly listed and full candidate is not semantically verified." ], "ledger": "ledgers/late.json" } ], "music_transcription_status": "continuation" }, { "id": "268-a", "path": "assets/268-a.png", "pdf_page": 226, "printed_page": 268, "bbox_pixels": [ 86, 260, 1286, 1914 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 1200, 1654 ], "musicxml": [ { "path": "musicxml/268-271-amen.musicxml", "sha256": "a0099e2c74926dfd59881a5ed7b6ad60ecb58a7c6bd6a881e781008dd672ffa0", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Complete24 sourcebars268–271; separate vocalbass and Organo retained.", "Altus269secondsystem thirdbar/global13 has handwritten correction/circle at E4eighth; printed lowerE4 retained as candidate, no added alternativehead.", "Organ269global13 startsA3 while vocalbassstartsF3; this printed difference retained.", "Altus270firstsystem lastbar/global18 incoming B4quarter is faint/overwritten; candidate retains B4 matching incomingtie.", "Organo270global16–17 is explicitly more active than vocalbass; allprinted eighths retained and nofigured-chord realization added." ], "verification": [ "Every assigned source crop visually inspected and transcribed; source dialogue consulted for continuity, text and intentional examples.", "All rendered pages of the joined candidate visually inspected; unresolved source/notation ambiguities are explicitly listed and full candidate is not semantically verified." ], "ledger": "ledgers/late.json" }, { "path": "musicxml/268-271-amen-prefix-12.musicxml", "sha256": "dcb1f462e669daabca2c233e8de3bb7ce4e485715343d15b120d42e53b70ffc6", "sourceVerifiedSha256": "dcb1f462e669daabca2c233e8de3bb7ce4e485715343d15b120d42e53b70ffc6", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": { "kind": "excerpt", "label": "Verified opening · measures 1–12 of 24; full score continues", "lastMeasure": 12, "totalMeasures": 24 }, "issues": [ "Verified opening excerpt only; full work continues. No cadence or notes added.", "Outgoing source tie at excerpt boundary retained as notation/metadata only; playback ends at last written duration without invented receiver." ], "verification": [ "Direct visual source reading completed, including staff-position pitches, printed clefs, local/key-derived alterations, flags/dots, note/rest values, and lyric onset placement when present.", "Every rendered page of this exact file compared to source; MusicXML schema/Verovio rendering and parseScore passed.", "Only original opening measures retained. No new cadence, note, rest or fermata added. Outgoing soundties at cutoff removed while source arcs remain notation/metadata; full source score continues." ], "ledger": "ledgers/late.json" } ], "music_transcription_status": "needs-review" }, { "id": "268-custos", "path": "assets/268-custos.png", "pdf_page": 226, "printed_page": 268, "bbox_pixels": [ 1134, 1890, 1277, 2046 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "not applicable", "kind": "musical_page_catchword", "dimensions_pixels": [ 143, 156 ], "musicxml": [], "music_transcription_status": "non-music" }, { "id": "269-a", "path": "assets/269-a.png", "pdf_page": 227, "printed_page": 269, "bbox_pixels": [ 44, 172, 1284, 1951 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 1240, 1779 ], "musicxml": [ { "path": "musicxml/268-271-amen.musicxml", "sha256": "a0099e2c74926dfd59881a5ed7b6ad60ecb58a7c6bd6a881e781008dd672ffa0", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Complete24 sourcebars268–271; separate vocalbass and Organo retained.", "Altus269secondsystem thirdbar/global13 has handwritten correction/circle at E4eighth; printed lowerE4 retained as candidate, no added alternativehead.", "Organ269global13 startsA3 while vocalbassstartsF3; this printed difference retained.", "Altus270firstsystem lastbar/global18 incoming B4quarter is faint/overwritten; candidate retains B4 matching incomingtie.", "Organo270global16–17 is explicitly more active than vocalbass; allprinted eighths retained and nofigured-chord realization added." ], "verification": [ "Every assigned source crop visually inspected and transcribed; source dialogue consulted for continuity, text and intentional examples.", "All rendered pages of the joined candidate visually inspected; unresolved source/notation ambiguities are explicitly listed and full candidate is not semantically verified." ], "ledger": "ledgers/late.json" } ], "music_transcription_status": "continuation" }, { "id": "269-custos", "path": "assets/269-custos.png", "pdf_page": 227, "printed_page": 269, "bbox_pixels": [ 1110, 1940, 1271, 2101 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "not applicable", "kind": "musical_page_catchword", "dimensions_pixels": [ 161, 161 ], "musicxml": [], "music_transcription_status": "non-music" }, { "id": "270-a", "path": "assets/270-a.png", "pdf_page": 228, "printed_page": 270, "bbox_pixels": [ 75, 185, 1288, 2048 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 1213, 1863 ], "musicxml": [ { "path": "musicxml/268-271-amen.musicxml", "sha256": "a0099e2c74926dfd59881a5ed7b6ad60ecb58a7c6bd6a881e781008dd672ffa0", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Complete24 sourcebars268–271; separate vocalbass and Organo retained.", "Altus269secondsystem thirdbar/global13 has handwritten correction/circle at E4eighth; printed lowerE4 retained as candidate, no added alternativehead.", "Organ269global13 startsA3 while vocalbassstartsF3; this printed difference retained.", "Altus270firstsystem lastbar/global18 incoming B4quarter is faint/overwritten; candidate retains B4 matching incomingtie.", "Organo270global16–17 is explicitly more active than vocalbass; allprinted eighths retained and nofigured-chord realization added." ], "verification": [ "Every assigned source crop visually inspected and transcribed; source dialogue consulted for continuity, text and intentional examples.", "All rendered pages of the joined candidate visually inspected; unresolved source/notation ambiguities are explicitly listed and full candidate is not semantically verified." ], "ledger": "ledgers/late.json" } ], "music_transcription_status": "continuation" }, { "id": "271-a", "path": "assets/271-a.png", "pdf_page": 229, "printed_page": 271, "bbox_pixels": [ 66, 169, 1271, 913 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 1205, 744 ], "musicxml": [ { "path": "musicxml/268-271-amen.musicxml", "sha256": "a0099e2c74926dfd59881a5ed7b6ad60ecb58a7c6bd6a881e781008dd672ffa0", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Complete24 sourcebars268–271; separate vocalbass and Organo retained.", "Altus269secondsystem thirdbar/global13 has handwritten correction/circle at E4eighth; printed lowerE4 retained as candidate, no added alternativehead.", "Organ269global13 startsA3 while vocalbassstartsF3; this printed difference retained.", "Altus270firstsystem lastbar/global18 incoming B4quarter is faint/overwritten; candidate retains B4 matching incomingtie.", "Organo270global16–17 is explicitly more active than vocalbass; allprinted eighths retained and nofigured-chord realization added." ], "verification": [ "Every assigned source crop visually inspected and transcribed; source dialogue consulted for continuity, text and intentional examples.", "All rendered pages of the joined candidate visually inspected; unresolved source/notation ambiguities are explicitly listed and full candidate is not semantically verified." ], "ledger": "ledgers/late.json" } ], "music_transcription_status": "continuation" }, { "id": "271-b", "path": "assets/271-b.png", "pdf_page": 229, "printed_page": 271, "bbox_pixels": [ 59, 1577, 1266, 1872 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1207, 295 ], "musicxml": [ { "path": "musicxml/271-b.musicxml", "sha256": "1324b41e01f288c4860cad46154d41abb619a4d37fd30ed32728185542b4dc61", "sourceVerifiedSha256": "1324b41e01f288c4860cad46154d41abb619a4d37fd30ed32728185542b4dc61", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Analytical reduction; postbar dot represents preceding B3 continuation." ], "verification": [ "Direct visual source reading completed, including staff-position pitches, printed clefs, local/key-derived alterations, flags/dots, note/rest values, and lyric onset placement when present.", "Every rendered page of this exact file compared to source; MusicXML schema/Verovio rendering and parseScore passed." ], "ledger": "ledgers/late.json" } ], "music_transcription_status": "verified" }, { "id": "272-a", "path": "assets/272-a.png", "pdf_page": 230, "printed_page": 272, "bbox_pixels": [ 90, 433, 646, 992 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 556, 559 ], "musicxml": [ { "path": "musicxml/272-a.musicxml", "sha256": "9c4816c54c8698e8b733682633aef772d07c5a8efb76b42af9c41c24fc3ee3a5", "sourceVerifiedSha256": "9c4816c54c8698e8b733682633aef772d07c5a8efb76b42af9c41c24fc3ee3a5", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Source tenor has incoming arc from preceding context; isolated extract retains first G3 duration without invented predecessor." ], "verification": [ "Direct visual source reading completed, including staff-position pitches, printed clefs, local/key-derived alterations, flags/dots, note/rest values, and lyric onset placement when present.", "Every rendered page of this exact file compared to source; MusicXML schema/Verovio rendering and parseScore passed." ], "ledger": "ledgers/late.json" } ], "music_transcription_status": "verified" }, { "id": "274-a", "path": "assets/274-a.png", "pdf_page": 232, "printed_page": 274, "bbox_pixels": [ 101, 915, 1288, 1850 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 1187, 935 ], "musicxml": [ { "path": "musicxml/274-276-recitative.musicxml", "sha256": "922659be6e8df2eceae657a7f26b5c4a9247523ac5b6329be7307d51c98f496e", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Instrument/continuo figures retained in source crops; no keyboard chord realization added.", "Printed halfbar at275end joined to276opening.", "Candidate: recitative rest shapes and sixteenth flags require independent check in vocal part; only visually explicit notes encoded.", "Vocal275finalhalfbar/global9 F4upwardflag reads eighth; joined bar totals4.25 versus4 ininstruments. Literal eighth retained rather than silently shortening to16th; timing needs source review." ], "verification": [ "Every assigned source crop visually inspected and transcribed; source dialogue consulted for continuity, text and intentional examples.", "All rendered pages of the joined candidate visually inspected; unresolved source/notation ambiguities are explicitly listed and full candidate is not semantically verified." ], "ledger": "ledgers/late.json" }, { "path": "musicxml/274-276-recitative-prefix-3.musicxml", "sha256": "153013c1556b7e6c40282c3d9c45a844de8bd5e57024fcf55fd78f0ea05d70bd", "sourceVerifiedSha256": "153013c1556b7e6c40282c3d9c45a844de8bd5e57024fcf55fd78f0ea05d70bd", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": { "kind": "excerpt", "label": "Verified opening · measures 1–3 of 12; full score continues", "lastMeasure": 3, "totalMeasures": 12 }, "issues": [ "Verified opening excerpt only; full work continues. No cadence or notes added.", "Outgoing source tie at excerpt boundary retained as notation/metadata only; playback ends at last written duration without invented receiver." ], "verification": [ "Direct visual source reading completed, including staff-position pitches, printed clefs, local/key-derived alterations, flags/dots, note/rest values, and lyric onset placement when present.", "Every rendered page of this exact file compared to source; MusicXML schema/Verovio rendering and parseScore passed.", "Only original opening measures retained. No new cadence, note, rest or fermata added. Outgoing soundties at cutoff removed while source arcs remain notation/metadata; full source score continues." ], "ledger": "ledgers/late.json" } ], "music_transcription_status": "needs-review" }, { "id": "274-custos", "path": "assets/274-custos.png", "pdf_page": 232, "printed_page": 274, "bbox_pixels": [ 1077, 1868, 1279, 2009 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "not applicable", "kind": "musical_page_catchword", "dimensions_pixels": [ 202, 141 ], "musicxml": [], "music_transcription_status": "non-music" }, { "id": "275-a", "path": "assets/275-a.png", "pdf_page": 233, "printed_page": 275, "bbox_pixels": [ 48, 183, 1244, 1927 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 1196, 1744 ], "musicxml": [ { "path": "musicxml/274-276-recitative.musicxml", "sha256": "922659be6e8df2eceae657a7f26b5c4a9247523ac5b6329be7307d51c98f496e", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Instrument/continuo figures retained in source crops; no keyboard chord realization added.", "Printed halfbar at275end joined to276opening.", "Candidate: recitative rest shapes and sixteenth flags require independent check in vocal part; only visually explicit notes encoded.", "Vocal275finalhalfbar/global9 F4upwardflag reads eighth; joined bar totals4.25 versus4 ininstruments. Literal eighth retained rather than silently shortening to16th; timing needs source review." ], "verification": [ "Every assigned source crop visually inspected and transcribed; source dialogue consulted for continuity, text and intentional examples.", "All rendered pages of the joined candidate visually inspected; unresolved source/notation ambiguities are explicitly listed and full candidate is not semantically verified." ], "ledger": "ledgers/late.json" } ], "music_transcription_status": "continuation" }, { "id": "275-custos", "path": "assets/275-custos.png", "pdf_page": 233, "printed_page": 275, "bbox_pixels": [ 1024, 1940, 1222, 2072 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "not applicable", "kind": "musical_page_catchword", "dimensions_pixels": [ 198, 132 ], "musicxml": [], "music_transcription_status": "non-music" }, { "id": "276-a", "path": "assets/276-a.png", "pdf_page": 234, "printed_page": 276, "bbox_pixels": [ 84, 180, 1275, 966 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 1191, 786 ], "musicxml": [ { "path": "musicxml/274-276-recitative.musicxml", "sha256": "922659be6e8df2eceae657a7f26b5c4a9247523ac5b6329be7307d51c98f496e", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Instrument/continuo figures retained in source crops; no keyboard chord realization added.", "Printed halfbar at275end joined to276opening.", "Candidate: recitative rest shapes and sixteenth flags require independent check in vocal part; only visually explicit notes encoded.", "Vocal275finalhalfbar/global9 F4upwardflag reads eighth; joined bar totals4.25 versus4 ininstruments. Literal eighth retained rather than silently shortening to16th; timing needs source review." ], "verification": [ "Every assigned source crop visually inspected and transcribed; source dialogue consulted for continuity, text and intentional examples.", "All rendered pages of the joined candidate visually inspected; unresolved source/notation ambiguities are explicitly listed and full candidate is not semantically verified." ], "ledger": "ledgers/late.json" } ], "music_transcription_status": "continuation" }, { "id": "277-a", "path": "assets/277-a.png", "pdf_page": 235, "printed_page": 277, "bbox_pixels": [ 68, 1236, 1279, 1520 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1211, 284 ], "musicxml": [ { "path": "musicxml/277-a.musicxml", "sha256": "3d9685bfbaaa21a9c48a211d28252cbd90e7a4134e7b0c0551c1a4b3c8a6fc58", "sourceVerifiedSha256": "3d9685bfbaaa21a9c48a211d28252cbd90e7a4134e7b0c0551c1a4b3c8a6fc58", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Final schematic measure contains only one printedquarter in eachpart and ends etc.; no completion/cadence invented." ], "verification": [ "Direct visual source reading completed, including staff-position pitches, printed clefs, local/key-derived alterations, flags/dots, note/rest values, and lyric onset placement when present.", "Every rendered page of this exact file compared to source; MusicXML schema/Verovio rendering and parseScore passed." ], "ledger": "ledgers/late.json" } ], "music_transcription_status": "verified" }, { "id": "277-b", "path": "assets/277-b.png", "pdf_page": 235, "printed_page": 277, "bbox_pixels": [ 70, 1723, 1279, 2013 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1209, 290 ], "musicxml": [ { "path": "musicxml/277-b-1.musicxml", "sha256": "a278d8a9ffd66684df89d55c5e0a94991f34a1b91fdcf9ca9d6d8bec2ea1358a", "sourceVerifiedSha256": "a278d8a9ffd66684df89d55c5e0a94991f34a1b91fdcf9ca9d6d8bec2ea1358a", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Source crop inspected at enlarged scale. C1 voice and F4 bass retained; source cross-shaped sharps encoded as single sharps.", "No lyrics printed in these isolated punctuation illustrations.", "Parent compared rendered notation to enlarged source: pitch positions, original clefs, printed flags/dots/rests and key-derived alterations retained. Redundant accidental glyphs not added for signature B-flat." ], "ledger": "ledgers/late-cadences.json" }, { "path": "musicxml/277-b-2.musicxml", "sha256": "644d986ba913f87521d70d32b3489d9b2515eaeadc1325805541bd8c39e4d755", "sourceVerifiedSha256": "644d986ba913f87521d70d32b3489d9b2515eaeadc1325805541bd8c39e4d755", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Source crop inspected at enlarged scale. C1 voice and F4 bass retained; source cross-shaped sharps encoded as single sharps.", "No lyrics printed in these isolated punctuation illustrations.", "Parent compared rendered notation to enlarged source: pitch positions, original clefs, printed flags/dots/rests and key-derived alterations retained. Redundant accidental glyphs not added for signature B-flat." ], "ledger": "ledgers/late-cadences.json" } ], "music_transcription_status": "verified" }, { "id": "278-a", "path": "assets/278-a.png", "pdf_page": 236, "printed_page": 278, "bbox_pixels": [ 103, 365, 629, 629 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "playback not yet available", "kind": "music", "dimensions_pixels": [ 526, 264 ], "musicxml": [ { "path": "musicxml/278-a.musicxml", "sha256": "252d10685cf95ef74dedb74d115d046dee26ba4dc31ef0804b8be1afe1a1aa7b", "sourceVerifiedSha256": null, "transcriptionStatus": "needs-review", "playbackAvailable": false, "playbackKind": "piano", "coverage": null, "issues": [ "Upper and bass durations differ in the final schematic recitative measure. Source preserved without filling rests or stretching notes; alignment needs review. Initial measure is intentionally partial." ], "verification": [ "Source crop inspected at enlarged scale. C1 voice and F4 bass retained; source cross-shaped sharps encoded as single sharps.", "No lyrics printed in these isolated punctuation illustrations." ], "ledger": "ledgers/late-cadences.json" } ], "music_transcription_status": "needs-review" }, { "id": "278-b", "path": "assets/278-b.png", "pdf_page": 236, "printed_page": 278, "bbox_pixels": [ 103, 638, 657, 902 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 554, 264 ], "musicxml": [ { "path": "musicxml/278-b.musicxml", "sha256": "1f3e62bfe1db553dfbc17e5b5050955daa78cc6cd15c8cdc77c71b511bc46ef3", "sourceVerifiedSha256": "1f3e62bfe1db553dfbc17e5b5050955daa78cc6cd15c8cdc77c71b511bc46ef3", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Source crop inspected at enlarged scale. C1 voice and F4 bass retained; source cross-shaped sharps encoded as single sharps.", "No lyrics printed in these isolated punctuation illustrations.", "Parent compared rendered notation to enlarged source: pitch positions, original clefs, printed flags/dots/rests and key-derived alterations retained. Redundant accidental glyphs not added for signature B-flat." ], "ledger": "ledgers/late-cadences.json" } ], "music_transcription_status": "verified" }, { "id": "278-c", "path": "assets/278-c.png", "pdf_page": 236, "printed_page": 278, "bbox_pixels": [ 95, 895, 1277, 1153 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1182, 258 ], "musicxml": [ { "path": "musicxml/278-c.musicxml", "sha256": "e9c4bfce2250f83da20ca9a371b80e3b6fd97db718e7493a6998c4289a9f42f6", "sourceVerifiedSha256": "e9c4bfce2250f83da20ca9a371b80e3b6fd97db718e7493a6998c4289a9f42f6", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [ "Cross above firstbassmeasure B2stem treated as continuo alterationfigure, retained in sourcecrop, not pitchaccidental; no chordrealization added." ], "verification": [ "Direct visual source reading completed, including staff-position pitches, printed clefs, local/key-derived alterations, flags/dots, note/rest values, and lyric onset placement when present.", "Every rendered page of this exact file compared to source; MusicXML schema/Verovio rendering and parseScore passed.", "Bass above-staff cross is retained as source continuo figure, not an alteration of B2 and not a realized chord." ], "ledger": "ledgers/late.json" } ], "music_transcription_status": "verified" }, { "id": "278-d", "path": "assets/278-d.png", "pdf_page": 236, "printed_page": 278, "bbox_pixels": [ 90, 1239, 1277, 1507 ], "source_raster_dimensions": [ 1341, 2200 ], "description": "Original notation, labels, figures and analytical annotations retained without redrawing.", "playback_status": "ready", "kind": "music", "dimensions_pixels": [ 1187, 268 ], "musicxml": [ { "path": "musicxml/278-d.musicxml", "sha256": "0f2cd2ffb2361931fca29da01d6cc448d38899d0831c315b6c169fe49d8378d2", "sourceVerifiedSha256": "0f2cd2ffb2361931fca29da01d6cc448d38899d0831c315b6c169fe49d8378d2", "transcriptionStatus": "verified", "playbackAvailable": true, "playbackKind": "piano", "coverage": null, "issues": [], "verification": [ "Source crop inspected at enlarged scale. C1 voice and F4 bass retained; source cross-shaped sharps encoded as single sharps.", "No lyrics printed in these isolated punctuation illustrations.", "Parent compared rendered notation to enlarged source: pitch positions, original clefs, printed flags/dots/rests and key-derived alterations retained. Redundant accidental glyphs not added for signature B-flat." ], "ledger": "ledgers/late-cadences.json" } ], "music_transcription_status": "verified" } ], "translator_notes": [ { "id": "tn-1", "blocks": [ "45-3" ], "kind": "translation", "text": "Semibreve is the historical note-value term (modern whole note). Cantus firmus is retained as a technical term." }, { "id": "tn-2", "blocks": [ "45-4", "47-2" ], "kind": "translation", "text": "Motus rectus is translated as similar motion. The author’s interval analysis is retained without silently correcting it against the score." }, { "id": "tn-3", "blocks": [ "46-5", "47-1", "47-2" ], "kind": "translation", "text": "Cantus as a named voice is translated as soprano; Altus as alto. Clavis Cantûs is the soprano clef, distinct from the alto clef of the cantus firmus." }, { "id": "tn-4", "blocks": [ "48-5", "49-2" ], "kind": "translation", "text": "Tonus is rendered as mode here; the historical pitch/solmization names D, la, sol, re and G, sol, re, ut are preserved without replacing them with modern key names." }, { "id": "tn-5", "blocks": [ "49-4", "49-5" ], "kind": "translation", "text": "Diminution means subdividing longer notes into shorter ones, here exposing a hidden fifth. The author’s rule is retained in its historical scope." }, { "id": "tn-6", "blocks": [ "48-4" ], "kind": "resolved reading", "text": "The single targeted correction pass resolved the provisional mœro as meo; the translation was corrected accordingly." }, { "id": "tn-7", "blocks": [ "50-7" ], "kind": "notation normalization", "text": "Inline accidental signs are represented by modern Unicode flat and sharp characters for reflow. The historical printed symbols and surrounding sentence are preserved in asset 50-signs, and the examples are unchanged crops. The historical cross-shaped diesis is not interpreted as a modern double sharp." }, { "id": "tn-8", "blocks": [ "50-1" ], "kind": "translation", "text": "The wording “antè per diminutionem abscondita erat” is retained, including the author’s reference to the fifth hidden in the diminution." }, { "id": "tn-9", "blocks": [ "51-2" ], "kind": "translation", "text": "Modulandi ratio is translated in its historical melodic sense; it does not imply modern modulation between keys." }, { "id": "tn-10", "blocks": [ "51-5" ], "kind": "translation", "text": "The author’s “Quarta major” is retained as “major fourth,” followed by his own equivalent “tritone” (modern augmented fourth). The proverb and the syllables mi/fa are retained." }, { "id": "tn-11", "blocks": [ "53-2" ], "text": "Octava Battuta and Thesis are retained as the historical terms used in the author’s discussion; the argument questioning the prohibition is not corrected or harmonized with later rules.", "kind": "translation" }, { "id": "tn-12", "blocks": [ "56-1" ], "text": "The source spells the Greek-derived term Arshis/Arshi here; this spelling is retained in Latin, with conventional arsis in English. Thesis/arsis mean the lowering/raising halves of the beat in this discussion.", "kind": "translation" }, { "id": "tn-13", "blocks": [ "59-b" ], "text": "The engraved caption reads malè; a lighter apparent handwritten correction beneath it is retained in the crop but not confidently transcribed. The tension with the surrounding explanation is not silently resolved.", "kind": "translation" }, { "id": "tn-14", "blocks": [ "64-2", "64-3" ], "text": "The printed “tertia Nota Consonans est” is retained literally, although the surrounding explanation calls the third note a dissonance. This apparent source inconsistency is not silently emended.", "kind": "translation" }, { "id": "tn-15", "blocks": [ "69-3", "69-4", "69-5" ], "text": "Ligatura is retained as ligature; in this species it denotes a tied syncopation, including what is called a suspension when its held note is dissonant. The curved ties remain in the source crops.", "kind": "translation" }, { "id": "tn-16", "blocks": [ "78-a", "78-b" ], "text": "The three-staff presentation retains a central cantus firmus with counterpoint alternatives above and below, within the author’s two-voice section. No new three-voice lesson is inferred from the layout.", "kind": "translation" }, { "id": "tn-17", "blocks": [ "80-2" ], "kind": "reading", "text": "The source is retained as “Ne te affixeris.” The small type may conceal an l in the expected “afflixeris”; English gives the contextual sense “Do not distress yourself.” No silent Latin emendation was made." }, { "id": "reused-e2-source-third", "title": "“Third part” in the opening paragraph", "text": "The printed Latin reads tertiæ (“third”), with a handwritten correction above it. The argument appears to call for “fourth,” since three voices already form the triad. This translation retains the printed reading rather than silently correcting it.", "blocks": [ "e2-p81-1" ], "kind": "reused translation note" }, { "id": "reused-e2-sixth-arrangement", "title": "An arrangement containing a sixth", "text": "The phrase sexta Hypothesis is interpreted here as the harmonic arrangement containing a sixth, following the surrounding discussion and the illustrated chord; it is not rendered as a reference to the sixth measure.", "blocks": [ "e2-p83-3" ], "kind": "reused translation note" }, { "id": "reused-e2-tactus", "title": "Tactus and hypothesis", "text": "In these numbered first-species examples, tactus is translated as “measure” and hypothesis as “harmonic position” or “arrangement.” These choices describe the units being discussed; they do not equate the historical tactus with a modern quarter-note beat.", "blocks": [], "kind": "reused translation note" }, { "id": "reused-e2-species", "title": "Species, voices, and the given melody", "text": "Species retains its technical counterpoint meaning. Bicinium, tricinium, and quadricinium are rendered as composition in two, three, and four voices. Cantus firmus is retained as the standard term for the given melody.", "blocks": [], "kind": "reused translation note" }, { "id": "reused-e2-thesis-arsis", "title": "Downbeat and upbeat", "text": "Thesis and arsis are rendered as downbeat and upbeat in this rhythmic context. The Latin transcription retains the printed spelling Arhsi. These terms have varied meanings in other historical contexts.", "blocks": [ "e2-p86-5" ], "kind": "reused translation note" }, { "id": "reused-e2-cadence", "title": "Clausula formalis and mode", "text": "Clausula formalis is rendered as “standard cadential formula,” rather than treated as a generic modern chord progression. Tonus is rendered as “mode” in the discussion of the remaining modal exercises.", "blocks": [], "kind": "reused translation note" }, { "id": "e2-tn-tenors", "blocks": [ "96-4" ], "text": "The printed tenorum is retained as “tenors”; in context these are the remaining given melodies, with their placement changed among the three parts.", "kind": "translation" }, { "id": "e3-tn-ratios", "blocks": [ "116-5" ], "text": "The author’s historical explanation using interval-ratio terms and their sums is translated as printed, without silently replacing it with modern acoustics.", "kind": "translation" }, { "id": "e3-tn-123", "blocks": [ "123-1" ], "text": "Printed penultimam is retained. A lighter handwritten annotation above the line appears to read quartam, but is uncertain; the original sentence and annotation are preserved in a separate crop.", "kind": "translation" }, { "id": "v4-tn-169", "blocks": [ "168-2" ], "text": "The printed admittatur in the clause about crowding is retained; the following comparison establishes the intended sense of movement being impeded. No silent Latin emendation was made.", "kind": "translation" }, { "id": "v7-tn-212", "blocks": [ "212-2" ], "text": "The awkward printed phrase “per figurarum variationis” is retained; English renders its contextual sense as variation of note forms. The distinction between simple and reversed contrary motion follows the author’s terminology.", "kind": "translation" }, { "id": "v7-tn-224", "blocks": [ "224-1" ], "text": "The historical cross-shaped sharp is represented by ♯ in reflowable Latin; the original sentence and sign are preserved in crop 224-signs.", "kind": "translation" }, { "id": "v7-tn-228", "blocks": [ "228-1" ], "text": "The printed natural sign after B is normalized as ♮ in reflowable Latin; the original sign remains in the source excerpt.", "kind": "translation" }, { "id": "v7-tn-238", "blocks": [ "238-3" ], "text": "The printed cut-time glyph is represented by the Unicode musical cut-time sign in Latin; its original appearance is retained in crop 238-sign.", "kind": "translation" }, { "id": "pagination-238", "blocks": [ "238-a", "238-1", "238-b", "238-2", "238-3" ], "text": "PDF page 196 is printed “228” although it follows 237; the edition uses sequence page 238 and explicitly preserves the anomalous printed label in source metadata.", "kind": "translation" }, { "id": "v7-tn-liripipio", "blocks": [ "239-4" ], "text": "Liripipio is rendered contextually as the rustic’s own little tune; the unusual source word is retained in Latin.", "kind": "translation" }, { "id": "v7-tn-243", "blocks": [ "243-1" ], "text": "The author’s historical use of a cappella includes both unaccompanied and accompanied full-choir methods; the translation retains this distinction rather than imposing only the modern unaccompanied sense.", "kind": "translation" }, { "id": "lyrics-source-policy", "blocks": [ "245-lyrics" ], "kind": "source/translation method", "text": "Lyric text keys give the verbal content and aligned translation; they do not replace voice-by-voice underlay. Every source repetition, syllable division and extender remains in the original music crops. Kyrie eleison is Greek in Latin letters, not Latin prose." }, { "id": "amen-key", "blocks": [ "268-lyrics" ], "text": "Amen is retained as the conventional liturgical response, meaning “so be it.” All sung repetitions remain in the source crops.", "kind": "translation" }, { "id": "instrument-terms-272", "blocks": [ "272-5", "272-6" ], "text": "Tuba ductilis is rendered as trombone. First and second Fides are rendered as violin parts in the stated doubling context; elsewhere Fides is rendered more generally as strings.", "kind": "translation" }, { "id": "intro-classical-allusions", "blocks": [ "intro-43-4", "intro-44-3" ], "text": "Nestor represents extraordinary longevity; Etna suggests a mountainous burden. Plutus is the god of wealth, while Apollo and Parnassus stand for music and the arts. These are the author’s classical allusions." } ], "uncertain_readings": [ { "id": "ur-2", "blocks": [ "45-4", "46-1", "47-2" ], "reading": "minor accent marks", "status": "typographical uncertainty", "reason": "Small grave/circumflex marks in the worn print are not uniformly distinguishable. Lexical text is readable; this is a reflowable transcription, not a diplomatic facsimile." }, { "id": "ur-3", "blocks": [ "59-b" ], "reading": "lighter annotation beneath malè", "status": "unresolved", "reason": "An apparent handwritten alteration is visible; the engraved malè is clear, but the lighter annotation is not confidently readable. Original retained. The focused crop check suggests bene, but this remains a provisional reading." }, { "id": "ur-4", "blocks": [ "80-2" ], "reading": "affixeris / afflixeris", "status": "unresolved typography", "reason": "The focused high-resolution check leaves uncertainty about a small l in the printed word; affixeris is retained, with contextual English translation." }, { "id": "reuse-e2-text-0", "blocks": [], "reading": "A handwritten correction appears over the printed word tertiæ. The printed reading is retained; the handwriting is preserved in the page image.", "status": "preserved original issue", "reason": "Inherited unchanged from existing edition verification." }, { "id": "reuse-e2-text-1", "blocks": [], "reading": "Arhsi is retained as printed rather than silently regularized.", "status": "preserved original issue", "reason": "Inherited unchanged from existing edition verification." }, { "id": "reuse-e2-91-b", "blocks": [ "91-b" ], "reading": "The B-flat is printed in the fifth position; the following unmarked B is encoded as natural across the barline. Historical accidental scope needs an expert check before playback is enabled.", "status": "original music review unresolved", "reason": "Reused edition withheld playback; no new music interpretation performed." }, { "id": "reuse-e2-88-b", "blocks": [ "88-b" ], "reading": "printed interval figure 15 versus apparent twelfth", "status": "preserved source discrepancy", "reason": "Original edition documents a mismatch; crop retained unchanged." }, { "id": "ur-123-hand", "blocks": [ "123-1" ], "reading": "handwritten annotation over penultimam, possibly quartam", "status": "unresolved", "reason": "Printed reading retained and translated; lighter handwritten alteration preserved as source image, not silently substituted." }, { "id": "ur-177-hand", "blocks": [ "177-2" ], "reading": "faint marginal handwriting beside Joseph’s request", "status": "unresolved", "reason": "Original margin and surrounding text preserved in a separate crop; handwriting not confidently transcribed." }, { "id": "ur-169-printed", "blocks": [ "168-2" ], "reading": "admittatur in the sentence about crowded parts", "status": "retained apparent source wording issue", "reason": "Printed reading retained; accompanying explanation establishes impeded motion. English follows that contextual sense, as separately noted." }, { "id": "ur-230-hand", "blocks": [ "230-1" ], "reading": "faint right-margin annotation near auctoritas / obstaret", "status": "unresolved", "reason": "Printed prose retained; marginal handwriting preserved in a separate crop without conjectural transcription." }, { "id": "ur-232-hand", "blocks": [ "232-5" ], "reading": "small handwritten insertion between regularia and irregularia", "status": "unresolved", "reason": "Printed wording retained; possible connective annotation preserved in crop without conjectural transcription." }, { "id": "ur-239-hand", "blocks": [ "239-4" ], "reading": "faint marginal annotation beside the definition of taste", "status": "unresolved", "reason": "Original manuscript mark preserved with its context; printed text transcribed without conjectural incorporation." }, { "id": "ur-liripipio", "blocks": [ "239-4" ], "reading": "Liripipio, rendered contextually as the rustic’s own little tune", "status": "provisional lexical interpretation", "reason": "Unusual Latin term retained; precise referent not independently established. 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Excerpts explicitly state their limits.", "defaultTempo": 96, "defaultInstrument": "synthesized piano; unpitched clicks for rhythm-only notation", "defaultsAreSourceMarkings": false }, "source_scan_directory": "source-pages", "introduction": { "status": "restored", "source_pdf_pages": [ 1, 2, 3 ], "printed_pages": [ 43, 44, 45 ], "end_exclusive": "EXERCITII I. heading on printed page 45", "first_block": "intro-43-h2", "last_block": "intro-44-9", "continuations": [ [ "43", "44" ], [ "44", "45" ] ] }, "source_book_title": { "latin": "LIBER SECUNDUS.", "english": "BOOK TWO.", "sources": [ { "pdf_page": 1, "printed_page": 43 } ] } }