{
  "language": "en",
  "title": "Note against note in three voices",
  "chapter": "Second Exercise · First Lesson",
  "status": "Playful plain-language adaptation of the English translation. It simplifies the rhetoric, not the important musical exceptions. It is not a literal translation.",
  "pages": {
    "81": [
      {
        "type": "heading",
        "level": 1,
        "text": "EXERCISE TWO. LESSON ONE. Three voices. Note against note."
      },
      {
        "type": "paragraph",
        "text": "Three voices make full triad. No extra voice needed. Add more voices, and you mostly repeat notes already there. Book says adding a “third” voice here. Odd. See source note. Learn three voices well. Then more voices much easier."
      },
      {
        "type": "paragraph",
        "text": "Joseph. Me really want learn this. But me scared. Big task. Small skill."
      },
      {
        "type": "paragraph",
        "text": "Aloys. No fear. You managed two voices. Learn these new points first. Start simple: note against note. Use same order as before. Three voices need not crush you."
      },
      {
        "type": "paragraph",
        "text": "Now the simplest kind of three-voice music:",
        "continues": true
      }
    ],
    "82": [
      {
        "type": "paragraph",
        "text": "Equal note lengths. Three semibreves sound together, one in each voice. Consonances only.",
        "continuation": true
      },
      {
        "type": "paragraph",
        "text": "Put triad in each measure. Unless another musical need gets in way."
      },
      {
        "type": "paragraph",
        "text": "Joseph. Triad? What that?"
      },
      {
        "type": "paragraph",
        "text": "Aloys. Bottom note. Third above it. Fifth above it. Those three notes make triad. Look:"
      },
      {
        "type": "music",
        "id": "82-a"
      },
      {
        "type": "paragraph",
        "text": "Joseph. What can get in way of triad?"
      },
      {
        "type": "paragraph",
        "text": "Aloys. Sometimes melody needs smoother path. Use sixth or octave instead. Sometimes next perfect consonance would make forbidden pair. Then use sixth instead of fifth, or octave, or both. Here:"
      },
      {
        "type": "music",
        "id": "82-b"
      },
      {
        "type": "paragraph",
        "text": "Joseph. Master, me think measure 2 could have triad. Give tenor fifth. Then in measure 3, give tenor",
        "continues": true
      }
    ],
    "83": [
      {
        "type": "paragraph",
        "text": "a third. Leave other measures as you wrote them. Like this:",
        "continuation": true
      },
      {
        "type": "music",
        "id": "83-a"
      },
      {
        "type": "paragraph",
        "text": "These moves seem fine. Voices move properly. Melody still smooth."
      },
      {
        "type": "paragraph",
        "text": "Aloys. Good thought. Your version can work. But mine has more natural flow, order, and variety. Tenor walks down by step to measure 3. No leap. There we get sixth. Bass note mi likes sixth here. We spoke of this before. Me explain more now. First, this arrangement with sixth:"
      },
      {
        "type": "music",
        "id": "83-b"
      },
      {
        "type": "paragraph",
        "text": "Note making sixth has moved from its usual place. Put it back. Looks like this:"
      }
    ],
    "84": [
      {
        "type": "music",
        "id": "84-a"
      },
      {
        "type": "paragraph",
        "text": "C in its usual place makes triad. Move C one octave up. Leave other notes. Now sixth appears. This applies when mi goes next to fa. Here:"
      },
      {
        "type": "music",
        "id": "84-b"
      },
      {
        "type": "paragraph",
        "text": "If mi leaps somewhere else, fifth fits better than sixth. Look:"
      },
      {
        "type": "music",
        "id": "84-c"
      },
      {
        "type": "paragraph",
        "text": "Back to variety. Mine has A once in tenor. Yours has A twice. See:"
      },
      {
        "type": "music",
        "id": "84-d"
      }
    ],
    "85": [
      {
        "type": "paragraph",
        "text": "Variety matters. Remember now. Remember later too."
      },
      {
        "type": "paragraph",
        "text": "Joseph. Do not get angry. Why start voices so far apart? Me think another way could work."
      },
      {
        "type": "paragraph",
        "text": "Aloys. Your questions give joy, not much bother. See bass climb by step? Other voices need room to come toward bass. So start them far away."
      },
      {
        "type": "paragraph",
        "text": "Show me your other ways."
      },
      {
        "type": "paragraph",
        "text": "Joseph. Me bring two examples. Not to win argument. To learn."
      },
      {
        "type": "music",
        "id": "85-a"
      },
      {
        "type": "paragraph",
        "text": "Aloys. These not all bad. But first one: all three voices go up from measure 1 to 2. Some step. Some leap. Trouble can happen. Here trouble between tenor and alto:"
      },
      {
        "type": "music",
        "id": "85-b"
      }
    ],
    "86": [
      {
        "type": "paragraph",
        "text": "Take bass away. Hear bad move. Looks like imperfect consonance goes to perfect one. But worse: that fifth is diminished. Not consonance at all. Rules matter between all voices, not just against bass. More voices sometimes need less strict handling. Even three voices can bend rule for strong reason. Here fifth goes to final octave by similar motion. Both perfect. But no other way here:"
      },
      {
        "type": "music",
        "id": "86-a"
      },
      {
        "type": "paragraph",
        "text": "Joseph. Could tenth replace octave? Then trouble gone?"
      },
      {
        "type": "paragraph",
        "text": "Aloys. Could. But tenth is imperfect consonance. Ending needs firm rest. In four voices, extra fifth can give that support even with third there."
      },
      {
        "type": "paragraph",
        "text": "Joseph. What wrong with my second example?"
      },
      {
        "type": "paragraph",
        "text": "Aloys. Rising into sixths on downbeat sounds harsh. Upbeat sixths carry less weight. Easier to accept. But this species has no upbeat notes. More on this later."
      },
      {
        "type": "paragraph",
        "text": "Now practice. Me give one model in three forms. First: given melody, called cantus firmus, in top voice. Next: middle voice. Last: bass",
        "continues": true
      }
    ],
    "87": [
      {
        "type": "paragraph",
        "text": "voice. You must do this too. Use earlier given melodies in their stated order.",
        "continuation": true
      },
      {
        "type": "music",
        "id": "87-a"
      },
      {
        "type": "paragraph",
        "text": "Triad used wherever other needs allow. Voice movement still obeys points we already discussed."
      },
      {
        "type": "paragraph",
        "text": "Joseph. Alto against bass, measure 7 to 8: imperfect consonance to perfect one. Rule says contrary motion. You used similar motion."
      },
      {
        "type": "paragraph",
        "text": "Aloys. True. But remember exception. If no other way avoids bigger trouble, three voices can bend that rule."
      },
      {
        "type": "paragraph",
        "text": "Joseph. Me remember. But bass could go from F to higher C. Contrary motion. Like this:"
      },
      {
        "type": "music",
        "id": "87-b"
      }
    ],
    "88": [
      {
        "type": "paragraph",
        "text": "Aloys. One problem fixed. Two more arrive: note 9 to 10, then 10 to last. At note 9, tenor and bass also make unison. Octave gives fuller harmony. And do not go outside five staff lines without strong need."
      },
      {
        "type": "paragraph",
        "text": "Joseph. Me convinced. But maybe this way?"
      },
      {
        "type": "music",
        "id": "88-a"
      },
      {
        "type": "paragraph",
        "text": "Aloys. Worse. Major-sixth leap forbidden. Seventh leap? Think how hard to sing. Melody must move naturally. Now put cantus firmus in middle voice."
      },
      {
        "type": "music",
        "id": "88-b"
      },
      {
        "type": "paragraph",
        "text": "Joseph. Why octave in measure 9? Fifth could fit. Then triad."
      }
    ],
    "89": [
      {
        "type": "paragraph",
        "text": "Aloys. Yes, fifth could fit. But octave helps melody more. Melody matters much. Me keep saying this. Now last model: cantus firmus in bass."
      },
      {
        "type": "music",
        "id": "89-a"
      },
      {
        "type": "paragraph",
        "text": "Joseph. Looks good except final measure. Third instead of fifth might make harmony fuller."
      },
      {
        "type": "paragraph",
        "text": "Aloys. Which third? Minor third does not give strong ending here. Major third causes other trouble. This mode uses minor third, F without sharp. Ears hear that through whole given melody. Sharp at end would jar. Better leave third out."
      },
      {
        "type": "paragraph",
        "text": "Now do other five modes. Put cantus firmus in each of three voices. Keep all earlier rules in mind."
      },
      {
        "type": "music",
        "id": "89-b"
      }
    ],
    "90": [
      {
        "type": "paragraph",
        "text": "Joseph. Ending took much work. Usual cadence pattern does not fit before last note. This pattern:"
      },
      {
        "type": "music",
        "id": "90-a"
      },
      {
        "type": "paragraph",
        "text": "Mode gives no natural perfect fifth there. It also does not allow sharp needed for usual cadence. So me used different ending. But final major third worries me. You said leave third out in these modes. Use fifth instead."
      },
      {
        "type": "paragraph",
        "text": "Aloys. You judged well. Semitone sits in special place here. Need different cadence. Do not fear major third here. Leave third out only when possible. Fifth at end would make two fifths in a row. So use major third. Minor third gives weaker close. Keep going."
      },
      {
        "type": "music",
        "id": "90-b"
      }
    ],
    "91": [
      {
        "type": "music",
        "id": "91-a"
      },
      {
        "type": "music",
        "id": "91-b"
      },
      {
        "type": "music",
        "id": "91-c"
      },
      {
        "type": "music",
        "id": "91-d"
      }
    ],
    "92": [
      {
        "type": "music",
        "id": "92-a"
      },
      {
        "type": "music",
        "id": "92-b"
      },
      {
        "type": "music",
        "id": "92-c"
      }
    ],
    "93": [
      {
        "type": "music",
        "id": "93-a"
      },
      {
        "type": "music",
        "id": "93-b"
      },
      {
        "type": "music",
        "id": "93-c"
      }
    ],
    "94": [
      {
        "type": "music",
        "id": "94-a"
      },
      {
        "type": "paragraph",
        "text": "Joseph. Here other modes. Me think examples good, as far as fixed melody allows. Without fixed melody, me could put triad in more places."
      },
      {
        "type": "paragraph",
        "text": "Aloys. Right. Later you make free composition. No fixed melody tying you down. But practice with fixed melody helps greatly. It trains doing and thinking. That leads to real skill. Do it again. And again. Me mean it."
      },
      {
        "type": "paragraph",
        "text": "First species done. Now second species."
      }
    ]
  },
  "notes": [
    {
      "id": "adaptation",
      "title": "About this reading version",
      "text": "Playful plain-language adaptation of the English translation. It simplifies the rhetoric, not the important musical exceptions. It is not a literal translation."
    },
    {
      "id": "printed-third",
      "block": "p81-1",
      "title": "Source reading",
      "text": "The source says third. The argument appears to require fourth. The Latin and faithful English views explain the issue."
    },
    {
      "id": "sixth",
      "block": "p83-3",
      "title": "Source reading",
      "text": "This is an arrangement with a sixth, not a reference to measure 6."
    },
    {
      "id": "rhythm",
      "block": "p86-5",
      "title": "Rhythmic terms",
      "text": "Downbeat and upbeat describe the historical thesis and arsis in this passage. The source prints Arhsi."
    }
  ],
  "version": "caveman",
  "label": "Caveman"
}