{ "schema_version": 1, "id": "rameau", "source_language": "fr", "source_label": "French", "title": "Rameau: Treatise on Harmony", "author": "Jean-Philippe Rameau", "work_title": "Traité de l’harmonie réduite à ses principes naturels", "subtitle": "French source with three complete English readings", "reader_title": "Rameau · Treatise on Harmony", "status": "Review draft", "edition_note": "Complete French transcription with faithful, simplified, and telegraphic English readings. Source scans and separate musical alternatives are retained. Text and engraving remain review drafts; uncertainties are linked to the affected passages.", "share_attribution": "Jean-Philippe Rameau · Traité de l’harmonie (1722)", "verification_status": "needs-review", "reading_versions": [ "en", "fr", "both", "caveman", "simple" ], "source_manifest_sha256": "d6d72dbe49cca637afe19def175860074adb4870a89fb1bbe52b521b29eba292", "source_reference_convention": "PDF pages 33–464 map to printed pages 1–432. Front matter and catalogue retain PDF labels; supplement pages have their own labels.", "blocks": [ { "id": "front-title-001", "type": "heading", "section": "front-title", "lesson": 0, "exercise": 0, "reading_order": 1, "original": "TRAITÉ DE L’HARMONIE\nReduite à ses Principes naturels;", "english": "TREATISE ON HARMONY\nReduced to Its Natural Principles", "sources": [ { "pdf_page": 1, "source_image": "source-pages/bnf-001.png", "printed_label": "PDF 1", "bbox_pixels": [ 410, 280, 2180, 900 ], "crop_image": "assets/front-title-001.png" } ] }, { "id": "front-title-002", "type": "heading", "section": "front-title", "lesson": 0, "exercise": 0, "reading_order": 2, "original": "DIVISÉ EN QUATRE LIVRES.", "english": "DIVIDED INTO FOUR BOOKS.", "sources": [ { "pdf_page": 1, "source_image": "source-pages/bnf-001.png", "printed_label": "PDF 1", "bbox_pixels": [ 430, 1220, 2140, 130 ], "crop_image": "assets/front-title-002.png" } ] }, { "id": "front-title-003", "type": "paragraph", "section": "front-title", "lesson": 0, "exercise": 0, "reading_order": 3, "original": "LIVRE I. Du rapport des Raisons & Proportions Harmoniques.", "english": "BOOK I. On the relationships between harmonic ratios and proportions.", "sources": [ { "pdf_page": 1, "source_image": "source-pages/bnf-001.png", "printed_label": "PDF 1", "bbox_pixels": [ 420, 1400, 2200, 190 ], "crop_image": "assets/front-title-003.png" } ] }, { "id": "front-title-004", "type": "paragraph", "section": "front-title", "lesson": 0, "exercise": 0, "reading_order": 4, "original": "LIVRE II. De la nature & de la proprieté des Accords; Et de tout ce qui peut servir à rendre une Musique parfaite.", "english": "BOOK II. On the nature and properties of chords, and on everything that can help bring music to perfection.", "sources": [ { "pdf_page": 1, "source_image": "source-pages/bnf-001.png", "printed_label": "PDF 1", "bbox_pixels": [ 420, 1630, 2200, 270 ], "crop_image": "assets/front-title-004.png" } ] }, { "id": "front-title-005", "type": "paragraph", "section": "front-title", "lesson": 0, "exercise": 0, "reading_order": 5, "original": "LIVRE III. Principes de Composition.", "english": "BOOK III. Principles of composition.", "sources": [ { "pdf_page": 1, "source_image": "source-pages/bnf-001.png", "printed_label": "PDF 1", "bbox_pixels": [ 420, 1940, 2200, 100 ], "crop_image": "assets/front-title-005.png" } ] }, { "id": "front-title-006", "type": "paragraph", "section": "front-title", "lesson": 0, "exercise": 0, "reading_order": 6, "original": "LIVRE IV. Principes d’Accompagnement.", "english": "BOOK IV. Principles of accompaniment.", "sources": [ { "pdf_page": 1, "source_image": "source-pages/bnf-001.png", "printed_label": "PDF 1", "bbox_pixels": [ 420, 2080, 2200, 110 ], "crop_image": "assets/front-title-006.png" } ] }, { "id": "front-title-007", "type": "paragraph", "section": "front-title", "lesson": 0, "exercise": 0, "reading_order": 7, "original": "Par Monsieur RAMEAU, Organiste de la Cathedrale de Clermont en Auvergne.", "english": "By Monsieur RAMEAU, organist of the Cathedral of Clermont in Auvergne.", "sources": [ { "pdf_page": 1, "source_image": "source-pages/bnf-001.png", "printed_label": "PDF 1", "bbox_pixels": [ 550, 2225, 1910, 210 ], "crop_image": "assets/front-title-007.png" } ] }, { "id": "front-title-008", "type": "image", "section": "front-title", "lesson": 0, "exercise": 0, "reading_order": 8, "original": "Vignette du titre.", "english": "Title-page vignette.", "sources": [ { "pdf_page": 1, "source_image": "source-pages/bnf-001.png", "printed_label": "PDF 1", "bbox_pixels": [ 1150, 2490, 730, 525 ], "crop_image": "assets/front-title-008.png" } ], "original_title": "Vignette du titre.", "english_title": "Title-page vignette.", "asset_refs": [ "front-title-008" ] }, { "id": "front-title-009", "type": "paragraph", "section": "front-title", "lesson": 0, "exercise": 0, "reading_order": 9, "original": "DE L’IMPRIMERIE\nDe Jean-Baptiste-Christophe Ballard, Seul Imprimeur du Roy pour la Musique. A Paris, ruë Saint Jean-de-Beauvais, au Mont-Parnasse.", "english": "FROM THE PRINTING HOUSE\nOf Jean-Baptiste-Christophe Ballard, sole printer to the King for music. In Paris, rue Saint Jean-de-Beauvais, at the Mont-Parnasse.", "sources": [ { "pdf_page": 1, "source_image": "source-pages/bnf-001.png", "printed_label": "PDF 1", "bbox_pixels": [ 450, 3020, 2160, 350 ], "crop_image": "assets/front-title-009.png" } ] }, { "id": "front-title-010", "type": "paragraph", "section": "front-title", "lesson": 0, "exercise": 0, "reading_order": 10, "original": "M. DCC. XXII.\nAVEC PRIVILEGE DU ROY.", "english": "M. DCC. XXII. [1722]\nWITH THE KING’S PRIVILEGE.", "sources": [ { "pdf_page": 1, "source_image": "source-pages/bnf-001.png", "printed_label": "PDF 1", "bbox_pixels": [ 880, 3400, 1250, 220 ], "crop_image": "assets/front-title-010.png" } ] }, { "id": "front-preface-001", "type": "heading", "section": "front-preface", "lesson": 1, "exercise": 1, "reading_order": 11, "original": "PREFACE.", "english": "PREFACE.", "sources": [ { "pdf_page": 3, "source_image": "source-pages/bnf-003.png", "printed_label": "PDF 3", "bbox_pixels": [ 390, 560, 2215, 220 ], "crop_image": "assets/front-preface-001.png" } ] }, { "id": "front-preface-002", "type": "paragraph", "section": "front-preface", "lesson": 1, "exercise": 1, "reading_order": 12, "original": "Quelque progrès que la Musique ait fait jusques à nous, il semble que l’esprit ait été moins curieux d’en aprofondir les veritables principes, à mesure que l’oreille est devenuë sensible aux merveilleux effets de cet Art ; de sorte qu’on peut dire, que la raison y a perdu de ses droits, tandis que l’experience s’y est acquise quelque autorité.", "english": "Whatever progress music has made down to our time, it seems that the mind has become less curious about investigating its true principles as the ear has grown more sensitive to the wonderful effects of this art. Thus one may say that reason has lost some of its rights in music while experience has acquired a certain authority.", "sources": [ { "pdf_page": 3, "source_image": "source-pages/bnf-003.png", "printed_label": "PDF 3", "bbox_pixels": [ 390, 815, 2215, 550 ], "crop_image": "assets/front-preface-002.png" } ] }, { "id": "front-preface-003", "type": "paragraph", "section": "front-preface", "lesson": 1, "exercise": 1, "reading_order": 13, "original": "Les Ecrits qui nous restent des Anciens nous font voir assez sensiblement que la seule raison leur a procuré les moyens de découvrir la plus grande partie des proprietez de la Musique : Cependant, quoique l’experience nous fasse encore approuver la plûpart des Regles qu’ils nous en ont données, on néglige aujourd’huy tous les avantages qu’on pourroit tirer de cette raison, en faveur d’une experience de simple pratique.", "english": "The writings that remain to us from the ancients show clearly enough that reason alone gave them the means to discover most of music's properties. Yet although experience still leads us to approve most of the rules they gave us, we now neglect all the advantages we could draw from reason in favor of experience gained through practice alone.", "sources": [ { "pdf_page": 3, "source_image": "source-pages/bnf-003.png", "printed_label": "PDF 3", "bbox_pixels": [ 390, 1365, 2215, 635 ], "crop_image": "assets/front-preface-003.png" } ] }, { "id": "front-preface-004", "type": "paragraph", "section": "front-preface", "lesson": 1, "exercise": 1, "reading_order": 14, "original": "Si l’experience peut nous prévenir sur les différentes proprietez de la Musique, elle n’est pas d’ailleurs seule capable de nous faire découvrir le principe de ces proprietez avec toute la précision qui convient à la raison : Les consequences qu’on en tire sont souvent fausses, ou du moins nous laissent dans un certain doute, qu’il n’appartient qu’à la raison de dissiper. Par exemple, comment pourrions-nous prouver que nôtre Musique est plus parfaite que celle des Anciens, pendant qu’elle ne nous paroît plus susceptible des mêmes effets qu’ils ont attribuez à la leur ; seroit-ce en disant, que plus les choses deviennent familieres, moins elles causent de surprise ; & que l’admiration où elles peuvent nous jetter dans leur origine, dégenere insensiblement à mesure que nous nous y accoûtumons, & se tourne à la fin en un simple amusement ? Ce seroit-là tout au plus supposer l’égalité, & non pas la superiorité. Mais si par l’exposition d’un principe évident, dont on tire ensuite des consequences justes & certaines, on peut faire voir que nôtre Musique est dans son dernier degré de perfection, & qu’il s’en faut bien que les Anciens ayent atteint à cette perfection ; (on peut voir sur ce sujet le Chapitre XXI. du second Livre,) on sçaura pour lors à quoy s’en tenir, on sentira bien mieux la force de la refléxion précédente ; & sçachant par ce moyen les bornes de l’Art, on s’y livrera plus volontiers ; les personnes d’un goût & d’un genie superieur dans ce genre, ne craindront plus d’y manquer des connoissances necessaires pour y réussir : Et en un mot, les lumieres de la raison dissipant ainsi les doutes où l’experience peut nous plonger à tout moment, seront de sûrs garants du succès qu’on pourra se promettre dans cet Art.", "english": "Experience may give us an initial understanding of music's different properties, but by itself it cannot reveal their principle with all the precision that reason requires. The conclusions drawn from it are often false, or at least leave us in a doubt that only reason can dispel. For example, how could we prove that our music is more perfect than that of the ancients when it no longer seems capable of the effects they attributed to theirs? Would we say that the more familiar things become, the less surprise they cause, and that the admiration they may inspire at their beginning gradually diminishes as we grow accustomed to them, until it becomes mere amusement? That would at most assume equality, not superiority. But suppose that, by setting out an evident principle and drawing sound and certain conclusions from it, we can show that our music has reached the highest degree of perfection and that the ancients fell far short of it. (See Book II, Chapter XXI, on this subject.) We shall then know where we stand and understand much better the force of the preceding reflection. Knowing the limits of the art in this way, we shall devote ourselves to it more willingly. Those with superior taste and genius for it will no longer fear that they lack the knowledge needed to succeed. In a word, the light of reason, by thus dispelling the doubts into which experience may plunge us at any moment, will give us reliable grounds for the success we may hope for in this art.", "sources": [ { "pdf_page": 3, "source_image": "source-pages/bnf-003.png", "printed_label": "PDF 3", "bbox_pixels": [ 390, 2000, 2215, 1480 ], "crop_image": "assets/front-preface-004.png" }, { "pdf_page": 4, "source_image": "source-pages/bnf-004.png", "printed_label": "PDF 4", "bbox_pixels": [ 390, 385, 2215, 1110 ], "crop_image": "assets/front-preface-005.png" } ] }, { "id": "front-preface-006", "type": "paragraph", "section": "front-preface", "lesson": 1, "exercise": 1, "reading_order": 15, "original": "Si les Musiciens Modernes (c’est-à-dire, depuis Zarlino *) s’étoient appliquez, comme ont fait les Anciens, à rendre raison de ce qu’ils pratiquent, ils auroient fait cesser bien des préjugez qui ne sont pas à leur avantage, & cela les auroit même fait revenir de ceux dont ils sont encore remplis, & dont ils ont beaucoup de peine à se défaire : L’experience leur est donc trop favorable, elle les séduit, en quelque maniere, puisqu’elle est cause du peu de soin qu’ils prennent de s’instruire à fond sur les beautez qu’elle leur fait découvrir chaque jour ; leurs connoissances ne sont propres qu’à eux seuls, ils n’ont pas le don de les communiquer ; & comme ils ne s’en apperçoivent point, ils sont souvent plus étonnez de ce qu’on ne les entend pas, que de ce qu’ils ne se font point entendre. Ce reproche est un peu vif, je l’avouë ; mais je le rapporte tel que je le merite peut-être encore moi-même, malgré tout ce que j’ay pû faire pour m’en mettre à couvert.", "english": "If modern musicians—that is, those since Zarlino*—had applied themselves, as the ancients did, to explaining the reasons for their practice, they would have put an end to many prejudices unfavorable to them. This would even have freed them from the prejudices with which they are still filled and which they find so difficult to abandon. Experience is therefore too favorable to them: it seduces them, in a sense, since it causes them to take so little care to study thoroughly the beauties it reveals to them each day. Their knowledge is useful to themselves alone; they lack the gift of communicating it. And because they do not realize this, they are often more astonished that others do not understand them than that they fail to make themselves understood. This reproach is somewhat sharp, I admit. But I state it as one that I may still deserve myself, despite all I have been able to do to avoid it.", "sources": [ { "pdf_page": 4, "source_image": "source-pages/bnf-004.png", "printed_label": "PDF 4", "bbox_pixels": [ 390, 1495, 2215, 1380 ], "crop_image": "assets/front-preface-006.png" } ] }, { "id": "front-preface-007", "type": "paragraph", "section": "front-preface", "lesson": 1, "exercise": 1, "reading_order": 16, "original": "Quoiqu’il en soit, je voudrois toûjours qu’il pût produire sur eux l’effet qu’il a produit sur moy : Et c’est principalement aussi pour ranimer cette noble émulation qui regnoit autrefois, que j’ai hazardé de faire part au Public de mes nouvelles recherches, dans un Art auquel je tâche de donner toute la simplicité qui lui est naturelle, afin que l’esprit en conçoive les proprietez, aussi facilement que l’oreille les sent.", "english": "Be that as it may, I would always wish it to have on them the effect it has had on me. It is also chiefly to revive the noble emulation that formerly prevailed that I have ventured to share my new researches with the public. I seek to give this art all the simplicity natural to it, so that the mind may grasp its properties as easily as the ear perceives them.", "sources": [ { "pdf_page": 4, "source_image": "source-pages/bnf-004.png", "printed_label": "PDF 4", "bbox_pixels": [ 390, 2875, 2215, 465 ], "crop_image": "assets/front-preface-007.png" }, { "pdf_page": 5, "source_image": "source-pages/bnf-005.png", "printed_label": "PDF 5", "bbox_pixels": [ 390, 360, 2215, 180 ], "crop_image": "assets/front-preface-009.png" } ] }, { "id": "front-preface-008", "type": "footnote", "section": "front-preface", "lesson": 1, "exercise": 1, "reading_order": 17, "original": "* Zarlino, Auteur celebre en Musique, qui a écrit à peu-prés depuis 150. ans, & dont on ne trouve que de très-foibles Copies, dans les Ouvrages qui ont paru après les siens, sur le même sujet.", "english": "* Zarlino, a celebrated writer on music who wrote about 150 years ago. The works on the same subject published after his offer only very feeble copies of him.", "sources": [ { "pdf_page": 4, "source_image": "source-pages/bnf-004.png", "printed_label": "PDF 4", "bbox_pixels": [ 390, 3370, 2215, 170 ], "crop_image": "assets/front-preface-008.png" } ] }, { "id": "front-preface-010", "type": "paragraph", "section": "front-preface", "lesson": 1, "exercise": 1, "reading_order": 18, "original": "Un seul homme n’est pas capable d’épuiser une matiere aussi profonde que celle-cy ; il est presque impossible qu’il n’y oublie toûjours quelque chose, malgré tous ses soins ; mais du moins, les nouvelles découvertes qu’il peut joindre à ce qui a déja paru sur le même sujet, sont autant de routes frayées pour ceux qui peuvent aller plus loin.", "english": "One person cannot exhaust a subject as profound as this. Despite all his care, it is almost impossible for him not to overlook something. But at least the new discoveries he can add to what has already appeared on the subject open paths for those able to go farther.", "sources": [ { "pdf_page": 5, "source_image": "source-pages/bnf-005.png", "printed_label": "PDF 5", "bbox_pixels": [ 390, 540, 2215, 550 ], "crop_image": "assets/front-preface-010.png" } ] }, { "id": "front-preface-011", "type": "paragraph", "section": "front-preface", "lesson": 1, "exercise": 1, "reading_order": 19, "original": "La Musique est une science qui doit avoir des regles certaines ; ces regles doivent être tirées d’un principe évident, & ce principe ne peut gueres nous être connu sans le secours des Mathematiques : Aussi dois-je avoüer que, nonobstant toute l’experience que je pouvois m’être acquise dans la Musique, pour l’avoir pratiquée pendant une assez longue suite de temps, ce n’est cependant que par le secours des Mathematiques que mes idées se sont débrouillées, & que la lumiere y a succedé à une certaine obscurité, dont je ne m’appercevois pas auparavant. Si je ne sçavois pas faire la difference du principe à la regle, bien tôt ce principe s’est offert à moi avec autant de simplicité que d’évidence ; les consequences qu’il m’a fournies ensuite, m’ont fait connoître en elles autant de regles, qui devoient se rapporter par consequent à ce principe ; le veritable sens de ces regles, leur juste application, leur rapport, & l’ordre qu’elles doivent tenir entr’elles (la plus simple y servant toûjours d’introduction à la moins simple, & ainsi par degrez) enfin le choix des termes ; tout cela, dis-je, que j’ignorois auparavant, s’est développé dans mon esprit avec tant de netteté & de précision, que je n’ai pû m’empêcher de convenir qu’il seroit à souhaiter (comme on me le disoit, un jour que j’applaudissois à la perfection de nôtre Musique moderne) que les connoissances des Musiciens de ce siecle répondissent aux beautez de leurs Compositions. Il ne suffit donc pas de sentir les effets d’une Science ou d’un Art, il faut de plus les concevoir de façon qu’on puisse les rendre intelligibles ; & c’est à quoi je me suis principalement appliqué dans le corps de cet Ouvrage, que j’ai distribué en quatre Livres.", "english": "Music is a science that must have certain rules. These rules must be drawn from an evident principle, and we can scarcely know that principle without the aid of mathematics. I must therefore confess that, despite all the experience I may have acquired through practicing music for a considerable number of years, it was only with the help of mathematics that my ideas became clear. Light then replaced an obscurity of which I had previously been unaware. Whereas I had not known how to distinguish a principle from a rule, this principle soon presented itself to me with as much simplicity as self-evidence. The consequences it then supplied revealed so many rules, which must therefore refer back to it. The true meaning of these rules, their proper application, their relationships, the order they should follow among themselves—the simpler always introducing the less simple, step by step—and finally the choice of terms: all these things, which I had not previously known, unfolded in my mind with such clarity and precision that I could not help agreeing with a wish once expressed to me when I was praising the perfection of our modern music: that the knowledge of this century's musicians might equal the beauty of their compositions. It is therefore not enough to feel the effects of a science or an art. One must also understand them in a way that makes them intelligible to others. This has been my chief concern in the body of this work, which I have divided into four books.", "sources": [ { "pdf_page": 5, "source_image": "source-pages/bnf-005.png", "printed_label": "PDF 5", "bbox_pixels": [ 390, 1090, 2215, 2455 ], "crop_image": "assets/front-preface-011.png" } ] }, { "id": "front-preface-012", "type": "paragraph", "section": "front-preface", "lesson": 1, "exercise": 1, "reading_order": 20, "original": "LE PREMIER, Contient un abregé du rapport des Sons, des Consonances, des Dissonances, & des Accords en general. Le principe de l’Harmonie s’y découvre dans un Son unique, & ses proprietez les plus essentielles y sont expliquées : On y voit, par exemple, comment par sa premiere division ce Son unique en engendre un autre, qui en est l’Octave, & qui semble ne faire qu’un avec lui ; Comment il s’approprie ensuite cette Octave pour former tous les Accords ; Que tous ces Accords ne sont composez que de ce principe, de sa Tierce, de sa Quinte, & de sa Septiéme ; Et que c’est la force de l’Octave que naît toute la diversité dont ces Accords sont susceptibles : On y trouve encore plusieurs autres proprietez, moins interressantes, à la verité, pour la pratique, mais necessaires, au reste, pour nous y conduire ; Le tout y étant démontré d’une maniere assez simple.", "english": "THE FIRST contains a summary of the relationships of sounds, consonances, dissonances, and chords in general. The principle of harmony is discovered there in a single sound, and its most essential properties are explained. We see, for example, how by its first division this single sound generates another, its octave, which seems to be one with it; how it then makes use of this octave to form every chord; that all these chords consist only of this fundamental principle, its third, its fifth, and its seventh; and that the power of the octave gives rise to all the variety of which these chords are capable. Several other properties are also found there: admittedly less interesting for practice, but nevertheless necessary to lead us to it. Everything is demonstrated in a fairly simple manner.", "sources": [ { "pdf_page": 6, "source_image": "source-pages/bnf-006.png", "printed_label": "PDF 6", "bbox_pixels": [ 390, 385, 2215, 1290 ], "crop_image": "assets/front-preface-012.png" } ] }, { "id": "front-preface-013", "type": "paragraph", "section": "front-preface", "lesson": 1, "exercise": 1, "reading_order": 21, "original": "LE SECOND LIVRE, Regarde également la Théorie & la Pratique : Le principe y est pour lors représenté dans la Partie de Musique qu’on appelle Basse, à laquelle on ajoûte l’épithete de Fondamentale : Toutes ses proprietez, & celles des Intervales, des Accords & des Modes qui en dépendent uniquement, y sont expliquées : On y parle aussi de tout ce qui peut servir à rendre une Musique parfaite dans l’execution : On y rappelle pour cet effet, lorsqu’il est à propos, les raisons du Livre précedent, l’experience, & l’autorité des meilleurs Auteurs en ce genre, sans les épargner néanmoins, lorsqu’ils ont pû se tromper ; car dans les nouveautez qu’on y trouvera, on tâche de satisfaire les Sçavans, par la raison ; ceux qui ne s’en rapportent qu’à leur oreille, par l’experience ; & ceux qui ont trop de condescendence pour les regles de leurs Maîtres, en leur découvrant les erreurs qu’elles peuvent contenir : Enfin, on tâche d’y préparer le Lecteur à recevoir sans contrainte les regles qui y sont prescrites, & qui se trouvent déduites par ordre & plus au long dans les Livres suivants.", "english": "THE SECOND BOOK concerns theory and practice equally. The principle is now represented in the musical part called the bass, to which the epithet fundamental is added. All its properties are explained, together with those of the intervals, chords and modes that depend solely on it. The book also discusses everything that can help make music perfect in performance. For this purpose, when appropriate, it recalls the reasoning of the preceding book, experience, and the authority of the best writers in this field—without, however, sparing them when they may have been mistaken. In the new ideas presented here, the aim is to satisfy the learned by reason; those who trust only their ears by experience; and those too deferential to their teachers' rules by revealing the errors those rules may contain. Finally, the aim is to prepare readers to accept freely the prescribed rules, which are developed in order and at greater length in the following books.", "sources": [ { "pdf_page": 6, "source_image": "source-pages/bnf-006.png", "printed_label": "PDF 6", "bbox_pixels": [ 390, 1670, 2215, 1670 ], "crop_image": "assets/front-preface-013.png" } ] }, { "id": "front-preface-014", "type": "paragraph", "section": "front-preface", "lesson": 1, "exercise": 1, "reading_order": 22, "original": "LE TROISIEME LIVRE, Renferme une Methode particuliere pour apprendre la Composition en très-peu de temps ; l’épreuve en a déja été faite : Mais comme on ne se laisse gueres persuader en pareil cas que par sa propre experience, je garderai le silence là-dessus, & je me contenterai de prier les personnes à qui cette Methode ne sera point familiere, de voir les fruits qu’on peut en tirer, avant que de la combattre. Tel qui veut apprendre se met peu en peine de la maniere dont on l’instruit, pourvû qu’il réussisse.", "english": "THE THIRD BOOK contains a particular method for learning composition in a very short time. It has already been tested. But since in such matters people are seldom persuaded except by their own experience, I shall say no more about that. I shall merely ask those unfamiliar with the method to examine the results it can produce before opposing it. A person who wishes to learn cares little about the manner of instruction, provided that he succeeds.", "sources": [ { "pdf_page": 6, "source_image": "source-pages/bnf-006.png", "printed_label": "PDF 6", "bbox_pixels": [ 390, 3340, 2215, 200 ], "crop_image": "assets/front-preface-014.png" }, { "pdf_page": 7, "source_image": "source-pages/bnf-007.png", "printed_label": "PDF 7", "bbox_pixels": [ 390, 395, 2215, 660 ], "crop_image": "assets/front-preface-015.png" } ] }, { "id": "front-preface-016", "type": "paragraph", "section": "front-preface", "lesson": 1, "exercise": 1, "reading_order": 23, "original": "On n’a point encore vû de regles qui enseignent la Composition dans la perfection où elle est aujourd’hui ; il n’y a pas même un habile homme dans ce genre, qui n’avouë sincerement qu’il doit presque toutes ses connoissances à sa seule experience ; & lorsqu’il veut les procurer aux autres, il se trouve souvent contraint d’ajoûter à ses leçons ce Proverbe familier aux Musiciens, Cætera docebit usus. Il est vrai qu’il y a de certaines perfections qui dépendent du genie & du goût, auxquelles l’experience est encore plus avantageuse que la science même : Mais cela n’empêche pas qu’une parfaite connoissance ne doive toûjours nous éclairer, crainte que cette experience ne nous trompe ; quand ce ne seroit que pour sçavoir appliquer à leur veritable principe, les nouveautez qu’elle pourroit nous faire produire : D’ailleurs cette parfaite connoissance sert à faire mettre en œuvre le genie & le goût, qui sans elle deviendroient souvent des talens inutils. C’est pourquoi j’ai crû devoir chercher les moyens de procurer plus facilement & plus promptement cette perfection, à laquelle on n’a pu encore atteindre que par une experience de simple pratique, en donnant d’abord une intelligence raisonnée, précise, & distincte de toute l’Harmonie, par la seule exposition de trois Intervales, dont se forment deux Accords principaux, & toute la Progression de la Basse-Fondamentale, qui détermine en même temps celle des autres Parties ; de sorte que de cette seule intelligence qui peut s’acquerir à la premiere lecture de ce Livre, dépend tout le reste, comme il est facile de s’en éclaircir.", "english": "No rules have yet appeared that teach composition in the perfection it has reached today. Indeed, there is no accomplished practitioner who does not sincerely admit that he owes almost all his knowledge to experience alone. When he tries to give that knowledge to others, he often finds himself obliged to add to his lessons the proverb familiar to musicians: Cætera docebit usus—practice will teach the rest. It is true that certain perfections depend on genius and taste, for which experience is even more beneficial than knowledge itself. But this does not prevent a thorough understanding from always being needed to guide us, lest experience deceive us—even if only so that we may refer the new things it leads us to produce to their true principle. Moreover, such understanding allows genius and taste to be put to work; without it, they would often become useless talents. I therefore thought I should seek means of making it easier and quicker to attain a perfection that had so far been reached only through practical experience. I begin by providing a reasoned, precise and distinct understanding of the whole of harmony through the exposition of just three intervals. From them arise two principal chords and the entire progression of the fundamental bass, which at the same time determines that of the other parts. Everything else thus depends on this understanding alone, which can be acquired on a first reading of the book, as one can easily ascertain.", "sources": [ { "pdf_page": 7, "source_image": "source-pages/bnf-007.png", "printed_label": "PDF 7", "bbox_pixels": [ 390, 1050, 2215, 2290 ], "crop_image": "assets/front-preface-016.png" } ] }, { "id": "front-preface-017", "type": "paragraph", "section": "front-preface", "lesson": 1, "exercise": 1, "reading_order": 24, "original": "LE QUATRIEME LIVRE, Contient des Regles d’Accompagnement, tant pour le Clavecin que pour l’Orgue ; où la position de la main, l’arrangement des doigts, & tout ce qui peut servir à en acquerir la pratique le plus promtement qu’il est possible, se trouve déduit.", "english": "THE FOURTH BOOK contains rules of accompaniment for both harpsichord and organ. It sets out hand position, the arrangement of the fingers, and everything that can help one acquire practical skill as quickly as possible.", "sources": [ { "pdf_page": 7, "source_image": "source-pages/bnf-007.png", "printed_label": "PDF 7", "bbox_pixels": [ 390, 3330, 2215, 200 ], "crop_image": "assets/front-preface-017.png" }, { "pdf_page": 8, "source_image": "source-pages/bnf-008.png", "printed_label": "PDF 8", "bbox_pixels": [ 390, 395, 2215, 280 ], "crop_image": "assets/front-preface-018.png" } ] }, { "id": "front-preface-019", "type": "paragraph", "section": "front-preface", "lesson": 1, "exercise": 1, "reading_order": 25, "original": "Le fond de ces regles peut également servir pour les Instruments sur lesquels on accompagne à peu-près de même que sur le Clavecin.", "english": "The substance of these rules can equally serve instruments on which accompaniment is played in much the same way as on the harpsichord.", "sources": [ { "pdf_page": 8, "source_image": "source-pages/bnf-008.png", "printed_label": "PDF 8", "bbox_pixels": [ 390, 680, 2215, 275 ], "crop_image": "assets/front-preface-019.png" } ] }, { "id": "front-preface-020", "type": "paragraph", "section": "front-preface", "lesson": 1, "exercise": 1, "reading_order": 26, "original": "Ces deux derniers Livres ont beaucoup de rapport ensemble ; c’est pourquoi ils seront également utiles aux personnes qui ne voudront s’attacher qu’à la pratique de la Composition, ou à celle de l’Accompagnement ; & l’on ne fera pas mal de consulter le second Livre, si l’on veut ne rien ignorer, supposé que je n’aye rien oublié : Car je ne doute pas qu’on ne puisse encore encherir sur moi, malgré le soin que j’ai pris à ne rien laisser échapper, comme mes longs discours & mes repetitions le prouvent assez : Défaut qui vient autant de mon attention à rendre les choses claires & intelligibles, que de la foiblesse de mon genie. Pour ce qui est du premier Livre, il est, en quelque façon, inutile pour la pratique, & l’on en fera tel usage qu’on jugera à propos, ne l’ayant mis à la tête de ce Traité, que pour la preuve de tout ce qu’il contient touchant l’Harmonie.", "english": "These last two books have much in common. They will therefore both be useful to those who wish to concentrate only on the practice of composition or on that of accompaniment. Nor would it be amiss to consult the second book if one wishes to leave nothing unknown, assuming that I have forgotten nothing. For I do not doubt that others may improve on my work, despite the care I have taken to let nothing escape me, as my lengthy discussions and repetitions show well enough. This fault arises as much from my desire to make things clear and intelligible as from the weakness of my genius. As for the first book, it is in a sense unnecessary for practice. Readers may use it as they think fit. I placed it at the beginning of this treatise only to provide the proof of everything the work contains concerning harmony.", "sources": [ { "pdf_page": 8, "source_image": "source-pages/bnf-008.png", "printed_label": "PDF 8", "bbox_pixels": [ 390, 950, 2215, 1290 ], "crop_image": "assets/front-preface-020.png" } ] }, { "id": "front-preface-021", "type": "paragraph", "section": "front-preface", "lesson": 1, "exercise": 1, "reading_order": 27, "original": "Comme il ne m’a pas été possible, pour satisfaire à mon Employ, de voir imprimer cet Ouvrage, j’ai été obligé de le relire avec une nouvelle application, & j’ai trouvé que je devois y faire quelques changemens & quelques corrections necessaires, qu’on trouvera à la fin dans un Supplément. J’ai mis au commencement deux Tables ; l’une des Matieres de ce Traité ; l’autre, contenant une Explication des Termes, dont l’intelligence est necessaire, pour servir d’Introduction à tout cet Ouvrage, que je dédie au Public.", "english": "Because the demands of my position made it impossible for me to supervise the printing of this work, I was obliged to reread it with fresh care. I found that I needed to make several changes and necessary corrections, which appear in a supplement at the end. I have placed two tables at the beginning: one of the subjects treated in this work, and another explaining the terms whose understanding is necessary. These serve as an introduction to the whole work, which I dedicate to the public.", "sources": [ { "pdf_page": 8, "source_image": "source-pages/bnf-008.png", "printed_label": "PDF 8", "bbox_pixels": [ 390, 2240, 2215, 850 ], "crop_image": "assets/front-preface-021.png" } ] }, { "id": "front-preface-022", "type": "paragraph", "section": "front-preface", "lesson": 1, "exercise": 1, "reading_order": 28, "original": "Les Citations de Zarlino dans ses Institutions Harmoniques, sont de l’impression de Venise l’an 1573.", "english": "The references to Zarlino's Harmonic Institutions are to the Venice edition of 1573.", "sources": [ { "pdf_page": 8, "source_image": "source-pages/bnf-008.png", "printed_label": "PDF 8", "bbox_pixels": [ 390, 3090, 2215, 210 ], "crop_image": "assets/front-preface-022.png" } ] }, { "id": "front-contents-title", "type": "heading", "section": "front-contents", "lesson": 2, "exercise": 2, "reading_order": 29, "original": "TABLE DES MATIERES CONTENUËS\nDans ce Traité, divisé en quatre Livres.", "english": "CONTENTS\nof This Treatise, Divided into Four Books.", "sources": [ { "pdf_page": 9, "source_image": "source-pages/bnf-009.png", "printed_label": "PDF 9", "bbox_pixels": [ 400, 590, 2210, 570 ], "crop_image": "assets/front-contents-001.png" } ] }, { "id": "front-contents-009", "type": "image", "section": "front-contents", "lesson": 2, "exercise": 2, "reading_order": 30, "original": "LIVRE PREMIER. — Du rapport des Raisons & Proportions harmoniques.\nChap. I. — De la Musique & du Son. — 1\nChap. II. — Des differentes manieres dont le rapport des Sons peut nous être connu. — 2\nChap. III. — De l’origine des Consonances & de leur rapport. — 3\nARTICLES.\nI. — Du principe de l’Harmonie ou du Son fondamental. — 5\nII. — De l’Unisson. — 6\nIII. — De l’Octave. — ibid.\nIV. — De la Quinte & de la Quarte. — 10\nV. — Des Tierces & des Sixtes. — 12\nVI. — Abregé du contenu de ce Chapitre, où les Proprietez de la démonstration précédente se trouvent renfermées dans une seule corde. — 15\nChap. IV. — Remarques sur la proprieté des Proportions Harmoniques, & Arithmetiques. — 17\nChap. V. — De l’origine des Dissonances & de leur rapport. — 22\nChap. VI. — Des Intervales doublez, & sur tout, de la Neuviéme & de la Onziéme. — 28\nChap. VII. — De la Division Harmonique ou de l’origine des Accords. — 29", "english": "BOOK ONE. — Relationship of Harmonic Ratios and Proportions.\nChap. I. — Music and Sound. — 1\nChap. II. — Different Ways of Knowing the Relationships between Sounds. — 2\nChap. III. — Origin and Relationships of Consonances. — 3\nARTICLES.\nI. — Principle of Harmony, or the Fundamental Sound. — 5\nII. — Unison. — 6\nIII. — Octave. — ibid.\nIV. — Fifth and Fourth. — 10\nV. — Thirds and Sixths. — 12\nVI. — Summary of This Chapter, Containing the Properties of the Preceding Demonstration in a Single String. — 15\nChap. IV. — Properties of Harmonic and Arithmetic Proportions. — 17\nChap. V. — Origin and Relationships of Dissonances. — 22\nChap. VI. — Compound Intervals, Especially the Ninth and Eleventh. — 28\nChap. VII. — Harmonic Division, or the Origin of Chords. — 29", "sources": [ { "pdf_page": 9, "source_image": "source-pages/bnf-009.png", "printed_label": "PDF 9", "bbox_pixels": [ 400, 1280, 2210, 2250 ], "crop_image": "assets/front-contents-002.png" } ], "tables": { "fr": { "columns": [ "Chapitre / Article", "Matiere", "Page" ], "rows": [ [ "LIVRE PREMIER.", "Du rapport des Raisons & Proportions harmoniques.", "" ], [ "Chap. I.", "De la Musique & du Son.", "1" ], [ "Chap. II.", "Des differentes manieres dont le rapport des Sons peut nous être connu.", "2" ], [ "Chap. III.", "De l’origine des Consonances & de leur rapport.", "3" ], [ "", "ARTICLES.", "" ], [ "I.", "Du principe de l’Harmonie ou du Son fondamental.", "5" ], [ "II.", "De l’Unisson.", "6" ], [ "III.", "De l’Octave.", "ibid." ], [ "IV.", "De la Quinte & de la Quarte.", "10" ], [ "V.", "Des Tierces & des Sixtes.", "12" ], [ "VI.", "Abregé du contenu de ce Chapitre, où les Proprietez de la démonstration précédente se trouvent renfermées dans une seule corde.", "15" ], [ "Chap. IV.", "Remarques sur la proprieté des Proportions Harmoniques, & Arithmetiques.", "17" ], [ "Chap. V.", "De l’origine des Dissonances & de leur rapport.", "22" ], [ "Chap. VI.", "Des Intervales doublez, & sur tout, de la Neuviéme & de la Onziéme.", "28" ], [ "Chap. VII.", "De la Division Harmonique ou de l’origine des Accords.", "29" ] ] }, "en": { "columns": [ "Chapter / Article", "Subject", "Page" ], "rows": [ [ "BOOK ONE.", "Relationship of Harmonic Ratios and Proportions.", "" ], [ "Chap. 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VII.", "Harmonic Division, or the Origin of Chords.", "29" ] ] } }, "asset_refs": [ "front-contents-009" ] }, { "id": "front-contents-010", "type": "image", "section": "front-contents", "lesson": 2, "exercise": 2, "reading_order": 31, "original": "Chap. VIII. — Du renversement des Accords. — 34\nARTICLES.\nI. — De l’Accord parfait majeur, & de ses dérivez. — 34\nII. — De l’Accord parfait mineur, & de ses dérivez. — 36\nIII. — De l’Accord de la Septiéme, composé d’une Tierce mineure ajoûtée à l’Accord parfait majeur, & de ses dérivez. — 37\nIV. — De l’Accord de la Septiéme, composé de l’addition d’une Tierce mineure, à l’Accord parfait mineur, & de ses dérivez. — 39\nV. — De l’Accord de la Septiéme, composé de l’addition d’une Tierce-majeure à l’Accord parfait majeur, & de ses dérivez. — 40\nVI. — De l’Accord de la Septiéme, composé de l’addition d’une Tierce-mineure au-dessous de l’Accord parfait mineur, & de ses dérivez. — 41\nVII. — De l’Accord de la Septiéme-diminuée, composé de l’addition d’une Tierce mineure à la fausse-Quinte divisée harmoniquement, & de ses dérivez. — ibid.\nChap. IX. — Remarques sur tous les Accords précédents. — 45\nChap. X. — Remarques sur les differentes raisons que l’on peut donner à un même Accord. — 46\nChap. XI. — La maniere de pouvoir rapporter aux Vibrations & aux Multiplications des longueurs, les raisons données sur les Divisions. — 47\nLIVRE SECOND. — De la nature & de la proprieté des Accords ; Et de tout ce qui peut servir à rendre une Musique parfaite.\nChap. I. — Du Son fondamental de l’Harmonie, & de sa progression. — 49\nChap. II. — Des Accords affectez aux Sons fondamentaux, & de leur progression. — 52\nChap. III. — De la nature & de la proprieté de l’Octave. — 54\nChap. IV. — De la nature & de la proprieté de la Quinte & de la Quarte. — ibid.", "english": "Chap. VIII. — Chord Inversion. — 34\nARTICLES.\nI. — Major Perfect Chord and Its Derivatives. — 34\nII. — Minor Perfect Chord and Its Derivatives. — 36\nIII. — Seventh Chord Formed by Adding a Minor Third to the Major Perfect Chord, and Its Derivatives. — 37\nIV. — Seventh Chord Formed by Adding a Minor Third to the Minor Perfect Chord, and Its Derivatives. — 39\nV. — Seventh Chord Formed by Adding a Major Third to the Major Perfect Chord, and Its Derivatives. — 40\nVI. — Seventh Chord Formed by Adding a Minor Third below the Minor Perfect Chord, and Its Derivatives. — 41\nVII. — Diminished-Seventh Chord Formed by Adding a Minor Third to the Harmonically Divided Diminished Fifth, and Its Derivatives. — ibid.\nChap. IX. — Observations on All the Preceding Chords. — 45\nChap. X. — Different Ratios That May Be Assigned to the Same Chord. — 46\nChap. XI. — Relating Ratios Derived from Divisions to Vibrations and Multiplications of Lengths. — 47\nBOOK TWO. — Nature and Properties of Chords, and Everything That Can Make Music Perfect.\nChap. I. — Fundamental Sound of Harmony and Its Progression. — 49\nChap. II. — Chords Assigned to Fundamental Sounds and Their Progression. — 52\nChap. III. — Nature and Properties of the Octave. — 54\nChap. IV. — Nature and Properties of the Fifth and Fourth. — ibid.", "sources": [ { "pdf_page": 10, "source_image": "source-pages/bnf-010.png", "printed_label": "PDF 10", "bbox_pixels": [ 400, 385, 2210, 3150 ], "crop_image": "assets/front-contents-003.png" } ], "tables": { "fr": { "columns": [ "Chapitre / Article", "Matiere", "Page" ], "rows": [ [ "Chap. VIII.", "Du renversement des Accords.", "34" ], [ "", "ARTICLES.", "" ], [ "I.", "De l’Accord parfait majeur, & de ses dérivez.", "34" ], [ "II.", "De l’Accord parfait mineur, & de ses dérivez.", "36" ], [ "III.", "De l’Accord de la Septiéme, composé d’une Tierce mineure ajoûtée à l’Accord parfait majeur, & de ses dérivez.", "37" ], [ "IV.", "De l’Accord de la Septiéme, composé de l’addition d’une Tierce mineure, à l’Accord parfait mineur, & de ses dérivez.", "39" ], [ "V.", "De l’Accord de la Septiéme, composé de l’addition d’une Tierce-majeure à l’Accord parfait majeur, & de ses dérivez.", "40" ], [ "VI.", "De l’Accord de la Septiéme, composé de l’addition d’une Tierce-mineure au-dessous de l’Accord parfait mineur, & de ses dérivez.", "41" ], [ "VII.", "De l’Accord de la Septiéme-diminuée, composé de l’addition d’une Tierce mineure à la fausse-Quinte divisée harmoniquement, & de ses dérivez.", "ibid." ], [ "Chap. IX.", "Remarques sur tous les Accords précédents.", "45" ], [ "Chap. X.", "Remarques sur les differentes raisons que l’on peut donner à un même Accord.", "46" ], [ "Chap. XI.", "La maniere de pouvoir rapporter aux Vibrations & aux Multiplications des longueurs, les raisons données sur les Divisions.", "47" ], [ "LIVRE SECOND.", "De la nature & de la proprieté des Accords ; Et de tout ce qui peut servir à rendre une Musique parfaite.", "" ], [ "Chap. I.", "Du Son fondamental de l’Harmonie, & de sa progression.", "49" ], [ "Chap. II.", "Des Accords affectez aux Sons fondamentaux, & de leur progression.", "52" ], [ "Chap. III.", "De la nature & de la proprieté de l’Octave.", "54" ], [ "Chap. IV.", "De la nature & de la proprieté de la Quinte & de la Quarte.", "ibid." ] ] }, "en": { "columns": [ "Chapter / Article", "Subject", "Page" ], "rows": [ [ "Chap. 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XI.", "Relating Ratios Derived from Divisions to Vibrations and Multiplications of Lengths.", "47" ], [ "BOOK TWO.", "Nature and Properties of Chords, and Everything That Can Make Music Perfect.", "" ], [ "Chap. I.", "Fundamental Sound of Harmony and Its Progression.", "49" ], [ "Chap. II.", "Chords Assigned to Fundamental Sounds and Their Progression.", "52" ], [ "Chap. III.", "Nature and Properties of the Octave.", "54" ], [ "Chap. IV.", "Nature and Properties of the Fifth and Fourth.", "ibid." ] ] }, "simple": { "columns": [ "Chapter / Article", "Subject", "Page" ], "rows": [ [ "Chap. VIII.", "Chord Inversion.", "34" ], [ "", "ARTICLES.", "" ], [ "I.", "Major Perfect Chord and Its Derivatives.", "34" ], [ "II.", "Minor Perfect Chord and Its Derivatives.", "36" ], [ "III.", "Seventh Chord Formed by Adding a Minor Third to the Major Perfect Chord, and Its Derivatives.", "37" ], [ "IV.", "Seventh Chord Formed by Adding a Minor Third to the Minor Perfect Chord, and Its Derivatives.", "39" ], [ "V.", "Seventh Chord Formed by Adding a Major Third to the Major Perfect Chord, and Its Derivatives.", "40" ], [ "VI.", "Seventh Chord Formed by Adding a Minor Third below the Minor Perfect Chord, and Its Derivatives.", "41" ], [ "VII.", "Diminished-Seventh Chord Formed by Adding a Minor Third to the Harmonically Divided Diminished Fifth, and Its Derivatives.", "ibid." ], [ "Chap. IX.", "Observations on All the Preceding Chords.", "45" ], [ "Chap. X.", "Different Ratios That May Be Assigned to the Same Chord.", "46" ], [ "Chap. XI.", "Relating Ratios Derived from Divisions to Vibrations and Multiplications of Lengths.", "47" ], [ "BOOK TWO.", "Nature and Properties of Chords, and Everything That Can Make Music Perfect.", "" ], [ "Chap. I.", "Fundamental Sound of Harmony and Its Progression.", "49" ], [ "Chap. II.", "Chords Assigned to Fundamental Sounds and Their Progression.", "52" ], [ "Chap. III.", "Nature and Properties of the Octave.", "54" ], [ "Chap. IV.", "Nature and Properties of the Fifth and Fourth.", "ibid." ] ] }, "caveman": { "columns": [ "Chapter / Article", "Subject", "Page" ], "rows": [ [ "Chap. VIII.", "Chord Inversion.", "34" ], [ "", "ARTICLES.", "" ], [ "I.", "Major Perfect Chord and Its Derivatives.", "34" ], [ "II.", "Minor Perfect Chord and Its Derivatives.", "36" ], [ "III.", "Seventh Chord Formed by Adding a Minor Third to the Major Perfect Chord, and Its Derivatives.", "37" ], [ "IV.", "Seventh Chord Formed by Adding a Minor Third to the Minor Perfect Chord, and Its Derivatives.", "39" ], [ "V.", "Seventh Chord Formed by Adding a Major Third to the Major Perfect Chord, and Its Derivatives.", "40" ], [ "VI.", "Seventh Chord Formed by Adding a Minor Third below the Minor Perfect Chord, and Its Derivatives.", "41" ], [ "VII.", "Diminished-Seventh Chord Formed by Adding a Minor Third to the Harmonically Divided Diminished Fifth, and Its Derivatives.", "ibid." ], [ "Chap. IX.", "Observations on All the Preceding Chords.", "45" ], [ "Chap. X.", "Different Ratios That May Be Assigned to the Same Chord.", "46" ], [ "Chap. XI.", "Relating Ratios Derived from Divisions to Vibrations and Multiplications of Lengths.", "47" ], [ "BOOK TWO.", "Nature and Properties of Chords, and Everything That Can Make Music Perfect.", "" ], [ "Chap. I.", "Fundamental Sound of Harmony and Its Progression.", "49" ], [ "Chap. II.", "Chords Assigned to Fundamental Sounds and Their Progression.", "52" ], [ "Chap. III.", "Nature and Properties of the Octave.", "54" ], [ "Chap. IV.", "Nature and Properties of the Fifth and Fourth.", "ibid." ] ] } }, "asset_refs": [ "front-contents-010" ] }, { "id": "front-contents-011", "type": "image", "section": "front-contents", "lesson": 2, "exercise": 2, "reading_order": 32, "original": "Chap. V. — De la Cadence parfaite, où la nature & la proprieté de tous les Intervales se rencontrent. — 54\nChap. VI. — De la Cadence rompuë. — 61\nChap. VII. — De la Cadence irreguliere. — 64\nChap. VIII. — De l’Imitation des Cadences par renversement. — 67\nChap. IX. — De la maniere d’éviter les Cadences, en les imitant. — 68\nChap. X. — Des Accords par supposition, avec lesquels on peut encore éviter les Cadences, en les imitant. — 73\nChap. XI. — De la Quarte & de la Onziéme. — 77\nChap. XII. — Des Accords par emprunt, avec lesquels on peut éviter les Cadences parfaites, en les imitant. — 79\nChap. XIII. — Regle pour la progression des Dissonances, tirée de celle des Accords fondamentaux. — 81\nChap. XIV. — Remarques sur la progression des Tierces & des Sixtes. — 87\nChap. XV. — Des occasions où la Septiéme doit être retranchée de l’Accord de la Neuviéme. — 93\nChap. XVI. — Des Consonances dissonantes, où il est parlé de la Quarte, & de la fausse idée qu’on y a attachée par des Regles hors d’œuvres. — 95\nARTICLES.\nI. — Du principe de la Dissonance ; Lequel des deux Sons d’un Intervale doit être pris pour Dissonant, & pour lequel de ces deux Sons la Regle de préparer, & de sauver la Dissonance, a été établie. — 97\nII. — Quel est l’Accord original de tous les Accords dissonans ; La quantité des Dissonances, & des Sons qu’il contient ; Et quelles en sont les bornes. — 100\nIII. — Que si l’on traite la Quarte de Dissonance, lorsque la Basse syncope, l’on détruit la Regle la plus belle, & la plus générale qu’il y ait dans la Musique. — 104\nIV. — Du défaut des Auteurs dans l’établissement des Regles de l’Harmonie : Des differents principes de ces Regles, & des erreurs qu’elles sement. — 105\nChap. XVII. — De la Licence. — 109\nARTICLES.\nI. — De l’Origine de la Licence. — ibid.\nII. — Des Licences tirées de la Cadence rompuë. — 112", "english": "Chap. V. — Perfect Cadence, Where the Nature and Properties of All Intervals Meet. — 54\nChap. VI. — Interrupted Cadence. — 61\nChap. VII. — Irregular Cadence. — 64\nChap. VIII. — Imitating Cadences through Inversion. — 67\nChap. IX. — Evading Cadences by Imitating Them. — 68\nChap. X. — Chords by Supposition, Also Used to Evade Cadences by Imitating Them. — 73\nChap. XI. — Fourth and Eleventh. — 77\nChap. XII. — Chords by Borrowing, Used to Evade Perfect Cadences by Imitating Them. — 79\nChap. XIII. — Rule for Dissonance Progression Derived from Fundamental-Chord Progression. — 81\nChap. XIV. — Observations on the Progression of Thirds and Sixths. — 87\nChap. XV. — When to Omit the Seventh from a Ninth Chord. — 93\nChap. XVI. — Dissonant Consonances: the Fourth and the False Idea Attached to It by Extraneous Rules. — 95\nARTICLES.\nI. — Principle of Dissonance: Which Sound of an Interval Is Dissonant, and Which Sound the Preparation and Resolution Rule Concerns. — 97\nII. — Original Chord of All Dissonant Chords: Number of Dissonances and Sounds It Contains, and Its Limits. — 100\nIII. — Treating the Fourth as Dissonant When the Bass Syncopates Destroys Music’s Finest and Most General Rule. — 104\nIV. — Authors’ Faults in Establishing Harmonic Rules: Their Different Principles and the Errors They Spread. — 105\nChap. XVII. — License. — 109\nARTICLES.\nI. — Origin of License. — ibid.\nII. — Licenses Derived from the Interrupted Cadence. — 112", "sources": [ { "pdf_page": 11, "source_image": "source-pages/bnf-011.png", "printed_label": "PDF 11", "bbox_pixels": [ 400, 355, 2210, 3160 ], "crop_image": "assets/front-contents-004.png" } ], "tables": { "fr": { "columns": [ "Chapitre / Article", "Matiere", "Page" ], "rows": [ [ "Chap. V.", "De la Cadence parfaite, où la nature & la proprieté de tous les Intervales se rencontrent.", "54" ], [ "Chap. VI.", "De la Cadence rompuë.", "61" ], [ "Chap. VII.", "De la Cadence irreguliere.", "64" ], [ "Chap. VIII.", "De l’Imitation des Cadences par renversement.", "67" ], [ "Chap. IX.", "De la maniere d’éviter les Cadences, en les imitant.", "68" ], [ "Chap. X.", "Des Accords par supposition, avec lesquels on peut encore éviter les Cadences, en les imitant.", "73" ], [ "Chap. XI.", "De la Quarte & de la Onziéme.", "77" ], [ "Chap. XII.", "Des Accords par emprunt, avec lesquels on peut éviter les Cadences parfaites, en les imitant.", "79" ], [ "Chap. XIII.", "Regle pour la progression des Dissonances, tirée de celle des Accords fondamentaux.", "81" ], [ "Chap. XIV.", "Remarques sur la progression des Tierces & des Sixtes.", "87" ], [ "Chap. XV.", "Des occasions où la Septiéme doit être retranchée de l’Accord de la Neuviéme.", "93" ], [ "Chap. XVI.", "Des Consonances dissonantes, où il est parlé de la Quarte, & de la fausse idée qu’on y a attachée par des Regles hors d’œuvres.", "95" ], [ "", "ARTICLES.", "" ], [ "I.", "Du principe de la Dissonance ; Lequel des deux Sons d’un Intervale doit être pris pour Dissonant, & pour lequel de ces deux Sons la Regle de préparer, & de sauver la Dissonance, a été établie.", "97" ], [ "II.", "Quel est l’Accord original de tous les Accords dissonans ; La quantité des Dissonances, & des Sons qu’il contient ; Et quelles en sont les bornes.", "100" ], [ "III.", "Que si l’on traite la Quarte de Dissonance, lorsque la Basse syncope, l’on détruit la Regle la plus belle, & la plus générale qu’il y ait dans la Musique.", "104" ], [ "IV.", "Du défaut des Auteurs dans l’établissement des Regles de l’Harmonie : Des differents principes de ces Regles, & des erreurs qu’elles sement.", "105" ], [ "Chap. XVII.", "De la Licence.", "109" ], [ "", "ARTICLES.", "" ], [ "I.", "De l’Origine de la Licence.", "ibid." ], [ "II.", "Des Licences tirées de la Cadence rompuë.", "112" ] ] }, "en": { "columns": [ "Chapter / Article", "Subject", "Page" ], "rows": [ [ "Chap. V.", "Perfect Cadence, Where the Nature and Properties of All Intervals Meet.", "54" ], [ "Chap. VI.", "Interrupted Cadence.", "61" ], [ "Chap. VII.", "Irregular Cadence.", "64" ], [ "Chap. VIII.", "Imitating Cadences through Inversion.", "67" ], [ "Chap. IX.", "Evading Cadences by Imitating Them.", "68" ], [ "Chap. X.", "Chords by Supposition, Also Used to Evade Cadences by Imitating Them.", "73" ], [ "Chap. XI.", "Fourth and Eleventh.", "77" ], [ "Chap. XII.", "Chords by Borrowing, Used to Evade Perfect Cadences by Imitating Them.", "79" ], [ "Chap. XIII.", "Rule for Dissonance Progression Derived from Fundamental-Chord Progression.", "81" ], [ "Chap. XIV.", "Observations on the Progression of Thirds and Sixths.", "87" ], [ "Chap. XV.", "When to Omit the Seventh from a Ninth Chord.", "93" ], [ "Chap. XVI.", "Dissonant Consonances: the Fourth and the False Idea Attached to It by Extraneous Rules.", "95" ], [ "", "ARTICLES.", "" ], [ "I.", "Principle of Dissonance: Which Sound of an Interval Is Dissonant, and Which Sound the Preparation and Resolution Rule Concerns.", "97" ], [ "II.", "Original Chord of All Dissonant Chords: Number of Dissonances and Sounds It Contains, and Its Limits.", "100" ], [ "III.", "Treating the Fourth as Dissonant When the Bass Syncopates Destroys Music’s Finest and Most General Rule.", "104" ], [ "IV.", "Authors’ Faults in Establishing Harmonic Rules: Their Different Principles and the Errors They Spread.", "105" ], [ "Chap. XVII.", "License.", "109" ], [ "", "ARTICLES.", "" ], [ "I.", "Origin of License.", "ibid." ], [ "II.", "Licenses Derived from the Interrupted Cadence.", "112" ] ] }, "simple": { "columns": [ "Chapter / Article", "Subject", "Page" ], "rows": [ [ "Chap. V.", "Perfect Cadence, Where the Nature and Properties of All Intervals Meet.", "54" ], [ "Chap. VI.", "Interrupted Cadence.", "61" ], [ "Chap. VII.", "Irregular Cadence.", "64" ], [ "Chap. VIII.", "Imitating Cadences through Inversion.", "67" ], [ "Chap. IX.", "Evading Cadences by Imitating Them.", "68" ], [ "Chap. X.", "Chords by Supposition, Also Used to Evade Cadences by Imitating Them.", "73" ], [ "Chap. XI.", "Fourth and Eleventh.", "77" ], [ "Chap. XII.", "Chords by Borrowing, Used to Evade Perfect Cadences by Imitating Them.", "79" ], [ "Chap. XIII.", "Rule for Dissonance Progression Derived from Fundamental-Chord Progression.", "81" ], [ "Chap. XIV.", "Observations on the Progression of Thirds and Sixths.", "87" ], [ "Chap. XV.", "When to Omit the Seventh from a Ninth Chord.", "93" ], [ "Chap. XVI.", "Dissonant Consonances: the Fourth and the False Idea Attached to It by Extraneous Rules.", "95" ], [ "", "ARTICLES.", "" ], [ "I.", "Principle of Dissonance: Which Sound of an Interval Is Dissonant, and Which Sound the Preparation and Resolution Rule Concerns.", "97" ], [ "II.", "Original Chord of All Dissonant Chords: Number of Dissonances and Sounds It Contains, and Its Limits.", "100" ], [ "III.", "Treating the Fourth as Dissonant When the Bass Syncopates Destroys Music’s Finest and Most General Rule.", "104" ], [ "IV.", "Authors’ Faults in Establishing Harmonic Rules: Their Different Principles and the Errors They Spread.", "105" ], [ "Chap. XVII.", "License.", "109" ], [ "", "ARTICLES.", "" ], [ "I.", "Origin of License.", "ibid." ], [ "II.", "Licenses Derived from the Interrupted Cadence.", "112" ] ] }, "caveman": { "columns": [ "Chapter / Article", "Subject", "Page" ], "rows": [ [ "Chap. V.", "Perfect Cadence, Where the Nature and Properties of All Intervals Meet.", "54" ], [ "Chap. VI.", "Interrupted Cadence.", "61" ], [ "Chap. VII.", "Irregular Cadence.", "64" ], [ "Chap. VIII.", "Imitating Cadences through Inversion.", "67" ], [ "Chap. IX.", "Evading Cadences by Imitating Them.", "68" ], [ "Chap. X.", "Chords by Supposition, Also Used to Evade Cadences by Imitating Them.", "73" ], [ "Chap. XI.", "Fourth and Eleventh.", "77" ], [ "Chap. XII.", "Chords by Borrowing, Used to Evade Perfect Cadences by Imitating Them.", "79" ], [ "Chap. XIII.", "Rule for Dissonance Progression Derived from Fundamental-Chord Progression.", "81" ], [ "Chap. XIV.", "Observations on the Progression of Thirds and Sixths.", "87" ], [ "Chap. XV.", "When to Omit the Seventh from a Ninth Chord.", "93" ], [ "Chap. XVI.", "Dissonant Consonances: the Fourth and the False Idea Attached to It by Extraneous Rules.", "95" ], [ "", "ARTICLES.", "" ], [ "I.", "Principle of Dissonance: Which Sound of an Interval Is Dissonant, and Which Sound the Preparation and Resolution Rule Concerns.", "97" ], [ "II.", "Original Chord of All Dissonant Chords: Number of Dissonances and Sounds It Contains, and Its Limits.", "100" ], [ "III.", "Treating the Fourth as Dissonant When the Bass Syncopates Destroys Music’s Finest and Most General Rule.", "104" ], [ "IV.", "Authors’ Faults in Establishing Harmonic Rules: Their Different Principles and the Errors They Spread.", "105" ], [ "Chap. XVII.", "License.", "109" ], [ "", "ARTICLES.", "" ], [ "I.", "Origin of License.", "ibid." ], [ "II.", "Licenses Derived from the Interrupted Cadence.", "112" ] ] } }, "asset_refs": [ "front-contents-011" ] }, { "id": "front-contents-012", "type": "image", "section": "front-contents", "lesson": 2, "exercise": 2, "reading_order": 33, "original": "III. — Comment la Dissonance peut être sauvée d’une autre Dissonance. — 113\nIV. — Que la Septiéme peut être encore sauvée de l’Octave. — 118\nV. — Que la Septiéme peut être accompagnée de la Sixte. — 122\nVI. — Des occasions où il semble que la Dissonance soit préparée d’une autre Dissonance. — 123\nChap. XVIII. — Observations sur l’établissement des Regles, où l’on enseigne la maniere de composer une Basse-fondamentale. — 125\nARTICLES.\nI. — De l’établissement des Regles. — ibid.\nII. — De la maniere de composer une Basse-fondamentale au-dessous de toute sorte de Musique. — 134\nChap. XIX. — Suite du Chapitre précédent, où il paroît que la Melodie provient de l’Harmonie. — 138\nChap. XX. — De la proprieté des Accords. — 141\nChap. XXI. — Des Modes. — 143\nChap. XXII. — D’où provient la liberté que l’on a de passer d’un Mode, ou d’un Ton à un autre. — 149\nChap. XXIII. — De la Mesure. — 150\nChap. XXIV. — De la proprieté des Modes & des Tons. — 157\nChap. XXV. — De l’utilité que l’on peut tirer de cette nouvelle ma-maniere de marquer les differentes Mesures. — 158\nChap. XXVI. — De la quantité de Mesures dont chaque Air doit être composé, & de leur mouvement particulier. — 159\nChap. XXVII. — Quels sortes de Vers il faut employer pour chacun de ces Airs, & ce qu’il faut observer pour mettre des paroles en chant. — 161\nChap. XXVIII. — Du Dessein, de l’Imitation, de la Fugue, & de leurs proprietez. — 162\nChap. XXIX. — Des Intervales qui doivent être distinguez en majeurs & en mineurs, en justes ou parfaits ; en superflus & en diminuez. — 163", "english": "III. — How One Dissonance Can Resolve through Another. — 113\nIV. — How the Seventh Can Also Resolve to the Octave. — 118\nV. — How the Sixth Can Accompany the Seventh. — 122\nVI. — Cases Where a Dissonance Appears to Be Prepared by Another Dissonance. — 123\nChap. XVIII. — Establishing the Rules, with Instruction in Composing a Fundamental Bass. — 125\nARTICLES.\nI. — Establishing the Rules. — ibid.\nII. — Composing a Fundamental Bass beneath Any Kind of Music. — 134\nChap. XIX. — Continuation of the Previous Chapter, Showing That Melody Comes from Harmony. — 138\nChap. XX. — Properties of Chords. — 141\nChap. XXI. — Modes. — 143\nChap. XXII. — Source of the Freedom to Move from One Mode or Key to Another. — 149\nChap. XXIII. — Meter. — 150\nChap. XXIV. — Properties of Modes and Keys. — 157\nChap. XXV. — Usefulness of This New Me-Method of Marking Different Meters. — 158\nChap. XXVI. — Number of Measures in Each Air and Its Particular Tempo. — 159\nChap. XXVII. — Suitable Verse Forms for Each Air and Rules for Setting Words to Music. — 161\nChap. XXVIII. — Design, Imitation, Fugue, and Their Properties. — 162\nChap. XXIX. — Intervals Distinguished as Major or Minor, Just or Perfect, Augmented or Diminished. — 163", "sources": [ { "pdf_page": 12, "source_image": "source-pages/bnf-012.png", "printed_label": "PDF 12", "bbox_pixels": [ 400, 390, 2210, 2850 ], "crop_image": "assets/front-contents-005.png" } ], "tables": { "fr": { "columns": [ "Chapitre / Article", "Matiere", "Page" ], "rows": [ [ "III.", "Comment la Dissonance peut être sauvée d’une autre Dissonance.", "113" ], [ "IV.", "Que la Septiéme peut être encore sauvée de l’Octave.", "118" ], [ "V.", "Que la Septiéme peut être accompagnée de la Sixte.", "122" ], [ "VI.", "Des occasions où il semble que la Dissonance soit préparée d’une autre Dissonance.", "123" ], [ "Chap. XVIII.", "Observations sur l’établissement des Regles, où l’on enseigne la maniere de composer une Basse-fondamentale.", "125" ], [ "", "ARTICLES.", "" ], [ "I.", "De l’établissement des Regles.", "ibid." ], [ "II.", "De la maniere de composer une Basse-fondamentale au-dessous de toute sorte de Musique.", "134" ], [ "Chap. XIX.", "Suite du Chapitre précédent, où il paroît que la Melodie provient de l’Harmonie.", "138" ], [ "Chap. XX.", "De la proprieté des Accords.", "141" ], [ "Chap. XXI.", "Des Modes.", "143" ], [ "Chap. XXII.", "D’où provient la liberté que l’on a de passer d’un Mode, ou d’un Ton à un autre.", "149" ], [ "Chap. XXIII.", "De la Mesure.", "150" ], [ "Chap. XXIV.", "De la proprieté des Modes & des Tons.", "157" ], [ "Chap. XXV.", "De l’utilité que l’on peut tirer de cette nouvelle ma-maniere de marquer les differentes Mesures.", "158" ], [ "Chap. XXVI.", "De la quantité de Mesures dont chaque Air doit être composé, & de leur mouvement particulier.", "159" ], [ "Chap. XXVII.", "Quels sortes de Vers il faut employer pour chacun de ces Airs, & ce qu’il faut observer pour mettre des paroles en chant.", "161" ], [ "Chap. XXVIII.", "Du Dessein, de l’Imitation, de la Fugue, & de leurs proprietez.", "162" ], [ "Chap. XXIX.", "Des Intervales qui doivent être distinguez en majeurs & en mineurs, en justes ou parfaits ; en superflus & en diminuez.", "163" ] ] }, "en": { "columns": [ "Chapter / Article", "Subject", "Page" ], "rows": [ [ "III.", "How One Dissonance Can Resolve through Another.", "113" ], [ "IV.", "How the Seventh Can Also Resolve to the Octave.", "118" ], [ "V.", "How the Sixth Can Accompany the Seventh.", "122" ], [ "VI.", "Cases Where a Dissonance Appears to Be Prepared by Another Dissonance.", "123" ], [ "Chap. XVIII.", "Establishing the Rules, with Instruction in Composing a Fundamental Bass.", "125" ], [ "", "ARTICLES.", "" ], [ "I.", "Establishing the Rules.", "ibid." ], [ "II.", "Composing a Fundamental Bass beneath Any Kind of Music.", "134" ], [ "Chap. XIX.", "Continuation of the Previous Chapter, Showing That Melody Comes from Harmony.", "138" ], [ "Chap. XX.", "Properties of Chords.", "141" ], [ "Chap. XXI.", "Modes.", "143" ], [ "Chap. XXII.", "Source of the Freedom to Move from One Mode or Key to Another.", "149" ], [ "Chap. XXIII.", "Meter.", "150" ], [ "Chap. XXIV.", "Properties of Modes and Keys.", "157" ], [ "Chap. XXV.", "Usefulness of This New Me-Method of Marking Different Meters.", "158" ], [ "Chap. XXVI.", "Number of Measures in Each Air and Its Particular Tempo.", "159" ], [ "Chap. XXVII.", "Suitable Verse Forms for Each Air and Rules for Setting Words to Music.", "161" ], [ "Chap. XXVIII.", "Design, Imitation, Fugue, and Their Properties.", "162" ], [ "Chap. XXIX.", "Intervals Distinguished as Major or Minor, Just or Perfect, Augmented or Diminished.", "163" ] ] }, "simple": { "columns": [ "Chapter / Article", "Subject", "Page" ], "rows": [ [ "III.", "How One Dissonance Can Resolve through Another.", "113" ], [ "IV.", "How the Seventh Can Also Resolve to the Octave.", "118" ], [ "V.", "How the Sixth Can Accompany the Seventh.", "122" ], [ "VI.", "Cases Where a Dissonance Appears to Be Prepared by Another Dissonance.", "123" ], [ "Chap. XVIII.", "Establishing the Rules, with Instruction in Composing a Fundamental Bass.", "125" ], [ "", "ARTICLES.", "" ], [ "I.", "Establishing the Rules.", "ibid." ], [ "II.", "Composing a Fundamental Bass beneath Any Kind of Music.", "134" ], [ "Chap. XIX.", "Continuation of the Previous Chapter, Showing That Melody Comes from Harmony.", "138" ], [ "Chap. XX.", "Properties of Chords.", "141" ], [ "Chap. XXI.", "Modes.", "143" ], [ "Chap. XXII.", "Source of the Freedom to Move from One Mode or Key to Another.", "149" ], [ "Chap. XXIII.", "Meter.", "150" ], [ "Chap. XXIV.", "Properties of Modes and Keys.", "157" ], [ "Chap. XXV.", "Usefulness of This New Me-Method of Marking Different Meters.", "158" ], [ "Chap. XXVI.", "Number of Measures in Each Air and Its Particular Tempo.", "159" ], [ "Chap. XXVII.", "Suitable Verse Forms for Each Air and Rules for Setting Words to Music.", "161" ], [ "Chap. XXVIII.", "Design, Imitation, Fugue, and Their Properties.", "162" ], [ "Chap. XXIX.", "Intervals Distinguished as Major or Minor, Just or Perfect, Augmented or Diminished.", "163" ] ] }, "caveman": { "columns": [ "Chapter / Article", "Subject", "Page" ], "rows": [ [ "III.", "How One Dissonance Can Resolve through Another.", "113" ], [ "IV.", "How the Seventh Can Also Resolve to the Octave.", "118" ], [ "V.", "How the Sixth Can Accompany the Seventh.", "122" ], [ "VI.", "Cases Where a Dissonance Appears to Be Prepared by Another Dissonance.", "123" ], [ "Chap. XVIII.", "Establishing the Rules, with Instruction in Composing a Fundamental Bass.", "125" ], [ "", "ARTICLES.", "" ], [ "I.", "Establishing the Rules.", "ibid." ], [ "II.", "Composing a Fundamental Bass beneath Any Kind of Music.", "134" ], [ "Chap. XIX.", "Continuation of the Previous Chapter, Showing That Melody Comes from Harmony.", "138" ], [ "Chap. XX.", "Properties of Chords.", "141" ], [ "Chap. XXI.", "Modes.", "143" ], [ "Chap. XXII.", "Source of the Freedom to Move from One Mode or Key to Another.", "149" ], [ "Chap. XXIII.", "Meter.", "150" ], [ "Chap. XXIV.", "Properties of Modes and Keys.", "157" ], [ "Chap. XXV.", "Usefulness of This New Me-Method of Marking Different Meters.", "158" ], [ "Chap. XXVI.", "Number of Measures in Each Air and Its Particular Tempo.", "159" ], [ "Chap. XXVII.", "Suitable Verse Forms for Each Air and Rules for Setting Words to Music.", "161" ], [ "Chap. XXVIII.", "Design, Imitation, Fugue, and Their Properties.", "162" ], [ "Chap. XXIX.", "Intervals Distinguished as Major or Minor, Just or Perfect, Augmented or Diminished.", "163" ] ] } }, "asset_refs": [ "front-contents-012" ] }, { "id": "front-contents-013", "type": "image", "section": "front-contents", "lesson": 2, "exercise": 2, "reading_order": 34, "original": "LIVRE TROISIEME. — Principes de Composition.\nChap. I. — Introduction à la Musique-pratique. — 169\nChap. II. — De la Basse-fondamentale. — 185\nChap. III. — De l’Accord parfait, par où commence la Composition à quatre Parties. — 186\nChap. IV. — De la suite des Accords. — ibid.\nChap. V. — De quelques Regles qu’il faut observer. — 191\nChap. VI. — De l’Accord de la Septiéme. Art. I. & II. — 192\nChap. VII. — Remarques sur la Dissonance. — 197\nChap. VIII. — Du Ton & du Mode. — 198\nChap. IX. — De la maniere de Moduler harmoniquement, lorsqu’on donne à la Basse une progression diatonique. — 200\nChap. X. — De la Basse-Continuë. — 206\nChap. XI. — De la progression de la Basse, qui détermine en même tems celle des Accords ; Et comment on peut rapporter un Accord dérivé, à son fondement. — ibid.\nChap. XII. — Suite des Regles tirées de l’Exemple précédent. — 215\nChap. XIII. — De la Cadence parfaite. — 216\nChap. XIV. — De la Notte sensible, & de la maniere dont se sauvent toutes les Dissonances. — 217\nChap. XV. — De la Onziéme dite Quarte. — 219\nChap. XVI. — De la Cadence irreguliere. — 221\nChap. XVII. — Des differentes progressions d’une Basse, qui ont rapport ensemble, & dont l’Harmonie ne change point dans les Parties superieures. — 225\nChap. XVIII. — De la maniere de préparer les Dissonances. — 229\nChap. XIX. — Des occasions où l’on ne peut préparer les Dissonances. — 233\nChap. XX. — Dénombrement exact des differentes progressions de la Basse, selon les differentes Dissonances qu’on y employe. — 235\nChap. XXI. — De l’Accord de la Seconde. — 241\nChap. XXII. — Des Tons & des Modes en general. — 244\nARTICLES.\nI. — Des Tons majeurs. — ibid.\nII. — Des Tons mineurs. — 245\nChap. XXIII. — De la maniere de passer d’un Ton à un autre, ce qui s’appelle encore Moduler. — 248\nChap. XXIV. — Suite des Regles contenuës dans le Chapitre précédent. — 251", "english": "BOOK THREE. — Principles of Composition.\nChap. I. — Introduction to Practical Music. — 169\nChap. II. — Fundamental Bass. — 185\nChap. III. — Perfect Chord, the Starting Point for Four-Part Composition. — 186\nChap. IV. — Chord Succession. — ibid.\nChap. V. — Some Rules to Observe. — 191\nChap. VI. — Seventh Chord. Articles I and II. — 192\nChap. VII. — Observations on Dissonance. — 197\nChap. VIII. — Key and Mode. — 198\nChap. IX. — Harmonic Modulation with a Diatonic Bass Progression. — 200\nChap. X. — Continuo Bass. — 206\nChap. XI. — Bass Progression, Which Also Determines Chord Progression; Relating a Derived Chord to Its Foundation. — ibid.\nChap. XII. — Further Rules Drawn from the Preceding Example. — 215\nChap. XIII. — Perfect Cadence. — 216\nChap. XIV. — Leading Note and the Resolution of All Dissonances. — 217\nChap. XV. — Eleventh, Called the Fourth. — 219\nChap. XVI. — Irregular Cadence. — 221\nChap. XVII. — Related Bass Progressions That Leave the Upper Parts’ Harmony Unchanged. — 225\nChap. XVIII. — Preparing Dissonances. — 229\nChap. XIX. — Cases Where Dissonances Cannot Be Prepared. — 233\nChap. XX. — Exact Enumeration of Bass Progressions According to the Dissonances Used. — 235\nChap. XXI. — Second Chord. — 241\nChap. XXII. — Keys and Modes in General. — 244\nARTICLES.\nI. — Major Keys. — ibid.\nII. — Minor Keys. — 245\nChap. XXIII. — Passing from One Key to Another, Also Called Modulation. — 248\nChap. XXIV. — Continuation of the Previous Chapter’s Rules. — 251", "sources": [ { "pdf_page": 13, "source_image": "source-pages/bnf-013.png", "printed_label": "PDF 13", "bbox_pixels": [ 400, 510, 2210, 3040 ], "crop_image": "assets/front-contents-006.png" } ], "tables": { "fr": { "columns": [ "Chapitre / Article", "Matiere", "Page" ], "rows": [ [ "LIVRE TROISIEME.", "Principes de Composition.", "" ], [ "Chap. I.", "Introduction à la Musique-pratique.", "169" ], [ "Chap. II.", "De la Basse-fondamentale.", "185" ], [ "Chap. III.", "De l’Accord parfait, par où commence la Composition à quatre Parties.", "186" ], [ "Chap. IV.", "De la suite des Accords.", "ibid." ], [ "Chap. V.", "De quelques Regles qu’il faut observer.", "191" ], [ "Chap. VI.", "De l’Accord de la Septiéme. Art. I. & II.", "192" ], [ "Chap. VII.", "Remarques sur la Dissonance.", "197" ], [ "Chap. VIII.", "Du Ton & du Mode.", "198" ], [ "Chap. IX.", "De la maniere de Moduler harmoniquement, lorsqu’on donne à la Basse une progression diatonique.", "200" ], [ "Chap. X.", "De la Basse-Continuë.", "206" ], [ "Chap. XI.", "De la progression de la Basse, qui détermine en même tems celle des Accords ; Et comment on peut rapporter un Accord dérivé, à son fondement.", "ibid." ], [ "Chap. XII.", "Suite des Regles tirées de l’Exemple précédent.", "215" ], [ "Chap. XIII.", "De la Cadence parfaite.", "216" ], [ "Chap. XIV.", "De la Notte sensible, & de la maniere dont se sauvent toutes les Dissonances.", "217" ], [ "Chap. XV.", "De la Onziéme dite Quarte.", "219" ], [ "Chap. XVI.", "De la Cadence irreguliere.", "221" ], [ "Chap. XVII.", "Des differentes progressions d’une Basse, qui ont rapport ensemble, & dont l’Harmonie ne change point dans les Parties superieures.", "225" ], [ "Chap. XVIII.", "De la maniere de préparer les Dissonances.", "229" ], [ "Chap. XIX.", "Des occasions où l’on ne peut préparer les Dissonances.", "233" ], [ "Chap. XX.", "Dénombrement exact des differentes progressions de la Basse, selon les differentes Dissonances qu’on y employe.", "235" ], [ "Chap. XXI.", "De l’Accord de la Seconde.", "241" ], [ "Chap. XXII.", "Des Tons & des Modes en general.", "244" ], [ "", "ARTICLES.", "" ], [ "I.", "Des Tons majeurs.", "ibid." ], [ "II.", "Des Tons mineurs.", "245" ], [ "Chap. XXIII.", "De la maniere de passer d’un Ton à un autre, ce qui s’appelle encore Moduler.", "248" ], [ "Chap. XXIV.", "Suite des Regles contenuës dans le Chapitre précédent.", "251" ] ] }, "en": { "columns": [ "Chapter / Article", "Subject", "Page" ], "rows": [ [ "BOOK THREE.", "Principles of Composition.", "" ], [ "Chap. I.", "Introduction to Practical Music.", "169" ], [ "Chap. II.", "Fundamental Bass.", "185" ], [ "Chap. III.", "Perfect Chord, the Starting Point for Four-Part Composition.", "186" ], [ "Chap. IV.", "Chord Succession.", "ibid." ], [ "Chap. V.", "Some Rules to Observe.", "191" ], [ "Chap. VI.", "Seventh Chord. Articles I and II.", "192" ], [ "Chap. VII.", "Observations on Dissonance.", "197" ], [ "Chap. VIII.", "Key and Mode.", "198" ], [ "Chap. IX.", "Harmonic Modulation with a Diatonic Bass Progression.", "200" ], [ "Chap. X.", "Continuo Bass.", "206" ], [ "Chap. XI.", "Bass Progression, Which Also Determines Chord Progression; Relating a Derived Chord to Its Foundation.", "ibid." ], [ "Chap. XII.", "Further Rules Drawn from the Preceding Example.", "215" ], [ "Chap. XIII.", "Perfect Cadence.", "216" ], [ "Chap. XIV.", "Leading Note and the Resolution of All Dissonances.", "217" ], [ "Chap. XV.", "Eleventh, Called the Fourth.", "219" ], [ "Chap. XVI.", "Irregular Cadence.", "221" ], [ "Chap. XVII.", "Related Bass Progressions That Leave the Upper Parts’ Harmony Unchanged.", "225" ], [ "Chap. XVIII.", "Preparing Dissonances.", "229" ], [ "Chap. XIX.", "Cases Where Dissonances Cannot Be Prepared.", "233" ], [ "Chap. XX.", "Exact Enumeration of Bass Progressions According to the Dissonances Used.", "235" ], [ "Chap. XXI.", "Second Chord.", "241" ], [ "Chap. XXII.", "Keys and Modes in General.", "244" ], [ "", "ARTICLES.", "" ], [ "I.", "Major Keys.", "ibid." ], [ "II.", "Minor Keys.", "245" ], [ "Chap. XXIII.", "Passing from One Key to Another, Also Called Modulation.", "248" ], [ "Chap. XXIV.", "Continuation of the Previous Chapter’s Rules.", "251" ] ] }, "simple": { "columns": [ "Chapter / Article", "Subject", "Page" ], "rows": [ [ "BOOK THREE.", "Principles of Composition.", "" ], [ "Chap. I.", "Introduction to Practical Music.", "169" ], [ "Chap. II.", "Fundamental Bass.", "185" ], [ "Chap. III.", "Perfect Chord, the Starting Point for Four-Part Composition.", "186" ], [ "Chap. IV.", "Chord Succession.", "ibid." ], [ "Chap. V.", "Some Rules to Observe.", "191" ], [ "Chap. VI.", "Seventh Chord. Articles I and II.", "192" ], [ "Chap. VII.", "Observations on Dissonance.", "197" ], [ "Chap. VIII.", "Key and Mode.", "198" ], [ "Chap. IX.", "Harmonic Modulation with a Diatonic Bass Progression.", "200" ], [ "Chap. X.", "Continuo Bass.", "206" ], [ "Chap. XI.", "Bass Progression, Which Also Determines Chord Progression; Relating a Derived Chord to Its Foundation.", "ibid." ], [ "Chap. XII.", "Further Rules Drawn from the Preceding Example.", "215" ], [ "Chap. XIII.", "Perfect Cadence.", "216" ], [ "Chap. XIV.", "Leading Note and the Resolution of All Dissonances.", "217" ], [ "Chap. XV.", "Eleventh, Called the Fourth.", "219" ], [ "Chap. XVI.", "Irregular Cadence.", "221" ], [ "Chap. XVII.", "Related Bass Progressions That Leave the Upper Parts’ Harmony Unchanged.", "225" ], [ "Chap. XVIII.", "Preparing Dissonances.", "229" ], [ "Chap. XIX.", "Cases Where Dissonances Cannot Be Prepared.", "233" ], [ "Chap. XX.", "Exact Enumeration of Bass Progressions According to the Dissonances Used.", "235" ], [ "Chap. XXI.", "Second Chord.", "241" ], [ "Chap. XXII.", "Keys and Modes in General.", "244" ], [ "", "ARTICLES.", "" ], [ "I.", "Major Keys.", "ibid." ], [ "II.", "Minor Keys.", "245" ], [ "Chap. XXIII.", "Passing from One Key to Another, Also Called Modulation.", "248" ], [ "Chap. XXIV.", "Continuation of the Previous Chapter’s Rules.", "251" ] ] }, "caveman": { "columns": [ "Chapter / Article", "Subject", "Page" ], "rows": [ [ "BOOK THREE.", "Principles of Composition.", "" ], [ "Chap. I.", "Introduction to Practical Music.", "169" ], [ "Chap. II.", "Fundamental Bass.", "185" ], [ "Chap. III.", "Perfect Chord, the Starting Point for Four-Part Composition.", "186" ], [ "Chap. IV.", "Chord Succession.", "ibid." ], [ "Chap. V.", "Some Rules to Observe.", "191" ], [ "Chap. VI.", "Seventh Chord. Articles I and II.", "192" ], [ "Chap. VII.", "Observations on Dissonance.", "197" ], [ "Chap. VIII.", "Key and Mode.", "198" ], [ "Chap. IX.", "Harmonic Modulation with a Diatonic Bass Progression.", "200" ], [ "Chap. X.", "Continuo Bass.", "206" ], [ "Chap. XI.", "Bass Progression, Which Also Determines Chord Progression; Relating a Derived Chord to Its Foundation.", "ibid." ], [ "Chap. XII.", "Further Rules Drawn from the Preceding Example.", "215" ], [ "Chap. XIII.", "Perfect Cadence.", "216" ], [ "Chap. XIV.", "Leading Note and the Resolution of All Dissonances.", "217" ], [ "Chap. XV.", "Eleventh, Called the Fourth.", "219" ], [ "Chap. XVI.", "Irregular Cadence.", "221" ], [ "Chap. XVII.", "Related Bass Progressions That Leave the Upper Parts’ Harmony Unchanged.", "225" ], [ "Chap. XVIII.", "Preparing Dissonances.", "229" ], [ "Chap. XIX.", "Cases Where Dissonances Cannot Be Prepared.", "233" ], [ "Chap. XX.", "Exact Enumeration of Bass Progressions According to the Dissonances Used.", "235" ], [ "Chap. XXI.", "Second Chord.", "241" ], [ "Chap. XXII.", "Keys and Modes in General.", "244" ], [ "", "ARTICLES.", "" ], [ "I.", "Major Keys.", "ibid." ], [ "II.", "Minor Keys.", "245" ], [ "Chap. XXIII.", "Passing from One Key to Another, Also Called Modulation.", "248" ], [ "Chap. XXIV.", "Continuation of the Previous Chapter’s Rules.", "251" ] ] } }, "asset_refs": [ "front-contents-013" ] }, { "id": "front-contents-014", "type": "image", "section": "front-contents", "lesson": 2, "exercise": 2, "reading_order": 35, "original": "Chap. XXV. — Comment on peut connoître les Accords qu’il faut donner aux Nottes d’une Basse, dans une progression quelconque. — 254\nARTICLES.\nI. — Des Cadences, & de tout ce qui a rapport à une conclusion de Chant. — ibid.\nII. — Des Cadences imparfaites. — 257\nIII. — Comment on peut distinguer le Ton dans lequel les progressions de Cadences imparfaites ont lieu. — 258\nIV. — Comment on peut distinguer dans une progression diatonique, si le Chant va se reposer sur la Notte tonique, ou sur la Dominante. — 264\nChap. XXVI. — De la maniere de pratiquer la Septiéme sur toutes les Nottes d’un Ton, en progression diatonique. — 266\nChap. XXVII. — Comment la même Dissonance peut avoir lieu dans plusieurs Accords consecutifs sur des Nottes differentes ; Et comment elle peut être sauvée sur des Nottes qui nous paroissent étrangeres. — 267\nChap. XXVIII. — De toutes les Licences ; & premierement de la Cadence rompuë. — 270\nChap. XXIX. — De l’Accord de la Quinte-superfluë. — 273\nChap. XXX. — De l’Accord de la Neuviéme. — 275\nChap. XXXI. — De l’Accord de la Onziéme, dite Quarte. — 278\nChap. XXXII. — De l’Accord de la Septiéme-superfluë. — 281\nChap. XXXIII. — De l’Accord de la Seconde-superfluë, & de ses dérivez. — 282\nChap. XXXIV. — Du Chromatique. — 286\nARTICLES.\nI. — Du Chromatique en descendant. — ibid.\nII. — Du Chromatique en montant. — 288\nChap. XXXV. — De la maniere de pratiquer tout ce qui a été dit jusqu’à présent. — 291\nARTICLES.\nI. — De la Progression de la Basse. — ibid.\nII. — De l’usage des Accords consonans & dissonans. — 292\nIII. — Des Dissonances majeures causées par la Notte sensible, & des Nottes sur lesquelles elles se font. — 294", "english": "Chap. XXV. — Identifying the Chords Required by Bass Notes in Any Progression. — 254\nARTICLES.\nI. — Cadences and Everything Relating to a Melodic Conclusion. — ibid.\nII. — Imperfect Cadences. — 257\nIII. — Identifying the Key of Imperfect-Cadence Progressions. — 258\nIV. — Determining Whether a Diatonic Melody Will Rest on Tonic or Dominant. — 264\nChap. XXVI. — Using the Seventh on All Notes of a Key in Diatonic Progression. — 266\nChap. XXVII. — One Dissonance in Successive Chords on Different Notes, and Its Resolution on Seemingly Foreign Notes. — 267\nChap. XXVIII. — All Licenses, Beginning with the Interrupted Cadence. — 270\nChap. XXIX. — Augmented-Fifth Chord. — 273\nChap. XXX. — Ninth Chord. — 275\nChap. XXXI. — Eleventh Chord, Called the Fourth. — 278\nChap. XXXII. — Augmented-Seventh Chord. — 281\nChap. XXXIII. — Augmented-Second Chord and Its Derivatives. — 282\nChap. XXXIV. — Chromatic Movement. — 286\nARTICLES.\nI. — Descending Chromatic Movement. — ibid.\nII. — Ascending Chromatic Movement. — 288\nChap. XXXV. — Practicing Everything Explained So Far. — 291\nARTICLES.\nI. — Bass Progression. — ibid.\nII. — Using Consonant and Dissonant Chords. — 292\nIII. — Major Dissonances Caused by the Leading Note, and Their Bass Notes. — 294", "sources": [ { "pdf_page": 14, "source_image": "source-pages/bnf-014.png", "printed_label": "PDF 14", "bbox_pixels": [ 400, 380, 2210, 3170 ], "crop_image": "assets/front-contents-007.png" } ], "tables": { "fr": { "columns": [ "Chapitre / Article", "Matiere", "Page" ], "rows": [ [ "Chap. XXV.", "Comment on peut connoître les Accords qu’il faut donner aux Nottes d’une Basse, dans une progression quelconque.", "254" ], [ "", "ARTICLES.", "" ], [ "I.", "Des Cadences, & de tout ce qui a rapport à une conclusion de Chant.", "ibid." ], [ "II.", "Des Cadences imparfaites.", "257" ], [ "III.", "Comment on peut distinguer le Ton dans lequel les progressions de Cadences imparfaites ont lieu.", "258" ], [ "IV.", "Comment on peut distinguer dans une progression diatonique, si le Chant va se reposer sur la Notte tonique, ou sur la Dominante.", "264" ], [ "Chap. XXVI.", "De la maniere de pratiquer la Septiéme sur toutes les Nottes d’un Ton, en progression diatonique.", "266" ], [ "Chap. XXVII.", "Comment la même Dissonance peut avoir lieu dans plusieurs Accords consecutifs sur des Nottes differentes ; Et comment elle peut être sauvée sur des Nottes qui nous paroissent étrangeres.", "267" ], [ "Chap. XXVIII.", "De toutes les Licences ; & premierement de la Cadence rompuë.", "270" ], [ "Chap. XXIX.", "De l’Accord de la Quinte-superfluë.", "273" ], [ "Chap. XXX.", "De l’Accord de la Neuviéme.", "275" ], [ "Chap. XXXI.", "De l’Accord de la Onziéme, dite Quarte.", "278" ], [ "Chap. XXXII.", "De l’Accord de la Septiéme-superfluë.", "281" ], [ "Chap. XXXIII.", "De l’Accord de la Seconde-superfluë, & de ses dérivez.", "282" ], [ "Chap. XXXIV.", "Du Chromatique.", "286" ], [ "", "ARTICLES.", "" ], [ "I.", "Du Chromatique en descendant.", "ibid." ], [ "II.", "Du Chromatique en montant.", "288" ], [ "Chap. XXXV.", "De la maniere de pratiquer tout ce qui a été dit jusqu’à présent.", "291" ], [ "", "ARTICLES.", "" ], [ "I.", "De la Progression de la Basse.", "ibid." ], [ "II.", "De l’usage des Accords consonans & dissonans.", "292" ], [ "III.", "Des Dissonances majeures causées par la Notte sensible, & des Nottes sur lesquelles elles se font.", "294" ] ] }, "en": { "columns": [ "Chapter / Article", "Subject", "Page" ], "rows": [ [ "Chap. XXV.", "Identifying the Chords Required by Bass Notes in Any Progression.", "254" ], [ "", "ARTICLES.", "" ], [ "I.", "Cadences and Everything Relating to a Melodic Conclusion.", "ibid." ], [ "II.", "Imperfect Cadences.", "257" ], [ "III.", "Identifying the Key of Imperfect-Cadence Progressions.", "258" ], [ "IV.", "Determining Whether a Diatonic Melody Will Rest on Tonic or Dominant.", "264" ], [ "Chap. XXVI.", "Using the Seventh on All Notes of a Key in Diatonic Progression.", "266" ], [ "Chap. XXVII.", "One Dissonance in Successive Chords on Different Notes, and Its Resolution on Seemingly Foreign Notes.", "267" ], [ "Chap. XXVIII.", "All Licenses, Beginning with the Interrupted Cadence.", "270" ], [ "Chap. XXIX.", "Augmented-Fifth Chord.", "273" ], [ "Chap. XXX.", "Ninth Chord.", "275" ], [ "Chap. XXXI.", "Eleventh Chord, Called the Fourth.", "278" ], [ "Chap. XXXII.", "Augmented-Seventh Chord.", "281" ], [ "Chap. XXXIII.", "Augmented-Second Chord and Its Derivatives.", "282" ], [ "Chap. XXXIV.", "Chromatic Movement.", "286" ], [ "", "ARTICLES.", "" ], [ "I.", "Descending Chromatic Movement.", "ibid." ], [ "II.", "Ascending Chromatic Movement.", "288" ], [ "Chap. XXXV.", "Practicing Everything Explained So Far.", "291" ], [ "", "ARTICLES.", "" ], [ "I.", "Bass Progression.", "ibid." ], [ "II.", "Using Consonant and Dissonant Chords.", "292" ], [ "III.", "Major Dissonances Caused by the Leading Note, and Their Bass Notes.", "294" ] ] }, "simple": { "columns": [ "Chapter / Article", "Subject", "Page" ], "rows": [ [ "Chap. XXV.", "Identifying the Chords Required by Bass Notes in Any Progression.", "254" ], [ "", "ARTICLES.", "" ], [ "I.", "Cadences and Everything Relating to a Melodic Conclusion.", "ibid." ], [ "II.", "Imperfect Cadences.", "257" ], [ "III.", "Identifying the Key of Imperfect-Cadence Progressions.", "258" ], [ "IV.", "Determining Whether a Diatonic Melody Will Rest on Tonic or Dominant.", "264" ], [ "Chap. XXVI.", "Using the Seventh on All Notes of a Key in Diatonic Progression.", "266" ], [ "Chap. XXVII.", "One Dissonance in Successive Chords on Different Notes, and Its Resolution on Seemingly Foreign Notes.", "267" ], [ "Chap. XXVIII.", "All Licenses, Beginning with the Interrupted Cadence.", "270" ], [ "Chap. XXIX.", "Augmented-Fifth Chord.", "273" ], [ "Chap. XXX.", "Ninth Chord.", "275" ], [ "Chap. XXXI.", "Eleventh Chord, Called the Fourth.", "278" ], [ "Chap. XXXII.", "Augmented-Seventh Chord.", "281" ], [ "Chap. XXXIII.", "Augmented-Second Chord and Its Derivatives.", "282" ], [ "Chap. XXXIV.", "Chromatic Movement.", "286" ], [ "", "ARTICLES.", "" ], [ "I.", "Descending Chromatic Movement.", "ibid." ], [ "II.", "Ascending Chromatic Movement.", "288" ], [ "Chap. XXXV.", "Practicing Everything Explained So Far.", "291" ], [ "", "ARTICLES.", "" ], [ "I.", "Bass Progression.", "ibid." ], [ "II.", "Using Consonant and Dissonant Chords.", "292" ], [ "III.", "Major Dissonances Caused by the Leading Note, and Their Bass Notes.", "294" ] ] }, "caveman": { "columns": [ "Chapter / Article", "Subject", "Page" ], "rows": [ [ "Chap. XXV.", "Identifying the Chords Required by Bass Notes in Any Progression.", "254" ], [ "", "ARTICLES.", "" ], [ "I.", "Cadences and Everything Relating to a Melodic Conclusion.", "ibid." ], [ "II.", "Imperfect Cadences.", "257" ], [ "III.", "Identifying the Key of Imperfect-Cadence Progressions.", "258" ], [ "IV.", "Determining Whether a Diatonic Melody Will Rest on Tonic or Dominant.", "264" ], [ "Chap. XXVI.", "Using the Seventh on All Notes of a Key in Diatonic Progression.", "266" ], [ "Chap. XXVII.", "One Dissonance in Successive Chords on Different Notes, and Its Resolution on Seemingly Foreign Notes.", "267" ], [ "Chap. XXVIII.", "All Licenses, Beginning with the Interrupted Cadence.", "270" ], [ "Chap. XXIX.", "Augmented-Fifth Chord.", "273" ], [ "Chap. XXX.", "Ninth Chord.", "275" ], [ "Chap. XXXI.", "Eleventh Chord, Called the Fourth.", "278" ], [ "Chap. XXXII.", "Augmented-Seventh Chord.", "281" ], [ "Chap. XXXIII.", "Augmented-Second Chord and Its Derivatives.", "282" ], [ "Chap. XXXIV.", "Chromatic Movement.", "286" ], [ "", "ARTICLES.", "" ], [ "I.", "Descending Chromatic Movement.", "ibid." ], [ "II.", "Ascending Chromatic Movement.", "288" ], [ "Chap. XXXV.", "Practicing Everything Explained So Far.", "291" ], [ "", "ARTICLES.", "" ], [ "I.", "Bass Progression.", "ibid." ], [ "II.", "Using Consonant and Dissonant Chords.", "292" ], [ "III.", "Major Dissonances Caused by the Leading Note, and Their Bass Notes.", "294" ] ] } }, "asset_refs": [ "front-contents-014" ] }, { "id": "front-contents-015", "type": "image", "section": "front-contents", "lesson": 2, "exercise": 2, "reading_order": 36, "original": "IV. — Des Dissonances mineures. — 294\nV. — Des Consonances qui doivent être preferées, lorsqu’il s’agit de les doubler. — 295\nVI. — De la Mesure & du Temps. — ibid.\nVII. — De la Syncope. — 296\nChap. XXXVI. — De la Composition à deux Parties. — 299\nChap. XXXVII. — Des fausses Relations. — 302\nChap. XXXVIII. — De la maniere de faire un Chant au-dessus d’une Basse. — 303\nChap. XXXIX. — Du Chant figuré ou de la Supposition. — 308\nARTICLES.\nI. — Du Chant figuré par des Intervales Consonans. — ibid.\nII. — Du Chant figuré par des Intervales diatoniques. — 311\nChap. XL. — De la maniere de faire une Basse-fondamentale sous un Dessus. — 313\nChap. XLI. — La maniere de composer une Basse-Continuë sous un Dessus. — 323\nChap. XLII. — Remarques utiles sur le Chapitre précédent. — 327\nChap. XLIII. — Ce que l’on doit observer dans une Composition à deux, à trois & à quatre Parties. — 329\nChap. XLIV. — Du Dessein, de l’Imitation, & de la Fugue. — 331\nA la suite de tous ces Chapitres, on trouvera plusieurs Exemples avec un Quinque, & differents Canon.\nLIVRE QUATRIEME. — Principes d’Accompagnement.\nChap. I. — Comment on distingue les Intervales par la disposition du Clavier. — 363\nChap. II. — De la difference des Intervales majeurs, aux mineurs ; & de ceux qui sont justes, aux superflus & diminuez. — 366\nChap. III. — De la Position de la Main, & de l’arrangement des Doigts. — 371\nChap. IV. — De la maniere de trouver les Accords sur le Clavier. — 372\nChap. V. — Remarques utiles sur tous les Accords. — 377\nChap. VI. — Des Tons & des Modes. — 381", "english": "IV. — Minor Dissonances. — 294\nV. — Consonances Preferred for Doubling. — 295\nVI. — Meter and Beat. — ibid.\nVII. — Syncopation. — 296\nChap. XXXVI. — Two-Part Composition. — 299\nChap. XXXVII. — False Relations. — 302\nChap. XXXVIII. — Making a Melody above a Bass. — 303\nChap. XXXIX. — Figured Melody, or Supposition. — 308\nARTICLES.\nI. — Figured Melody through Consonant Intervals. — ibid.\nII. — Figured Melody through Diatonic Intervals. — 311\nChap. XL. — Making a Fundamental Bass beneath an Upper Part. — 313\nChap. XLI. — Composing a Continuo Bass beneath an Upper Part. — 323\nChap. XLII. — Useful Observations on the Previous Chapter. — 327\nChap. XLIII. — Rules for Composition in Two, Three, and Four Parts. — 329\nChap. XLIV. — Design, Imitation, and Fugue. — 331\nAfter these chapters come several examples, including a quintet and different canons.\nBOOK FOUR. — Principles of Accompaniment.\nChap. I. — Distinguishing Intervals through Keyboard Layout. — 363\nChap. II. — Differences between Major and Minor Intervals, and between Perfect, Augmented, and Diminished Intervals. — 366\nChap. III. — Hand Position and Finger Arrangement. — 371\nChap. IV. — Finding Chords on the Keyboard. — 372\nChap. V. — Useful Observations on All Chords. — 377\nChap. VI. — Keys and Modes. — 381", "sources": [ { "pdf_page": 15, "source_image": "source-pages/bnf-015.png", "printed_label": "PDF 15", "bbox_pixels": [ 400, 380, 2210, 3170 ], "crop_image": "assets/front-contents-008.png" } ], "tables": { "fr": { "columns": [ "Chapitre / Article", "Matiere", "Page" ], "rows": [ [ "IV.", "Des Dissonances mineures.", "294" ], [ "V.", "Des Consonances qui doivent être preferées, lorsqu’il s’agit de les doubler.", "295" ], [ "VI.", "De la Mesure & du Temps.", "ibid." ], [ "VII.", "De la Syncope.", "296" ], [ "Chap. XXXVI.", "De la Composition à deux Parties.", "299" ], [ "Chap. XXXVII.", "Des fausses Relations.", "302" ], [ "Chap. XXXVIII.", "De la maniere de faire un Chant au-dessus d’une Basse.", "303" ], [ "Chap. XXXIX.", "Du Chant figuré ou de la Supposition.", "308" ], [ "", "ARTICLES.", "" ], [ "I.", "Du Chant figuré par des Intervales Consonans.", "ibid." ], [ "II.", "Du Chant figuré par des Intervales diatoniques.", "311" ], [ "Chap. XL.", "De la maniere de faire une Basse-fondamentale sous un Dessus.", "313" ], [ "Chap. XLI.", "La maniere de composer une Basse-Continuë sous un Dessus.", "323" ], [ "Chap. XLII.", "Remarques utiles sur le Chapitre précédent.", "327" ], [ "Chap. XLIII.", "Ce que l’on doit observer dans une Composition à deux, à trois & à quatre Parties.", "329" ], [ "Chap. XLIV.", "Du Dessein, de l’Imitation, & de la Fugue.", "331" ], [ "", "A la suite de tous ces Chapitres, on trouvera plusieurs Exemples avec un Quinque, & differents Canon.", "" ], [ "LIVRE QUATRIEME.", "Principes d’Accompagnement.", "" ], [ "Chap. I.", "Comment on distingue les Intervales par la disposition du Clavier.", "363" ], [ "Chap. II.", "De la difference des Intervales majeurs, aux mineurs ; & de ceux qui sont justes, aux superflus & diminuez.", "366" ], [ "Chap. III.", "De la Position de la Main, & de l’arrangement des Doigts.", "371" ], [ "Chap. IV.", "De la maniere de trouver les Accords sur le Clavier.", "372" ], [ "Chap. V.", "Remarques utiles sur tous les Accords.", "377" ], [ "Chap. VI.", "Des Tons & des Modes.", "381" ] ] }, "en": { "columns": [ "Chapter / Article", "Subject", "Page" ], "rows": [ [ "IV.", "Minor Dissonances.", "294" ], [ "V.", "Consonances Preferred for Doubling.", "295" ], [ "VI.", "Meter and Beat.", "ibid." ], [ "VII.", "Syncopation.", "296" ], [ "Chap. XXXVI.", "Two-Part Composition.", "299" ], [ "Chap. XXXVII.", "False Relations.", "302" ], [ "Chap. XXXVIII.", "Making a Melody above a Bass.", "303" ], [ "Chap. XXXIX.", "Figured Melody, or Supposition.", "308" ], [ "", "ARTICLES.", "" ], [ "I.", "Figured Melody through Consonant Intervals.", "ibid." ], [ "II.", "Figured Melody through Diatonic Intervals.", "311" ], [ "Chap. XL.", "Making a Fundamental Bass beneath an Upper Part.", "313" ], [ "Chap. XLI.", "Composing a Continuo Bass beneath an Upper Part.", "323" ], [ "Chap. XLII.", "Useful Observations on the Previous Chapter.", "327" ], [ "Chap. XLIII.", "Rules for Composition in Two, Three, and Four Parts.", "329" ], [ "Chap. XLIV.", "Design, Imitation, and Fugue.", "331" ], [ "", "After these chapters come several examples, including a quintet and different canons.", "" ], [ "BOOK FOUR.", "Principles of Accompaniment.", "" ], [ "Chap. I.", "Distinguishing Intervals through Keyboard Layout.", "363" ], [ "Chap. II.", "Differences between Major and Minor Intervals, and between Perfect, Augmented, and Diminished Intervals.", "366" ], [ "Chap. III.", "Hand Position and Finger Arrangement.", "371" ], [ "Chap. IV.", "Finding Chords on the Keyboard.", "372" ], [ "Chap. V.", "Useful Observations on All Chords.", "377" ], [ "Chap. VI.", "Keys and Modes.", "381" ] ] }, "simple": { "columns": [ "Chapter / Article", "Subject", "Page" ], "rows": [ [ "IV.", "Minor Dissonances.", "294" ], [ "V.", "Consonances Preferred for Doubling.", "295" ], [ "VI.", "Meter and Beat.", "ibid." ], [ "VII.", "Syncopation.", "296" ], [ "Chap. XXXVI.", "Two-Part Composition.", "299" ], [ "Chap. XXXVII.", "False Relations.", "302" ], [ "Chap. XXXVIII.", "Making a Melody above a Bass.", "303" ], [ "Chap. XXXIX.", "Figured Melody, or Supposition.", "308" ], [ "", "ARTICLES.", "" ], [ "I.", "Figured Melody through Consonant Intervals.", "ibid." ], [ "II.", "Figured Melody through Diatonic Intervals.", "311" ], [ "Chap. XL.", "Making a Fundamental Bass beneath an Upper Part.", "313" ], [ "Chap. XLI.", "Composing a Continuo Bass beneath an Upper Part.", "323" ], [ "Chap. XLII.", "Useful Observations on the Previous Chapter.", "327" ], [ "Chap. XLIII.", "Rules for Composition in Two, Three, and Four Parts.", "329" ], [ "Chap. XLIV.", "Design, Imitation, and Fugue.", "331" ], [ "", "After these chapters come several examples, including a quintet and different canons.", "" ], [ "BOOK FOUR.", "Principles of Accompaniment.", "" ], [ "Chap. I.", "Distinguishing Intervals through Keyboard Layout.", "363" ], [ "Chap. II.", "Differences between Major and Minor Intervals, and between Perfect, Augmented, and Diminished Intervals.", "366" ], [ "Chap. III.", "Hand Position and Finger Arrangement.", "371" ], [ "Chap. IV.", "Finding Chords on the Keyboard.", "372" ], [ "Chap. V.", "Useful Observations on All Chords.", "377" ], [ "Chap. VI.", "Keys and Modes.", "381" ] ] }, "caveman": { "columns": [ "Chapter / Article", "Subject", "Page" ], "rows": [ [ "IV.", "Minor Dissonances.", "294" ], [ "V.", "Consonances Preferred for Doubling.", "295" ], [ "VI.", "Meter and Beat.", "ibid." ], [ "VII.", "Syncopation.", "296" ], [ "Chap. XXXVI.", "Two-Part Composition.", "299" ], [ "Chap. XXXVII.", "False Relations.", "302" ], [ "Chap. XXXVIII.", "Making a Melody above a Bass.", "303" ], [ "Chap. XXXIX.", "Figured Melody, or Supposition.", "308" ], [ "", "ARTICLES.", "" ], [ "I.", "Figured Melody through Consonant Intervals.", "ibid." ], [ "II.", "Figured Melody through Diatonic Intervals.", "311" ], [ "Chap. XL.", "Making a Fundamental Bass beneath an Upper Part.", "313" ], [ "Chap. XLI.", "Composing a Continuo Bass beneath an Upper Part.", "323" ], [ "Chap. XLII.", "Useful Observations on the Previous Chapter.", "327" ], [ "Chap. XLIII.", "Rules for Composition in Two, Three, and Four Parts.", "329" ], [ "Chap. XLIV.", "Design, Imitation, and Fugue.", "331" ], [ "", "After these chapters come several examples, including a quintet and different canons.", "" ], [ "BOOK FOUR.", "Principles of Accompaniment.", "" ], [ "Chap. I.", "Distinguishing Intervals through Keyboard Layout.", "363" ], [ "Chap. II.", "Differences between Major and Minor Intervals, and between Perfect, Augmented, and Diminished Intervals.", "366" ], [ "Chap. III.", "Hand Position and Finger Arrangement.", "371" ], [ "Chap. IV.", "Finding Chords on the Keyboard.", "372" ], [ "Chap. V.", "Useful Observations on All Chords.", "377" ], [ "Chap. VI.", "Keys and Modes.", "381" ] ] } }, "asset_refs": [ "front-contents-015" ] }, { "id": "front-contents-016", "type": "image", "section": "front-contents", "lesson": 2, "exercise": 2, "reading_order": 37, "original": "Chap. VII. — De l’ordre qu’il faut se prescrire pour la suite des Accords qui se rencontrent dans l’étenduë de l’Octave de chaque Ton. — 388\nChap. VIII. — Regles generales. — 392\nChap. IX. — Des differens Accords qui doivent suivre celui de la Septiéme sur une Notte en même degré. Art. I. & II. — 397\nChap. X. — De l’Accord de la Seconde. — 401\nChap. XI. — Des Accords de Sixte. — 402\nChap. XII. — De l’Accord de la Seconde superfluë, & de ses dérivez. — 404\nChap. XIII. — Des Accords par supposition. — 406\nARTICLES.\nI. — De la Neuviéme. — ibid.\nII. — De l’Accord de la Quinte-superfluë. — 407\nIII. — De l’Accord de la Septiéme-superfluë. — ibid.\nIV. — De l’Accord de la Onziéme, dite Quarte. — ibid.\nChap. XIV. — Observations sur le rapport de tous les Accords précédens. — 408\nChap. XV. — De la maniere de préparer & de sauver toutes les Dissonances, d’où l’on tire la connoissance du Ton dans lequel on est ; & des Accords que doit porter chaque Notte de ce Ton. — 411\nARTICLES.\nI. — De la Dissonance majeure. — ibid.\nII. — De la Dissonance mineure. — 414\nChap. XVI. — Du Chromatique. — 416\nChap. XVII. — Récapitulation des differentes suites d’Accords. — 418\nChap. XVIII. — Regles necessaires pour bien accompagner. — 426\nChap. XIX. — De la maniere de chiffrer une Basse-Continuë, & de connoître les Accords que chaque chiffre dénotte. — 428\nChap. XX. — Comment on peut distinguer dans une Basse les Nottes qui doivent porter un Accord. — 429", "english": "Chap. VII. — Order of Chord Succession within Each Key’s Octave. — 388\nChap. VIII. — General Rules. — 392\nChap. IX. — Different Chords Following the Seventh Chord on a Stationary Note. Articles I and II. — 397\nChap. X. — Second Chord. — 401\nChap. XI. — Sixth Chords. — 402\nChap. XII. — Augmented-Second Chord and Its Derivatives. — 404\nChap. XIII. — Chords by Supposition. — 406\nARTICLES.\nI. — Ninth. — ibid.\nII. — Augmented-Fifth Chord. — 407\nIII. — Augmented-Seventh Chord. — ibid.\nIV. — Eleventh Chord, Called the Fourth. — ibid.\nChap. XIV. — Relationships among All the Preceding Chords. — 408\nChap. XV. — Preparing and Resolving All Dissonances to Identify the Current Key and the Chords Belonging to Each of Its Notes. — 411\nARTICLES.\nI. — Major Dissonance. — ibid.\nII. — Minor Dissonance. — 414\nChap. XVI. — Chromatic Movement. — 416\nChap. XVII. — Recapitulation of Different Chord Successions. — 418\nChap. XVIII. — Rules Needed for Good Accompaniment. — 426\nChap. XIX. — Figuring a Continuo Bass and Identifying the Chord Denoted by Each Figure. — 428\nChap. XX. — Distinguishing the Bass Notes That Must Bear a Chord. — 429", "sources": [ { "pdf_page": 16, "source_image": "source-pages/bnf-016.png", "printed_label": "PDF 16", "bbox_pixels": [ 400, 340, 2210, 2800 ], "crop_image": "assets/front-contents-009.png" } ], "tables": { "fr": { "columns": [ "Chapitre / Article", "Matiere", "Page" ], "rows": [ [ "Chap. VII.", "De l’ordre qu’il faut se prescrire pour la suite des Accords qui se rencontrent dans l’étenduë de l’Octave de chaque Ton.", "388" ], [ "Chap. VIII.", "Regles generales.", "392" ], [ "Chap. IX.", "Des differens Accords qui doivent suivre celui de la Septiéme sur une Notte en même degré. Art. I. & II.", "397" ], [ "Chap. X.", "De l’Accord de la Seconde.", "401" ], [ "Chap. XI.", "Des Accords de Sixte.", "402" ], [ "Chap. XII.", "De l’Accord de la Seconde superfluë, & de ses dérivez.", "404" ], [ "Chap. XIII.", "Des Accords par supposition.", "406" ], [ "", "ARTICLES.", "" ], [ "I.", "De la Neuviéme.", "ibid." ], [ "II.", "De l’Accord de la Quinte-superfluë.", "407" ], [ "III.", "De l’Accord de la Septiéme-superfluë.", "ibid." ], [ "IV.", "De l’Accord de la Onziéme, dite Quarte.", "ibid." ], [ "Chap. XIV.", "Observations sur le rapport de tous les Accords précédens.", "408" ], [ "Chap. XV.", "De la maniere de préparer & de sauver toutes les Dissonances, d’où l’on tire la connoissance du Ton dans lequel on est ; & des Accords que doit porter chaque Notte de ce Ton.", "411" ], [ "", "ARTICLES.", "" ], [ "I.", "De la Dissonance majeure.", "ibid." ], [ "II.", "De la Dissonance mineure.", "414" ], [ "Chap. XVI.", "Du Chromatique.", "416" ], [ "Chap. XVII.", "Récapitulation des differentes suites d’Accords.", "418" ], [ "Chap. XVIII.", "Regles necessaires pour bien accompagner.", "426" ], [ "Chap. XIX.", "De la maniere de chiffrer une Basse-Continuë, & de connoître les Accords que chaque chiffre dénotte.", "428" ], [ "Chap. XX.", "Comment on peut distinguer dans une Basse les Nottes qui doivent porter un Accord.", "429" ] ] }, "en": { "columns": [ "Chapter / Article", "Subject", "Page" ], "rows": [ [ "Chap. VII.", "Order of Chord Succession within Each Key’s Octave.", "388" ], [ "Chap. VIII.", "General Rules.", "392" ], [ "Chap. IX.", "Different Chords Following the Seventh Chord on a Stationary Note. Articles I and II.", "397" ], [ "Chap. X.", "Second Chord.", "401" ], [ "Chap. XI.", "Sixth Chords.", "402" ], [ "Chap. XII.", "Augmented-Second Chord and Its Derivatives.", "404" ], [ "Chap. XIII.", "Chords by Supposition.", "406" ], [ "", "ARTICLES.", "" ], [ "I.", "Ninth.", "ibid." ], [ "II.", "Augmented-Fifth Chord.", "407" ], [ "III.", "Augmented-Seventh Chord.", "ibid." ], [ "IV.", "Eleventh Chord, Called the Fourth.", "ibid." ], [ "Chap. XIV.", "Relationships among All the Preceding Chords.", "408" ], [ "Chap. XV.", "Preparing and Resolving All Dissonances to Identify the Current Key and the Chords Belonging to Each of Its Notes.", "411" ], [ "", "ARTICLES.", "" ], [ "I.", "Major Dissonance.", "ibid." ], [ "II.", "Minor Dissonance.", "414" ], [ "Chap. XVI.", "Chromatic Movement.", "416" ], [ "Chap. XVII.", "Recapitulation of Different Chord Successions.", "418" ], [ "Chap. XVIII.", "Rules Needed for Good Accompaniment.", "426" ], [ "Chap. XIX.", "Figuring a Continuo Bass and Identifying the Chord Denoted by Each Figure.", "428" ], [ "Chap. XX.", "Distinguishing the Bass Notes That Must Bear a Chord.", "429" ] ] }, "simple": { "columns": [ "Chapter / Article", "Subject", "Page" ], "rows": [ [ "Chap. VII.", "Order of Chord Succession within Each Key’s Octave.", "388" ], [ "Chap. VIII.", "General Rules.", "392" ], [ "Chap. IX.", "Different Chords Following the Seventh Chord on a Stationary Note. Articles I and II.", "397" ], [ "Chap. X.", "Second Chord.", "401" ], [ "Chap. XI.", "Sixth Chords.", "402" ], [ "Chap. XII.", "Augmented-Second Chord and Its Derivatives.", "404" ], [ "Chap. XIII.", "Chords by Supposition.", "406" ], [ "", "ARTICLES.", "" ], [ "I.", "Ninth.", "ibid." ], [ "II.", "Augmented-Fifth Chord.", "407" ], [ "III.", "Augmented-Seventh Chord.", "ibid." ], [ "IV.", "Eleventh Chord, Called the Fourth.", "ibid." ], [ "Chap. XIV.", "Relationships among All the Preceding Chords.", "408" ], [ "Chap. XV.", "Preparing and Resolving All Dissonances to Identify the Current Key and the Chords Belonging to Each of Its Notes.", "411" ], [ "", "ARTICLES.", "" ], [ "I.", "Major Dissonance.", "ibid." ], [ "II.", "Minor Dissonance.", "414" ], [ "Chap. XVI.", "Chromatic Movement.", "416" ], [ "Chap. XVII.", "Recapitulation of Different Chord Successions.", "418" ], [ "Chap. XVIII.", "Rules Needed for Good Accompaniment.", "426" ], [ "Chap. XIX.", "Figuring a Continuo Bass and Identifying the Chord Denoted by Each Figure.", "428" ], [ "Chap. XX.", "Distinguishing the Bass Notes That Must Bear a Chord.", "429" ] ] }, "caveman": { "columns": [ "Chapter / Article", "Subject", "Page" ], "rows": [ [ "Chap. VII.", "Order of Chord Succession within Each Key’s Octave.", "388" ], [ "Chap. VIII.", "General Rules.", "392" ], [ "Chap. IX.", "Different Chords Following the Seventh Chord on a Stationary Note. Articles I and II.", "397" ], [ "Chap. X.", "Second Chord.", "401" ], [ "Chap. XI.", "Sixth Chords.", "402" ], [ "Chap. XII.", "Augmented-Second Chord and Its Derivatives.", "404" ], [ "Chap. XIII.", "Chords by Supposition.", "406" ], [ "", "ARTICLES.", "" ], [ "I.", "Ninth.", "ibid." ], [ "II.", "Augmented-Fifth Chord.", "407" ], [ "III.", "Augmented-Seventh Chord.", "ibid." ], [ "IV.", "Eleventh Chord, Called the Fourth.", "ibid." ], [ "Chap. XIV.", "Relationships among All the Preceding Chords.", "408" ], [ "Chap. XV.", "Preparing and Resolving All Dissonances to Identify the Current Key and the Chords Belonging to Each of Its Notes.", "411" ], [ "", "ARTICLES.", "" ], [ "I.", "Major Dissonance.", "ibid." ], [ "II.", "Minor Dissonance.", "414" ], [ "Chap. XVI.", "Chromatic Movement.", "416" ], [ "Chap. XVII.", "Recapitulation of Different Chord Successions.", "418" ], [ "Chap. XVIII.", "Rules Needed for Good Accompaniment.", "426" ], [ "Chap. XIX.", "Figuring a Continuo Bass and Identifying the Chord Denoted by Each Figure.", "428" ], [ "Chap. XX.", "Distinguishing the Bass Notes That Must Bear a Chord.", "429" ] ] } }, "asset_refs": [ "front-contents-016" ] }, { "id": "front-contents-end", "type": "paragraph", "section": "front-contents", "lesson": 2, "exercise": 2, "reading_order": 38, "original": "FIN DE LA TABLE DES MATIERES.", "english": "END OF CONTENTS.", "sources": [ { "pdf_page": 16, "source_image": "source-pages/bnf-016.png", "printed_label": "PDF 16", "bbox_pixels": [ 600, 3230, 1950, 130 ], "crop_image": "assets/front-contents-010.png" } ] }, { "id": "front-terms-001", "type": "heading", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 39, "original": "TABLE,\nContenant une Explication des Termes dont l’intelligence est necessaire.", "english": "TABLE,\nExplaining Terms That Must Be Understood.", "sources": [ { "pdf_page": 17, "source_image": "source-pages/bnf-017.png", "printed_label": "PDF 17", "bbox_pixels": [ 430, 465, 2150, 390 ], "crop_image": "assets/front-terms-001.png" } ] }, { "id": "front-terms-002", "type": "heading", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 40, "original": "A", "english": "A", "sources": [ { "pdf_page": 17, "source_image": "source-pages/bnf-017.png", "printed_label": "PDF 17", "bbox_pixels": [ 430, 880, 1080, 70 ], "crop_image": "assets/front-terms-002.png" } ] }, { "id": "front-terms-003", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 41, "original": "ACCOMPAGNEMENT. Voyez le quatriéme Livre. page 363", "english": "ACCOMPANIMENT. See Book Four. page 363", "sources": [ { "pdf_page": 17, "source_image": "source-pages/bnf-017.png", "printed_label": "PDF 17", "bbox_pixels": [ 430, 950, 1080, 160 ], "crop_image": "assets/front-terms-003.png" } ] }, { "id": "front-terms-004", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 42, "original": "ACCORD. Il n’y a qu’un seul Accord dont les autres proviennent, ils peuvent-tous se réduire en une division par Tierces, au moyen du Renversement, Chap. VII. du Livre I. 102. 114. 126. 127 & 128", "english": "CHORD. There is only one chord from which the others arise. All can be reduced to a division by thirds through inversion. Chapter VII, Book I. 102. 114. 126. 127 and 128", "sources": [ { "pdf_page": 17, "source_image": "source-pages/bnf-017.png", "printed_label": "PDF 17", "bbox_pixels": [ 430, 1110, 1080, 510 ], "crop_image": "assets/front-terms-004.png" } ] }, { "id": "front-terms-005", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 43, "original": "Le principe de tous les Accords reside dans un son unique. 5. 127. & 133", "english": "The principle of every chord resides in a single sound. 5. 127 and 133", "sources": [ { "pdf_page": 17, "source_image": "source-pages/bnf-017.png", "printed_label": "PDF 17", "bbox_pixels": [ 430, 1620, 1080, 230 ], "crop_image": "assets/front-terms-005.png" } ] }, { "id": "front-terms-006", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 44, "original": "Il n’y a que l’Accord parfait & celui de la Septiéme. 45. 61. 378. & 379", "english": "There are only the perfect chord and the seventh chord. 45. 61. 378 and 379", "sources": [ { "pdf_page": 17, "source_image": "source-pages/bnf-017.png", "printed_label": "PDF 17", "bbox_pixels": [ 430, 1850, 1080, 225 ], "crop_image": "assets/front-terms-006.png" } ] }, { "id": "front-terms-007", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 45, "original": "Rien n’est plus facile que de pratiquer les Accords Consonans, & même les Dissonans, par le moyen des regles fondamentales de l’Harmonie, dont on peut tirer tout le Chant imaginable, &c. Par ce moyen l’on n’ignore jamais les sons qui servent à rendre les Accords complets. 72. & 73", "english": "Nothing is easier than using consonant and even dissonant chords through the fundamental rules of harmony, from which every imaginable melody may be drawn, and so forth. This always reveals the sounds needed to complete the chords. 72 and 73", "sources": [ { "pdf_page": 17, "source_image": "source-pages/bnf-017.png", "printed_label": "PDF 17", "bbox_pixels": [ 430, 2070, 1080, 745 ], "crop_image": "assets/front-terms-007.png" } ] }, { "id": "front-terms-008", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 46, "original": "L’Accord de la Septiéme est toûjours contenu dans les Accords par supposition. 74. & 75", "english": "The seventh chord is always contained in chords by supposition. 74 and 75", "sources": [ { "pdf_page": 17, "source_image": "source-pages/bnf-017.png", "printed_label": "PDF 17", "bbox_pixels": [ 430, 2815, 1080, 225 ], "crop_image": "assets/front-terms-008.png" } ] }, { "id": "front-terms-009", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 47, "original": "Tout Accord Dissonant ne peut être composé que de l’union des Consonances. 95", "english": "Every dissonant chord consists only of combined consonances. 95", "sources": [ { "pdf_page": 17, "source_image": "source-pages/bnf-017.png", "printed_label": "PDF 17", "bbox_pixels": [ 430, 3035, 1080, 220 ], "crop_image": "assets/front-terms-009.png" } ] }, { "id": "front-terms-010", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 48, "original": "Il ne faut pas seulement examiner l’effet que produisent les Sons d’un Accord à l’égard de la Basse, mais encore celui qu’ils produisent entr’eux, pour pouvoir en tirer de justes consequences. page 96", "english": "To draw sound conclusions, examine not only how chord sounds affect the bass but also how they affect one another. page 96", "sources": [ { "pdf_page": 17, "source_image": "source-pages/bnf-017.png", "printed_label": "PDF 17", "bbox_pixels": [ 430, 3255, 1080, 165 ], "crop_image": "assets/front-terms-010.png" }, { "pdf_page": 17, "source_image": "source-pages/bnf-017.png", "printed_label": "PDF 17", "bbox_pixels": [ 1510, 880, 1070, 365 ], "crop_image": "assets/front-terms-011.png" } ] }, { "id": "front-terms-012", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 49, "original": "On peut donner un Accord Conso-sonant à toutes les Nottes d’une Basse, qui procede par des Intervales consonans. 395", "english": "Every bass note moving by consonant intervals may receive a consonant chord [printed “Conso-sonant”]. 395", "sources": [ { "pdf_page": 17, "source_image": "source-pages/bnf-017.png", "printed_label": "PDF 17", "bbox_pixels": [ 1510, 1250, 1070, 300 ], "crop_image": "assets/front-terms-012.png" } ] }, { "id": "front-terms-013", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 50, "original": "Voyez Parfait, Regle, Consonance, & Octave.", "english": "See Perfect, Rule, Consonance, and Octave.", "sources": [ { "pdf_page": 17, "source_image": "source-pages/bnf-017.png", "printed_label": "PDF 17", "bbox_pixels": [ 1510, 1545, 1070, 160 ], "crop_image": "assets/front-terms-013.png" } ] }, { "id": "front-terms-014", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 51, "original": "AIGU. C’est le veritable nom qu’on doit donner aux Sons hauts, de même que Grave est celui qu’on donne aux Sons bas.", "english": "HIGH-PITCHED. This is the proper name for high sounds, just as low-pitched names low sounds.", "sources": [ { "pdf_page": 17, "source_image": "source-pages/bnf-017.png", "printed_label": "PDF 17", "bbox_pixels": [ 1510, 1705, 1070, 300 ], "crop_image": "assets/front-terms-014.png" } ] }, { "id": "front-terms-015", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 52, "original": "Les Sons Aigus sont contenus dans le Grave. 3. & 5", "english": "High sounds are contained in the low sound. 3 and 5", "sources": [ { "pdf_page": 17, "source_image": "source-pages/bnf-017.png", "printed_label": "PDF 17", "bbox_pixels": [ 1510, 2000, 1070, 160 ], "crop_image": "assets/front-terms-015.png" } ] }, { "id": "front-terms-016", "type": "heading", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 53, "original": "B", "english": "B", "sources": [ { "pdf_page": 17, "source_image": "source-pages/bnf-017.png", "printed_label": "PDF 17", "bbox_pixels": [ 1510, 2160, 1070, 70 ], "crop_image": "assets/front-terms-016.png" } ] }, { "id": "front-terms-017", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 54, "original": "BASSE-FONDAMENTALE, ou Son-Fondamental. La Basse-Fondamentale ne peut subsister si elle ne regne toûjours au-dessous des autres parties. page 134", "english": "FUNDAMENTAL BASS, or FUNDAMENTAL SOUND. The fundamental bass cannot subsist unless it always prevails below the other parts. page 134", "sources": [ { "pdf_page": 17, "source_image": "source-pages/bnf-017.png", "printed_label": "PDF 17", "bbox_pixels": [ 1510, 2225, 1070, 380 ], "crop_image": "assets/front-terms-017.png" } ] }, { "id": "front-terms-018", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 55, "original": "Voyez Sous-entendre & Supposer.", "english": "See Imply and Suppose.", "sources": [ { "pdf_page": 17, "source_image": "source-pages/bnf-017.png", "printed_label": "PDF 17", "bbox_pixels": [ 1510, 2600, 1070, 80 ], "crop_image": "assets/front-terms-018.png" } ] }, { "id": "front-terms-019", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 56, "original": "Les seuls Intervales affectez à la Progression de la Basse-Fondamentale sont, la Tierce, la Quinte, & la Septiéme. 49. jusqu’à 51", "english": "The only intervals assigned to fundamental-bass progression are the third, fifth, and seventh. 49 through 51", "sources": [ { "pdf_page": 17, "source_image": "source-pages/bnf-017.png", "printed_label": "PDF 17", "bbox_pixels": [ 1510, 2675, 1070, 300 ], "crop_image": "assets/front-terms-019.png" } ] }, { "id": "front-terms-020", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 57, "original": "La plus parfaite Progression de cette Basse consiste en descendant de Tierce, de Quinte, & de Septiéme. 132", "english": "Its most perfect progression descends by thirds, fifths, and sevenths. 132", "sources": [ { "pdf_page": 17, "source_image": "source-pages/bnf-017.png", "printed_label": "PDF 17", "bbox_pixels": [ 1510, 2970, 1070, 300 ], "crop_image": "assets/front-terms-020.png" } ] }, { "id": "front-terms-021", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 58, "original": "La plus parfaite de ces Progressions est celle de la Quinte, où il semble que cette Quinte retourne à sa source, &c. pag. 129", "english": "The most perfect of these is the fifth, which seems to return to its source, and so forth. page 129", "sources": [ { "pdf_page": 17, "source_image": "source-pages/bnf-017.png", "printed_label": "PDF 17", "bbox_pixels": [ 1510, 3265, 1070, 165 ], "crop_image": "assets/front-terms-021.png" }, { "pdf_page": 18, "source_image": "source-pages/bnf-018.png", "printed_label": "PDF 18", "bbox_pixels": [ 430, 370, 1080, 155 ], "crop_image": "assets/front-terms-022.png" } ] }, { "id": "front-terms-023", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 59, "original": "C’est de cette Progression que se forme la Cadence parfaite. 57", "english": "This progression forms the perfect cadence. 57", "sources": [ { "pdf_page": 18, "source_image": "source-pages/bnf-018.png", "printed_label": "PDF 18", "bbox_pixels": [ 430, 525, 1080, 155 ], "crop_image": "assets/front-terms-023.png" } ] }, { "id": "front-terms-024", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 60, "original": "La Dissonance ne peut être préparée ni sauvée que dans l’une de ces Progressions. 81. 87. & 110", "english": "Dissonance can be prepared and resolved only in one of these progressions. 81. 87 and 110", "sources": [ { "pdf_page": 18, "source_image": "source-pages/bnf-018.png", "printed_label": "PDF 18", "bbox_pixels": [ 430, 675, 1080, 225 ], "crop_image": "assets/front-terms-024.png" } ] }, { "id": "front-terms-025", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 61, "original": "Lorsque la Basse-Fondamentale procede par les mêmes Intervales en montant, la Dissonance ne peut y être préparée. 84. jusqu’à 87", "english": "When the fundamental bass ascends by these same intervals, the dissonance cannot be prepared. 84 through 87", "sources": [ { "pdf_page": 18, "source_image": "source-pages/bnf-018.png", "printed_label": "PDF 18", "bbox_pixels": [ 430, 900, 1080, 375 ], "crop_image": "assets/front-terms-025.png" } ] }, { "id": "front-terms-026", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 62, "original": "Descendre de Quinte, ou monter de Quarte, c’est la même chose à l’égard de ces Progressions. 185", "english": "Descending a fifth and ascending a fourth are equivalent in these progressions. 185", "sources": [ { "pdf_page": 18, "source_image": "source-pages/bnf-018.png", "printed_label": "PDF 18", "bbox_pixels": [ 430, 1275, 1080, 225 ], "crop_image": "assets/front-terms-026.png" } ] }, { "id": "front-terms-027", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 63, "original": "Zarlino compare la Basse à la Terre, & dit qu’elle doit proceder par des mouvemens lents & separez. 49", "english": "Zarlino compares the bass to the earth and says it must move slowly and by separate steps. 49", "sources": [ { "pdf_page": 18, "source_image": "source-pages/bnf-018.png", "printed_label": "PDF 18", "bbox_pixels": [ 430, 1500, 1080, 300 ], "crop_image": "assets/front-terms-027.png" } ] }, { "id": "front-terms-028", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 64, "original": "Les mêmes Intervales qui servent à la Progression de la Basse-Fondamentale, doivent aussi l’accompagner. 52", "english": "The intervals used for fundamental-bass progression must also accompany it. 52", "sources": [ { "pdf_page": 18, "source_image": "source-pages/bnf-018.png", "printed_label": "PDF 18", "bbox_pixels": [ 430, 1800, 1080, 300 ], "crop_image": "assets/front-terms-028.png" } ] }, { "id": "front-terms-029", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 65, "original": "La Basse-Fondamentale fait un très-bon effet dans les Chœurs de Musique. 138", "english": "The fundamental bass produces a very good effect in choruses. 138", "sources": [ { "pdf_page": 18, "source_image": "source-pages/bnf-018.png", "printed_label": "PDF 18", "bbox_pixels": [ 430, 2095, 1080, 230 ], "crop_image": "assets/front-terms-029.png" } ] }, { "id": "front-terms-030", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 66, "original": "Voyez Cadence, Principe, & Progression.", "english": "See Cadence, Principle, and Progression.", "sources": [ { "pdf_page": 18, "source_image": "source-pages/bnf-018.png", "printed_label": "PDF 18", "bbox_pixels": [ 430, 2325, 1080, 150 ], "crop_image": "assets/front-terms-030.png" } ] }, { "id": "front-terms-031", "type": "heading", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 67, "original": "C", "english": "C", "sources": [ { "pdf_page": 18, "source_image": "source-pages/bnf-018.png", "printed_label": "PDF 18", "bbox_pixels": [ 430, 2490, 1080, 70 ], "crop_image": "assets/front-terms-031.png" } ] }, { "id": "front-terms-032", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 68, "original": "CADENCE. La Cadence parfaite se forme dans la Basse-Fondamentale d’une Progression en descendant de Quinte, ou en montant de Quarte. page 50", "english": "CADENCE. A perfect cadence is formed by a fundamental bass descending a fifth or ascending a fourth. page 50", "sources": [ { "pdf_page": 18, "source_image": "source-pages/bnf-018.png", "printed_label": "PDF 18", "bbox_pixels": [ 430, 2630, 1080, 380 ], "crop_image": "assets/front-terms-032.png" } ] }, { "id": "front-terms-033", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 69, "original": "On peut tirer de la Cadence parfaite une preuve du lieu que doit occuper la Dissonance. 53", "english": "The perfect cadence proves where dissonance belongs. 53", "sources": [ { "pdf_page": 18, "source_image": "source-pages/bnf-018.png", "printed_label": "PDF 18", "bbox_pixels": [ 430, 3010, 1080, 225 ], "crop_image": "assets/front-terms-033.png" } ] }, { "id": "front-terms-034", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 70, "original": "Ce que c’est que la Cadence parfaite. 54", "english": "Definition of the perfect cadence. 54", "sources": [ { "pdf_page": 18, "source_image": "source-pages/bnf-018.png", "printed_label": "PDF 18", "bbox_pixels": [ 430, 3230, 1080, 150 ], "crop_image": "assets/front-terms-034.png" } ] }, { "id": "front-terms-035", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 71, "original": "Elle détermine la Progression de tous les Intervales, à l’exception de l’Octave & de la Quinte &c. page 55", "english": "It determines every interval’s progression except the octave and fifth, and so forth. page 55", "sources": [ { "pdf_page": 18, "source_image": "source-pages/bnf-018.png", "printed_label": "PDF 18", "bbox_pixels": [ 430, 3380, 1080, 150 ], "crop_image": "assets/front-terms-035.png" }, { "pdf_page": 18, "source_image": "source-pages/bnf-018.png", "printed_label": "PDF 18", "bbox_pixels": [ 1510, 370, 1070, 155 ], "crop_image": "assets/front-terms-036.png" } ] }, { "id": "front-terms-037", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 72, "original": "Exemple de la Cadence parfaite. 57", "english": "Example of the perfect cadence. 57", "sources": [ { "pdf_page": 18, "source_image": "source-pages/bnf-018.png", "printed_label": "PDF 18", "bbox_pixels": [ 1510, 525, 1070, 80 ], "crop_image": "assets/front-terms-037.png" } ] }, { "id": "front-terms-038", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 73, "original": "Zarlin, après avoir dit que si la Basse venoit à manquer, la Piece de Musique seroit remplie de confusion, & que dans une Cadence parfaite, la Basse devoit descendre de Quinte ; oublie cette Basse presque dans tous ses Exemples. 58", "english": "Zarlino says music would be confused without a bass and that a perfect cadence’s bass should descend a fifth, yet forgets this bass in almost all his examples. 58", "sources": [ { "pdf_page": 18, "source_image": "source-pages/bnf-018.png", "printed_label": "PDF 18", "bbox_pixels": [ 1510, 605, 1070, 600 ], "crop_image": "assets/front-terms-038.png" } ] }, { "id": "front-terms-039", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 74, "original": "La Cadence est appellée Rompuë, lorsque la Dominante monte diatoniquement dans la Basse ou dans les autres Parties. 61. jusqu’à 63", "english": "A cadence is called interrupted when the dominant ascends diatonically in the bass or other parts. 61 through 63", "sources": [ { "pdf_page": 18, "source_image": "source-pages/bnf-018.png", "printed_label": "PDF 18", "bbox_pixels": [ 1510, 1205, 1070, 370 ], "crop_image": "assets/front-terms-039.png" } ] }, { "id": "front-terms-040", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 75, "original": "Cette Cadence n’est admise que par licence. 110", "english": "This cadence is admitted only by license. 110", "sources": [ { "pdf_page": 18, "source_image": "source-pages/bnf-018.png", "printed_label": "PDF 18", "bbox_pixels": [ 1510, 1575, 1070, 150 ], "crop_image": "assets/front-terms-040.png" } ] }, { "id": "front-terms-041", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 76, "original": "Les fruits qu’on en peut tirer. 271. & 272", "english": "Benefits obtainable from it. 271 and 272", "sources": [ { "pdf_page": 18, "source_image": "source-pages/bnf-018.png", "printed_label": "PDF 18", "bbox_pixels": [ 1510, 1725, 1070, 155 ], "crop_image": "assets/front-terms-041.png" } ] }, { "id": "front-terms-042", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 77, "original": "La Cadence est appellée Irreguliere, lorsque la Basse monte de Quinte, &c. Il s’y trouve une Dissonance dont la Progression est irreguliere, mais cette Dissonance peut toûjours en être retranchée. Voyez le Supplément.", "english": "A cadence is called irregular when the bass ascends a fifth, and so forth. It contains a dissonance with irregular progression, but that dissonance can always be omitted. See the Supplement.", "sources": [ { "pdf_page": 18, "source_image": "source-pages/bnf-018.png", "printed_label": "PDF 18", "bbox_pixels": [ 1510, 1880, 1070, 520 ], "crop_image": "assets/front-terms-042.png" } ] }, { "id": "front-terms-043", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 78, "original": "La Cadence est appellée imparfaite, lorsque la Basse de la Cadence parfaite n’y est point entenduë, dans les occasions où elle peut y être sous-entenduë. 257", "english": "A cadence is called imperfect when the perfect cadence’s bass is absent but can be implied. 257", "sources": [ { "pdf_page": 18, "source_image": "source-pages/bnf-018.png", "printed_label": "PDF 18", "bbox_pixels": [ 1510, 2400, 1070, 380 ], "crop_image": "assets/front-terms-043.png" } ] }, { "id": "front-terms-044", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 79, "original": "La connoissance de toutes ces Cadences est très-necessaire pour l’intelligence de l’Harmonie. Voyez le Supplément.", "english": "Knowing all these cadences is essential to understanding harmony. See the Supplement.", "sources": [ { "pdf_page": 18, "source_image": "source-pages/bnf-018.png", "printed_label": "PDF 18", "bbox_pixels": [ 1510, 2780, 1070, 300 ], "crop_image": "assets/front-terms-044.png" } ] }, { "id": "front-terms-045", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 80, "original": "Le renversement de ces Cadences donne lieu à la diversité de l’Harmonie, & à la Production de la Melodie. 67", "english": "Inverting these cadences creates harmonic variety and produces melody. 67", "sources": [ { "pdf_page": 18, "source_image": "source-pages/bnf-018.png", "printed_label": "PDF 18", "bbox_pixels": [ 1510, 3075, 1070, 305 ], "crop_image": "assets/front-terms-045.png" } ] }, { "id": "front-terms-046", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 81, "original": "Par quels moyens on peut entretenir une longue suite de Chant, & d’Accords, sans y introduire aucune Conclusion. page 68", "english": "Ways to maintain a long sequence of melody and chords without any conclusion. page 68", "sources": [ { "pdf_page": 18, "source_image": "source-pages/bnf-018.png", "printed_label": "PDF 18", "bbox_pixels": [ 1510, 3380, 1070, 155 ], "crop_image": "assets/front-terms-046.png" }, { "pdf_page": 19, "source_image": "source-pages/bnf-019.png", "printed_label": "PDF 19", "bbox_pixels": [ 430, 355, 1080, 155 ], "crop_image": "assets/front-terms-047.png" } ] }, { "id": "front-terms-048", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 82, "original": "Comment on peut distinguer une Cadence de son imitation. 68. & 69", "english": "Distinguishing a cadence from its imitation. 68 and 69", "sources": [ { "pdf_page": 19, "source_image": "source-pages/bnf-019.png", "printed_label": "PDF 19", "bbox_pixels": [ 430, 510, 1080, 220 ], "crop_image": "assets/front-terms-048.png" } ] }, { "id": "front-terms-049", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 83, "original": "Comment on peut éviter les Cadences en les imitant. 70", "english": "Evading cadences by imitating them. 70", "sources": [ { "pdf_page": 19, "source_image": "source-pages/bnf-019.png", "printed_label": "PDF 19", "bbox_pixels": [ 430, 740, 1080, 145 ], "crop_image": "assets/front-terms-049.png" } ] }, { "id": "front-terms-050", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 84, "original": "L’exemple de ceci est écrit regulierement dans le Supplément.", "english": "The example is written correctly in the Supplement.", "sources": [ { "pdf_page": 19, "source_image": "source-pages/bnf-019.png", "printed_label": "PDF 19", "bbox_pixels": [ 430, 890, 1080, 145 ], "crop_image": "assets/front-terms-050.png" } ] }, { "id": "front-terms-051", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 85, "original": "La Progression des Accords par supposition tire son origine des trois Cadences premieres. 75. & 77", "english": "Progression of chords by supposition originates in the first three cadences. 75 and 77", "sources": [ { "pdf_page": 19, "source_image": "source-pages/bnf-019.png", "printed_label": "PDF 19", "bbox_pixels": [ 430, 1035, 1080, 300 ], "crop_image": "assets/front-terms-051.png" } ] }, { "id": "front-terms-052", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 86, "original": "La Modulation se tire de la Cadence parfaite. 144. 145. & 148", "english": "Modulation derives from the perfect cadence. 144. 145 and 148", "sources": [ { "pdf_page": 19, "source_image": "source-pages/bnf-019.png", "printed_label": "PDF 19", "bbox_pixels": [ 430, 1335, 1080, 155 ], "crop_image": "assets/front-terms-052.png" } ] }, { "id": "front-terms-053", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 87, "original": "La Cadence parfaite suffit pour rendre raison de toutes les regles de la Musique. 129", "english": "The perfect cadence suffices to explain every musical rule. 129", "sources": [ { "pdf_page": 19, "source_image": "source-pages/bnf-019.png", "printed_label": "PDF 19", "bbox_pixels": [ 430, 1490, 1080, 220 ], "crop_image": "assets/front-terms-053.png" } ] }, { "id": "front-terms-054", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 88, "original": "CANON. Ce que c’est que Canon. 359. jusqu’à 362", "english": "CANON. Definition of canon. 359 through 362", "sources": [ { "pdf_page": 19, "source_image": "source-pages/bnf-019.png", "printed_label": "PDF 19", "bbox_pixels": [ 430, 1710, 1080, 150 ], "crop_image": "assets/front-terms-054.png" } ] }, { "id": "front-terms-055", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 89, "original": "CENTRE. Le principe de l’Harmonie peut être regardé comme le Centre Harmonique. 127", "english": "CENTER. The principle of harmony may be regarded as the harmonic center. 127", "sources": [ { "pdf_page": 19, "source_image": "source-pages/bnf-019.png", "printed_label": "PDF 19", "bbox_pixels": [ 430, 1860, 1080, 220 ], "crop_image": "assets/front-terms-055.png" } ] }, { "id": "front-terms-056", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 90, "original": "CHOC. Il se rencontre un Choc entre les Sons, dont l’effet a du rapport à celui des Corps solides. Voyez le Supplément.", "english": "CLASH. Sounds clash in a way related to the collision of solid bodies. See the Supplement.", "sources": [ { "pdf_page": 19, "source_image": "source-pages/bnf-019.png", "printed_label": "PDF 19", "bbox_pixels": [ 430, 2080, 1080, 290 ], "crop_image": "assets/front-terms-056.png" } ] }, { "id": "front-terms-057", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 91, "original": "Ce choc se fait entre la Dissonance & la Consonance dont elle approche le plus. Ibid.", "english": "This clash occurs between a dissonance and its nearest consonance. Ibid.", "sources": [ { "pdf_page": 19, "source_image": "source-pages/bnf-019.png", "printed_label": "PDF 19", "bbox_pixels": [ 430, 2370, 1080, 220 ], "crop_image": "assets/front-terms-057.png" } ] }, { "id": "front-terms-058", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 92, "original": "COMMA. Comment on peut s’instruire de la quantité de Coma dont l’Intervale du Ton est composé. 27", "english": "COMMA. Determining how many commas make up a whole tone. 27", "sources": [ { "pdf_page": 19, "source_image": "source-pages/bnf-019.png", "printed_label": "PDF 19", "bbox_pixels": [ 430, 2590, 1080, 300 ], "crop_image": "assets/front-terms-058.png" } ] }, { "id": "front-terms-059", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 93, "original": "Il y a une raison fort inferieure à celle du Coma, qui est necessaire à la formation des Intervales. Ibid.", "english": "A ratio much smaller than the comma is needed to form the intervals. Ibid.", "sources": [ { "pdf_page": 19, "source_image": "source-pages/bnf-019.png", "printed_label": "PDF 19", "bbox_pixels": [ 430, 2890, 1080, 285 ], "crop_image": "assets/front-terms-059.png" } ] }, { "id": "front-terms-060", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 94, "original": "CHROMATIQUE. Le genre Chromatique naît d’une Progression par Semi-Tons. Il n’a lieu principalement dans l’Harmonie qu’entre la sixiéme & la septiéme Nottes des Tons Mineurs. page 293", "english": "CHROMATIC. The chromatic genus arises from semitone progression. In harmony it occurs chiefly between the sixth and seventh notes of minor keys. page 293", "sources": [ { "pdf_page": 19, "source_image": "source-pages/bnf-019.png", "printed_label": "PDF 19", "bbox_pixels": [ 430, 3175, 1080, 320 ], "crop_image": "assets/front-terms-060.png" }, { "pdf_page": 19, "source_image": "source-pages/bnf-019.png", "printed_label": "PDF 19", "bbox_pixels": [ 1510, 355, 1070, 150 ], "crop_image": "assets/front-terms-061.png" } ] }, { "id": "front-terms-062", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 95, "original": "C’est en rendant la Notte Tonique Dominante Tonique qu’on s’apperçoit du Chromatique. 70", "english": "Making the tonic a tonic dominant reveals the chromatic. 70", "sources": [ { "pdf_page": 19, "source_image": "source-pages/bnf-019.png", "printed_label": "PDF 19", "bbox_pixels": [ 1510, 505, 1070, 225 ], "crop_image": "assets/front-terms-062.png" } ] }, { "id": "front-terms-063", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 96, "original": "Lorsqu’une Partie procede par Semi-Tons, cela s’appelle, Progression Chromatique.", "english": "A part moving by semitones has a chromatic progression.", "sources": [ { "pdf_page": 19, "source_image": "source-pages/bnf-019.png", "printed_label": "PDF 19", "bbox_pixels": [ 1510, 730, 1070, 225 ], "crop_image": "assets/front-terms-063.png" } ] }, { "id": "front-terms-064", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 97, "original": "COMPOSER. COMPOSITION. C’est, en termes de Musique, sçavoir inventer des Chants agréables, & mêlanger plusieurs Sons ensemble, qui produisent un bon effet ; donner à chacun de ces Sons une Progression convenable ; bien connoître le rapport que tous les Intervales & tous les Accords ont entre-eux ; en un mot, c’est sçavoir mettre en pratique tout ce qui peut servir à rendre une Musique parfaite.", "english": "COMPOSE. COMPOSITION. In music, this means inventing pleasing melodies and combining sounds to good effect; giving each sound an appropriate progression; understanding the relationships among all intervals and chords; in short, putting into practice everything that can make music perfect.", "sources": [ { "pdf_page": 19, "source_image": "source-pages/bnf-019.png", "printed_label": "PDF 19", "bbox_pixels": [ 1510, 955, 1070, 1045 ], "crop_image": "assets/front-terms-064.png" } ] }, { "id": "front-terms-065", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 98, "original": "La Composition doit être enseignée d’abord à 4. Parties. 239. & 240.", "english": "Composition should first be taught in 4 parts. 239 and 240", "sources": [ { "pdf_page": 19, "source_image": "source-pages/bnf-019.png", "printed_label": "PDF 19", "bbox_pixels": [ 1510, 2000, 1070, 155 ], "crop_image": "assets/front-terms-065.png" } ] }, { "id": "front-terms-066", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 99, "original": "Les qualitez necessaires pour bien Composer. 143. & 162", "english": "Qualities required for good composition. 143 and 162", "sources": [ { "pdf_page": 19, "source_image": "source-pages/bnf-019.png", "printed_label": "PDF 19", "bbox_pixels": [ 1510, 2155, 1070, 155 ], "crop_image": "assets/front-terms-066.png" } ] }, { "id": "front-terms-067", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 100, "original": "L’Accompagnement est, en quelque façon, necessaire pour arriver plûtôt à la connoissance de la Composition. 140", "english": "Accompaniment is, in a sense, necessary for reaching an understanding of composition sooner. 140", "sources": [ { "pdf_page": 19, "source_image": "source-pages/bnf-019.png", "printed_label": "PDF 19", "bbox_pixels": [ 1510, 2310, 1070, 280 ], "crop_image": "assets/front-terms-067.png" } ] }, { "id": "front-terms-068", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 101, "original": "CONJOINT. Progression conjointe ou Degrez conjoints. Cette Progression renferme la Diatonique, & la Chromatique.", "english": "CONJUNCT. Conjunct progression or steps include diatonic and chromatic motion.", "sources": [ { "pdf_page": 19, "source_image": "source-pages/bnf-019.png", "printed_label": "PDF 19", "bbox_pixels": [ 1510, 2590, 1070, 300 ], "crop_image": "assets/front-terms-068.png" } ] }, { "id": "front-terms-069", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 102, "original": "Voyez Diatonique & Chromatique.", "english": "See Diatonic and Chromatic.", "sources": [ { "pdf_page": 19, "source_image": "source-pages/bnf-019.png", "printed_label": "PDF 19", "bbox_pixels": [ 1510, 2890, 1070, 155 ], "crop_image": "assets/front-terms-069.png" } ] }, { "id": "front-terms-070", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 103, "original": "CONSONANCE. C’est un Intervale dont l’union des Sons qui le forment, plaît infiniment à l’oreille. Toutes les Consonances consistent dans les Intervales de Tierce, de Quarte, de Quinte, & de Sixte ; d’où l’on dit, Progression Consonante, pour donner à entendre que le Chant doit proceder par l’un de ces Intervales.", "english": "CONSONANCE. An interval whose combined sounds greatly please the ear. All consonances consist of thirds, fourths, fifths, and sixths. “Consonant progression” means that the melody moves by one of these intervals.", "sources": [ { "pdf_page": 19, "source_image": "source-pages/bnf-019.png", "printed_label": "PDF 19", "bbox_pixels": [ 1510, 3045, 1070, 450 ], "crop_image": "assets/front-terms-070.png" }, { "pdf_page": 20, "source_image": "source-pages/bnf-020.png", "printed_label": "PDF 20", "bbox_pixels": [ 430, 370, 1080, 380 ], "crop_image": "assets/front-terms-071.png" } ] }, { "id": "front-terms-072", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 104, "original": "De l’origine des Consonances, de l’ordre qu’elles y observent, de l’ordre de leur perfection, & du rapport qu’elles ont entr’elles. page 3. 4. 5. 15. & 16", "english": "Origin of consonances, their order there, order of perfection, and mutual relationships. pages 3. 4. 5. 15 and 16", "sources": [ { "pdf_page": 20, "source_image": "source-pages/bnf-020.png", "printed_label": "PDF 20", "bbox_pixels": [ 430, 750, 1080, 385 ], "crop_image": "assets/front-terms-072.png" } ] }, { "id": "front-terms-073", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 105, "original": "Il n’y a que trois Consonances premieres. 13. & 14", "english": "There are only three primary consonances. 13 and 14", "sources": [ { "pdf_page": 20, "source_image": "source-pages/bnf-020.png", "printed_label": "PDF 20", "bbox_pixels": [ 430, 1135, 1080, 150 ], "crop_image": "assets/front-terms-073.png" } ] }, { "id": "front-terms-074", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 106, "original": "Il y a des Consonances Dissonantes. 96. & 102", "english": "There are dissonant consonances. 96 and 102", "sources": [ { "pdf_page": 20, "source_image": "source-pages/bnf-020.png", "printed_label": "PDF 20", "bbox_pixels": [ 430, 1285, 1080, 155 ], "crop_image": "assets/front-terms-074.png" } ] }, { "id": "front-terms-075", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 107, "original": "CONTREPOINT, c’est-à-dire, Composition. Parmi les gens de l’Art, on entend par le mot de Contrepoint, une Musique composée sur un sujet particulier, qui se tire ordinairement des Chants de l’Eglise.", "english": "COUNTERPOINT means composition. Among practitioners, it means music composed on a particular subject, ordinarily taken from church chant.", "sources": [ { "pdf_page": 20, "source_image": "source-pages/bnf-020.png", "printed_label": "PDF 20", "bbox_pixels": [ 430, 1440, 1080, 515 ], "crop_image": "assets/front-terms-075.png" } ] }, { "id": "front-terms-076", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 108, "original": "Le Contrepoint se divise en simple, figuré, &c. Voyez le Dictionnaire de Monsieur de Brossard.", "english": "Counterpoint is divided into simple, figured, and other types. See Monsieur de Brossard’s Dictionary.", "sources": [ { "pdf_page": 20, "source_image": "source-pages/bnf-020.png", "printed_label": "PDF 20", "bbox_pixels": [ 430, 1955, 1080, 225 ], "crop_image": "assets/front-terms-076.png" } ] }, { "id": "front-terms-077", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 109, "original": "Il est bon de sçavoir à cette occasion, que le Plein-Chant ayant été composé dans un temps où l’on ne connoissoit pas encore la bonne Modulation, il peche à tout moment contre l’ordre naturel ; de sorte que, pour y assujettir l’Harmonie qu’on veut y joindre, on est obligé de suivre de certaines regles, qui ne peuvent participer que des défauts de ce Plein-Chant, puisqu’il en est l’objet.", "english": "Plainchant was composed before good modulation was understood and constantly violates the natural order. To fit harmony to it, one must follow rules sharing the defects of that plainchant, since it is their object.", "sources": [ { "pdf_page": 20, "source_image": "source-pages/bnf-020.png", "printed_label": "PDF 20", "bbox_pixels": [ 430, 2180, 1080, 980 ], "crop_image": "assets/front-terms-077.png" } ] }, { "id": "front-terms-078", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 110, "original": "Cela n’empêche pas cependant que plusieurs Musiciens ne soient encore prevenus en faveur de ces regles, sans se mettre en peine de leur principe : au lieu que ceux qui sont un peu sensibles à la veritable Harmonie, les regardent comme hors d’œuvre ; d’autant que la bonne Modulation leur en fournit de plus simples & de plus justes, avec lesquelles ils sont seurs de ne se pas tromper, pourvû qu’on leur donne pour sujet (comme cela se doit absolument) un Chant conforme à l’ordre de cette bonne Modulation. Voyez Plein-Chant cy-après, & pour une plus grande satisfaction, voyez encore les Chap. XVIII. XIX. & XXI. du second Livre.", "english": "Nevertheless, many musicians still favor these rules without considering their principle. Those sensitive to true harmony regard them as extraneous, since good modulation supplies simpler, sounder rules that ensure correctness, provided the subject—as it absolutely should—follows good modulation. See Plainchant below, and for further satisfaction Book II, Chapters XVIII, XIX, and XXI.", "sources": [ { "pdf_page": 20, "source_image": "source-pages/bnf-020.png", "printed_label": "PDF 20", "bbox_pixels": [ 430, 3160, 1080, 385 ], "crop_image": "assets/front-terms-078.png" }, { "pdf_page": 20, "source_image": "source-pages/bnf-020.png", "printed_label": "PDF 20", "bbox_pixels": [ 1510, 370, 1070, 1220 ], "crop_image": "assets/front-terms-079.png" } ] }, { "id": "front-terms-080", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 111, "original": "CORDE. C’est par le moyen d’une Corde tenduë de maniere qu’elle puisse rendre un Son, qu’on s’instruit du rapport des Sons. page 2", "english": "STRING. A string stretched to produce a sound teaches us the relationships between sounds. page 2", "sources": [ { "pdf_page": 20, "source_image": "source-pages/bnf-020.png", "printed_label": "PDF 20", "bbox_pixels": [ 1510, 1650, 1070, 305 ], "crop_image": "assets/front-terms-080.png" } ] }, { "id": "front-terms-081", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 112, "original": "Il n’y a qu’à diviser cette Corde selon la Progression naturelle des nombres, pour en tirer tous les avantages necessaires à l’égard de l’Harmonie. 3. 4. 15. 16. & 21", "english": "Divide this string according to the natural sequence of numbers to obtain every necessary harmonic benefit. 3. 4. 15. 16 and 21", "sources": [ { "pdf_page": 20, "source_image": "source-pages/bnf-020.png", "printed_label": "PDF 20", "bbox_pixels": [ 1510, 1955, 1070, 380 ], "crop_image": "assets/front-terms-081.png" } ] }, { "id": "front-terms-082", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 113, "original": "Le Son est au Son ce que la Corde est à la Corde. 3", "english": "Sound relates to sound as string relates to string. 3", "sources": [ { "pdf_page": 20, "source_image": "source-pages/bnf-020.png", "printed_label": "PDF 20", "bbox_pixels": [ 1510, 2335, 1070, 150 ], "crop_image": "assets/front-terms-082.png" } ] }, { "id": "front-terms-083", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 114, "original": "On dit ordinairement, voilà de belles Cordes, pour exprimer les beautez qu’on trouve dans l’Harmonie & dans la Melodie.", "english": "People commonly say “beautiful strings” to express beauties found in harmony and melody.", "sources": [ { "pdf_page": 20, "source_image": "source-pages/bnf-020.png", "printed_label": "PDF 20", "bbox_pixels": [ 1510, 2485, 1070, 285 ], "crop_image": "assets/front-terms-083.png" } ] }, { "id": "front-terms-084", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 115, "original": "CORPS. L’unité qui est le principe des nombres, nous represente le Corps-Sonore, dont on tire la preuve du rapport des Sons. 18", "english": "BODY. Unity, the principle of numbers, represents the sounding body from which relationships between sounds are proved. 18", "sources": [ { "pdf_page": 20, "source_image": "source-pages/bnf-020.png", "printed_label": "PDF 20", "bbox_pixels": [ 1510, 2770, 1070, 310 ], "crop_image": "assets/front-terms-084.png" } ] }, { "id": "front-terms-085", "type": "heading", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 116, "original": "D", "english": "D", "sources": [ { "pdf_page": 20, "source_image": "source-pages/bnf-020.png", "printed_label": "PDF 20", "bbox_pixels": [ 1510, 3140, 1070, 100 ], "crop_image": "assets/front-terms-085.png" } ] }, { "id": "front-terms-086", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 117, "original": "DIATONIQUE. Progression Diatonique, c’est faire proceder le Chant par les degrez successifs de la voix naturelle, selon l’ordre de la Gamme, ou du Systême Diatonique parfait. page 23", "english": "DIATONIC. Diatonic progression moves the melody through successive degrees of the natural voice, following the scale or perfect diatonic system. page 23", "sources": [ { "pdf_page": 20, "source_image": "source-pages/bnf-020.png", "printed_label": "PDF 20", "bbox_pixels": [ 1510, 3300, 1070, 255 ], "crop_image": "assets/front-terms-086.png" }, { "pdf_page": 21, "source_image": "source-pages/bnf-021.png", "printed_label": "PDF 21", "bbox_pixels": [ 430, 395, 1080, 230 ], "crop_image": "assets/front-terms-087.png" } ] }, { "id": "front-terms-088", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 118, "original": "Voyez Systême, & Progression.", "english": "See System and Progression.", "sources": [ { "pdf_page": 21, "source_image": "source-pages/bnf-021.png", "printed_label": "PDF 21", "bbox_pixels": [ 430, 625, 1080, 85 ], "crop_image": "assets/front-terms-088.png" } ] }, { "id": "front-terms-089", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 119, "original": "DISJOINT. Progression Disjointe, cette Progression renferme la Consonante & la Dissonante.", "english": "DISJUNCT. Disjunct progression includes consonant and dissonant motion.", "sources": [ { "pdf_page": 21, "source_image": "source-pages/bnf-021.png", "printed_label": "PDF 21", "bbox_pixels": [ 430, 710, 1080, 220 ], "crop_image": "assets/front-terms-089.png" } ] }, { "id": "front-terms-090", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 120, "original": "Voyez Consonance & Dissonance.", "english": "See Consonance and Dissonance.", "sources": [ { "pdf_page": 21, "source_image": "source-pages/bnf-021.png", "printed_label": "PDF 21", "bbox_pixels": [ 430, 925, 1080, 85 ], "crop_image": "assets/front-terms-090.png" } ] }, { "id": "front-terms-091", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 121, "original": "DISSONANCE. C’est le nom des Intervales qui choquent, en quelque façon, l’oreille ; d’où l’on dit, Progression Dissonante, pour donner à entendre que le Chant doit proceder par l’un de ces Intervales.", "english": "DISSONANCE. Intervals that in some way strike against the ear. “Dissonant progression” means melodic movement by one of these intervals.", "sources": [ { "pdf_page": 21, "source_image": "source-pages/bnf-021.png", "printed_label": "PDF 21", "bbox_pixels": [ 430, 1000, 1080, 515 ], "crop_image": "assets/front-terms-091.png" } ] }, { "id": "front-terms-092", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 122, "original": "De l’Origine des Dissonances, & de leur rapport. 22. 24. & 27", "english": "Origin and relationships of dissonances. 22. 24 and 27", "sources": [ { "pdf_page": 21, "source_image": "source-pages/bnf-021.png", "printed_label": "PDF 21", "bbox_pixels": [ 430, 1515, 1080, 160 ], "crop_image": "assets/front-terms-092.png" } ] }, { "id": "front-terms-093", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 123, "original": "L’Accord de la Septiéme est l’origine de tous les Accords Dissonans. 31. & 38. jusqu’à 45. 96. 98. & 101", "english": "The seventh chord is the origin of all dissonant chords. 31 and 38 through 45. 96. 98 and 101", "sources": [ { "pdf_page": 21, "source_image": "source-pages/bnf-021.png", "printed_label": "PDF 21", "bbox_pixels": [ 430, 1670, 1080, 295 ], "crop_image": "assets/front-terms-093.png" } ] }, { "id": "front-terms-094", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 124, "original": "Toutes les Dissonances se distinguent en majeures & en mineures, de même que les Tierces d’où elles tirent leur origine, & dont elles suivent par consequent les proprietez. 45. 55. 81. & 130", "english": "All dissonances are major or minor, like the thirds from which they originate and whose properties they consequently follow. 45. 55. 81 and 130", "sources": [ { "pdf_page": 21, "source_image": "source-pages/bnf-021.png", "printed_label": "PDF 21", "bbox_pixels": [ 430, 1965, 1080, 435 ], "crop_image": "assets/front-terms-094.png" } ] }, { "id": "front-terms-095", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 125, "original": "La Notte sensible est l’origine de toutes les Dissonances majeures. 56. & 137", "english": "The leading note is the origin of all major dissonances. 56 and 137", "sources": [ { "pdf_page": 21, "source_image": "source-pages/bnf-021.png", "printed_label": "PDF 21", "bbox_pixels": [ 430, 2400, 1080, 245 ], "crop_image": "assets/front-terms-095.png" } ] }, { "id": "front-terms-096", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 126, "original": "La Dissonance majeure n’est telle que lorsque la mineure y est jointe. 137", "english": "A major dissonance is such only when joined by the minor dissonance. 137", "sources": [ { "pdf_page": 21, "source_image": "source-pages/bnf-021.png", "printed_label": "PDF 21", "bbox_pixels": [ 430, 2640, 1080, 230 ], "crop_image": "assets/front-terms-096.png" } ] }, { "id": "front-terms-097", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 127, "original": "La Septiéme est l’origine de toutes les Dissonances mineures. 98", "english": "The seventh is the origin of all minor dissonances. 98", "sources": [ { "pdf_page": 21, "source_image": "source-pages/bnf-021.png", "printed_label": "PDF 21", "bbox_pixels": [ 430, 2865, 1080, 155 ], "crop_image": "assets/front-terms-097.png" } ] }, { "id": "front-terms-098", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 128, "original": "La Dissonance ne doit être employée qu’avec beaucoup de discretion. 142", "english": "Dissonance must be used with great discretion. 142", "sources": [ { "pdf_page": 21, "source_image": "source-pages/bnf-021.png", "printed_label": "PDF 21", "bbox_pixels": [ 430, 3020, 1080, 205 ], "crop_image": "assets/front-terms-098.png" } ] }, { "id": "front-terms-099", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 129, "original": "Réflexion sur la maniere de sauver les Dissonances. 137", "english": "Reflection on resolving dissonances. 137", "sources": [ { "pdf_page": 21, "source_image": "source-pages/bnf-021.png", "printed_label": "PDF 21", "bbox_pixels": [ 430, 3225, 1080, 155 ], "crop_image": "assets/front-terms-099.png" } ] }, { "id": "front-terms-100", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 130, "original": "Voyez Cadence, Division, Raison, Progression, Préparer, Sauver, Basse-Fondamentale, Seconde, Septiéme, & Tri-Ton.", "english": "See Cadence, Division, Ratio, Progression, Prepare, Resolve, Fundamental Bass, Second, Seventh, and Tritone.", "sources": [ { "pdf_page": 21, "source_image": "source-pages/bnf-021.png", "printed_label": "PDF 21", "bbox_pixels": [ 430, 3380, 1080, 155 ], "crop_image": "assets/front-terms-100.png" }, { "pdf_page": 21, "source_image": "source-pages/bnf-021.png", "printed_label": "PDF 21", "bbox_pixels": [ 1510, 385, 1070, 155 ], "crop_image": "assets/front-terms-101.png" } ] }, { "id": "front-terms-102", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 131, "original": "DOMINANTE. Ce que c’est que Dominante. pag. 56", "english": "DOMINANT. Definition of dominant. page 56", "sources": [ { "pdf_page": 21, "source_image": "source-pages/bnf-021.png", "printed_label": "PDF 21", "bbox_pixels": [ 1510, 540, 1070, 155 ], "crop_image": "assets/front-terms-102.png" } ] }, { "id": "front-terms-103", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 132, "original": "La distinction qu’on en fait. 68. 69. & 200", "english": "Distinctions among dominants. 68. 69 and 200", "sources": [ { "pdf_page": 21, "source_image": "source-pages/bnf-021.png", "printed_label": "PDF 21", "bbox_pixels": [ 1510, 690, 1070, 150 ], "crop_image": "assets/front-terms-103.png" } ] }, { "id": "front-terms-104", "type": "heading", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 133, "original": "E", "english": "E", "sources": [ { "pdf_page": 21, "source_image": "source-pages/bnf-021.png", "printed_label": "PDF 21", "bbox_pixels": [ 1510, 850, 1070, 90 ], "crop_image": "assets/front-terms-104.png" } ] }, { "id": "front-terms-105", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 134, "original": "EMPRUNT. C’est un terme nouveau dans la pratique, par lequel on distingue un certain genre d’Accords, qui ne peut se pratiquer que dans les Tons mineurs. pag. 43. 79. 80. & 81", "english": "BORROWING. A new practical term distinguishing a kind of chord usable only in minor keys. pages 43. 79. 80 and 81", "sources": [ { "pdf_page": 21, "source_image": "source-pages/bnf-021.png", "printed_label": "PDF 21", "bbox_pixels": [ 1510, 990, 1070, 530 ], "crop_image": "assets/front-terms-105.png" } ] }, { "id": "front-terms-106", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 135, "original": "La preuve de cet Emprunt. 282. jusqu’à 285. Voyez Seconde.", "english": "Proof of this borrowing. 282 through 285. See Second.", "sources": [ { "pdf_page": 21, "source_image": "source-pages/bnf-021.png", "printed_label": "PDF 21", "bbox_pixels": [ 1510, 1520, 1070, 145 ], "crop_image": "assets/front-terms-106.png" } ] }, { "id": "front-terms-107", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 136, "original": "EXPERIENCE. Voyez Musique.", "english": "EXPERIENCE. See Music.", "sources": [ { "pdf_page": 21, "source_image": "source-pages/bnf-021.png", "printed_label": "PDF 21", "bbox_pixels": [ 1510, 1665, 1070, 100 ], "crop_image": "assets/front-terms-107.png" } ] }, { "id": "front-terms-108", "type": "heading", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 137, "original": "F", "english": "F", "sources": [ { "pdf_page": 21, "source_image": "source-pages/bnf-021.png", "printed_label": "PDF 21", "bbox_pixels": [ 1510, 1800, 1070, 100 ], "crop_image": "assets/front-terms-108.png" } ] }, { "id": "front-terms-109", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 138, "original": "FONDAMENTALE, voyez Basse-Fondamentale.", "english": "FUNDAMENTAL. See Fundamental Bass.", "sources": [ { "pdf_page": 21, "source_image": "source-pages/bnf-021.png", "printed_label": "PDF 21", "bbox_pixels": [ 1510, 1950, 1070, 175 ], "crop_image": "assets/front-terms-109.png" } ] }, { "id": "front-terms-110", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 139, "original": "FUGUE. La Fugue est un ornement dans la Musique, qui n’a pour principe que le bon goût. p. 358", "english": "FUGUE. A musical ornament whose only principle is good taste. page 358", "sources": [ { "pdf_page": 21, "source_image": "source-pages/bnf-021.png", "printed_label": "PDF 21", "bbox_pixels": [ 1510, 2115, 1070, 230 ], "crop_image": "assets/front-terms-110.png" } ] }, { "id": "front-terms-111", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 140, "original": "C’est peut-être en faveur des Pieces à quatre Parties, que la Fugue a été inventée. 331", "english": "Fugue may have been invented for four-part pieces. 331", "sources": [ { "pdf_page": 21, "source_image": "source-pages/bnf-021.png", "printed_label": "PDF 21", "bbox_pixels": [ 1510, 2340, 1070, 220 ], "crop_image": "assets/front-terms-111.png" } ] }, { "id": "front-terms-112", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 141, "original": "Si l’on en veut sçavoir davantage sur ce sujet, il n’y a qu’à lire le Chapitre XLIII. du troisiéme Livre.", "english": "For more on this subject, read Book III, Chapter XLIII.", "sources": [ { "pdf_page": 21, "source_image": "source-pages/bnf-021.png", "printed_label": "PDF 21", "bbox_pixels": [ 1510, 2555, 1070, 300 ], "crop_image": "assets/front-terms-112.png" } ] }, { "id": "front-terms-113", "type": "heading", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 142, "original": "G", "english": "G", "sources": [ { "pdf_page": 21, "source_image": "source-pages/bnf-021.png", "printed_label": "PDF 21", "bbox_pixels": [ 1510, 2855, 1070, 90 ], "crop_image": "assets/front-terms-113.png" } ] }, { "id": "front-terms-114", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 143, "original": "GRAVE. Voyez Aigu.", "english": "LOW-PITCHED. See High-Pitched.", "sources": [ { "pdf_page": 21, "source_image": "source-pages/bnf-021.png", "printed_label": "PDF 21", "bbox_pixels": [ 1510, 2945, 1070, 180 ], "crop_image": "assets/front-terms-114.png" } ] }, { "id": "front-terms-115", "type": "heading", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 144, "original": "H", "english": "H", "sources": [ { "pdf_page": 21, "source_image": "source-pages/bnf-021.png", "printed_label": "PDF 21", "bbox_pixels": [ 1510, 3150, 1070, 105 ], "crop_image": "assets/front-terms-115.png" } ] }, { "id": "front-terms-116", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 145, "original": "HARMONIE. C’est l’assemblage de plusieurs Sons, qui affectent agréablement l’oreille.", "english": "HARMONY. Several sounds combined to affect the ear agreeably.", "sources": [ { "pdf_page": 21, "source_image": "source-pages/bnf-021.png", "printed_label": "PDF 21", "bbox_pixels": [ 1510, 3300, 1070, 250 ], "crop_image": "assets/front-terms-116.png" } ] }, { "id": "front-terms-117", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 146, "original": "L’Harmonie ne se fait sentir que dans le premier instant de chaque Temps de la Mesure. p. 134", "english": "Harmony is perceived only at the first instant of each beat. page 134", "sources": [ { "pdf_page": 22, "source_image": "source-pages/bnf-022.png", "printed_label": "PDF 22", "bbox_pixels": [ 430, 365, 1080, 235 ], "crop_image": "assets/front-terms-117.png" } ] }, { "id": "front-terms-118", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 147, "original": "La Melodie provient de l’Harmonie. 23. 138. & 139", "english": "Melody comes from harmony. 23. 138 and 139", "sources": [ { "pdf_page": 22, "source_image": "source-pages/bnf-022.png", "printed_label": "PDF 22", "bbox_pixels": [ 430, 595, 1080, 155 ], "crop_image": "assets/front-terms-118.png" } ] }, { "id": "front-terms-119", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 148, "original": "La parfaite Harmonie consiste dans les quatre Parties. 140. & 141", "english": "Perfect harmony consists in four parts. 140 and 141", "sources": [ { "pdf_page": 22, "source_image": "source-pages/bnf-022.png", "printed_label": "PDF 22", "bbox_pixels": [ 430, 750, 1080, 165 ], "crop_image": "assets/front-terms-119.png" } ] }, { "id": "front-terms-120", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 149, "original": "La Progression Harmonique provient de la Progression Arithmetique. 17. & 20", "english": "Harmonic progression comes from arithmetic progression. 17 and 20", "sources": [ { "pdf_page": 22, "source_image": "source-pages/bnf-022.png", "printed_label": "PDF 22", "bbox_pixels": [ 430, 910, 1080, 225 ], "crop_image": "assets/front-terms-120.png" } ] }, { "id": "front-terms-121", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 150, "original": "Voyez Cadence, Corde, Proportion, Melodie, Mesure, Musique, Nombre, & Principe.", "english": "See Cadence, String, Proportion, Melody, Meter, Music, Number, and Principle.", "sources": [ { "pdf_page": 22, "source_image": "source-pages/bnf-022.png", "printed_label": "PDF 22", "bbox_pixels": [ 430, 1135, 1080, 235 ], "crop_image": "assets/front-terms-121.png" } ] }, { "id": "front-terms-122", "type": "heading", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 151, "original": "I", "english": "I", "sources": [ { "pdf_page": 22, "source_image": "source-pages/bnf-022.png", "printed_label": "PDF 22", "bbox_pixels": [ 430, 1420, 1080, 110 ], "crop_image": "assets/front-terms-122.png" } ] }, { "id": "front-terms-123", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 152, "original": "IMITATION. Ce que c’est qu’Imitation. 193. & 332", "english": "IMITATION. Definition of imitation. 193 and 332", "sources": [ { "pdf_page": 22, "source_image": "source-pages/bnf-022.png", "printed_label": "PDF 22", "bbox_pixels": [ 430, 1570, 1080, 165 ], "crop_image": "assets/front-terms-123.png" } ] }, { "id": "front-terms-124", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 153, "original": "IMPARFAIT. Ce terme qui s’applique aux Consonances muables, telles que la Tierce & la Sixte, doit s’appliquer aussi aux Cadences renversées de la parfaite. Voyez Cadence.", "english": "IMPERFECT. This term applies to variable consonances such as the third and sixth, and should also apply to cadences inverted from the perfect cadence. See Cadence.", "sources": [ { "pdf_page": 22, "source_image": "source-pages/bnf-022.png", "printed_label": "PDF 22", "bbox_pixels": [ 430, 1735, 1080, 455 ], "crop_image": "assets/front-terms-124.png" } ] }, { "id": "front-terms-125", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 154, "original": "Il y a des Accords renversez du Parfait qu’on nomme, Imparfaits. 35", "english": "Some inversions of the perfect chord are called imperfect chords. 35", "sources": [ { "pdf_page": 22, "source_image": "source-pages/bnf-022.png", "printed_label": "PDF 22", "bbox_pixels": [ 430, 2190, 1080, 230 ], "crop_image": "assets/front-terms-125.png" } ] }, { "id": "front-terms-126", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 155, "original": "INTERVALE. Ce que c’est qu’Intervale, & le nom des Intervales. 2", "english": "INTERVAL. Definition and names of intervals. 2", "sources": [ { "pdf_page": 22, "source_image": "source-pages/bnf-022.png", "printed_label": "PDF 22", "bbox_pixels": [ 430, 2415, 1080, 155 ], "crop_image": "assets/front-terms-126.png" } ] }, { "id": "front-terms-127", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 156, "original": "Comment on distingue par les operations Arithmetiques les Intervales renversez de ceux qui ne le sont pas. 17", "english": "Distinguishing inverted intervals from uninverted ones through arithmetic operations. 17", "sources": [ { "pdf_page": 22, "source_image": "source-pages/bnf-022.png", "printed_label": "PDF 22", "bbox_pixels": [ 430, 2570, 1080, 295 ], "crop_image": "assets/front-terms-127.png" } ] }, { "id": "front-terms-128", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 157, "original": "Comment se forment les Intervales. 27. Voyez Raison, & Tri-Ton.", "english": "Formation of intervals. 27. See Ratio and Tritone.", "sources": [ { "pdf_page": 22, "source_image": "source-pages/bnf-022.png", "printed_label": "PDF 22", "bbox_pixels": [ 430, 2860, 1080, 155 ], "crop_image": "assets/front-terms-128.png" } ] }, { "id": "front-terms-129", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 158, "original": "IRREGULIER. Voyez Cadence.", "english": "IRREGULAR. See Cadence.", "sources": [ { "pdf_page": 22, "source_image": "source-pages/bnf-022.png", "printed_label": "PDF 22", "bbox_pixels": [ 430, 3010, 1080, 100 ], "crop_image": "assets/front-terms-129.png" } ] }, { "id": "front-terms-130", "type": "heading", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 159, "original": "L", "english": "L", "sources": [ { "pdf_page": 22, "source_image": "source-pages/bnf-022.png", "printed_label": "PDF 22", "bbox_pixels": [ 430, 3145, 1080, 125 ], "crop_image": "assets/front-terms-130.png" } ] }, { "id": "front-terms-131", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 160, "original": "LICENCE. D’où proviennent les Licences dans la Musique. page 110", "english": "LICENSE. Origin of musical licenses. page 110", "sources": [ { "pdf_page": 22, "source_image": "source-pages/bnf-022.png", "printed_label": "PDF 22", "bbox_pixels": [ 430, 3315, 1080, 245 ], "crop_image": "assets/front-terms-131.png" } ] }, { "id": "front-terms-132", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 161, "original": "LONGUEUR. Voyez Raison.", "english": "LENGTH. See Ratio.", "sources": [ { "pdf_page": 22, "source_image": "source-pages/bnf-022.png", "printed_label": "PDF 22", "bbox_pixels": [ 1510, 365, 1070, 100 ], "crop_image": "assets/front-terms-132.png" } ] }, { "id": "front-terms-133", "type": "heading", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 162, "original": "M", "english": "M", "sources": [ { "pdf_page": 22, "source_image": "source-pages/bnf-022.png", "printed_label": "PDF 22", "bbox_pixels": [ 1510, 515, 1070, 100 ], "crop_image": "assets/front-terms-133.png" } ] }, { "id": "front-terms-134", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 163, "original": "MELODIE. C’est le Chant d’une seule Partie. On dit ordinairement qu’une Musique est Melodieuse, lorsque le Chant de chaque Partie répond à la beauté de l’Harmonie.", "english": "MELODY. The tune of a single part. Music is commonly called melodious when each part’s melody matches the beauty of the harmony.", "sources": [ { "pdf_page": 22, "source_image": "source-pages/bnf-022.png", "printed_label": "PDF 22", "bbox_pixels": [ 1510, 675, 1070, 450 ], "crop_image": "assets/front-terms-134.png" } ] }, { "id": "front-terms-135", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 164, "original": "La Musique des Anciens n’étoit fondée que sur la Melodie, selon ce qu’on en peut juger. page 142. 143. & 146", "english": "As far as can be judged, ancient music was founded on melody alone. pages 142. 143 and 146", "sources": [ { "pdf_page": 22, "source_image": "source-pages/bnf-022.png", "printed_label": "PDF 22", "bbox_pixels": [ 1510, 1125, 1070, 300 ], "crop_image": "assets/front-terms-135.png" } ] }, { "id": "front-terms-136", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 165, "original": "Zarlin s’est parfaitement bien expliqué là-dessus. 142.", "english": "Zarlino explains this perfectly well. 142", "sources": [ { "pdf_page": 22, "source_image": "source-pages/bnf-022.png", "printed_label": "PDF 22", "bbox_pixels": [ 1510, 1425, 1070, 150 ], "crop_image": "assets/front-terms-136.png" } ] }, { "id": "front-terms-137", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 166, "original": "Voyez Cadence, & Harmonie.", "english": "See Cadence and Harmony.", "sources": [ { "pdf_page": 22, "source_image": "source-pages/bnf-022.png", "printed_label": "PDF 22", "bbox_pixels": [ 1510, 1575, 1070, 95 ], "crop_image": "assets/front-terms-137.png" } ] }, { "id": "front-terms-138", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 167, "original": "MESURE. Descartes dit que les bêtes pourroient danser en Mesure. 150", "english": "METER. Descartes says animals could dance in meter. 150", "sources": [ { "pdf_page": 22, "source_image": "source-pages/bnf-022.png", "printed_label": "PDF 22", "bbox_pixels": [ 1510, 1660, 1070, 225 ], "crop_image": "assets/front-terms-138.png" } ] }, { "id": "front-terms-139", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 168, "original": "La Mesure peut se tirer du principe de l’Harmonie. Ibid.", "english": "Meter may be derived from the principle of harmony. Ibid.", "sources": [ { "pdf_page": 22, "source_image": "source-pages/bnf-022.png", "printed_label": "PDF 22", "bbox_pixels": [ 1510, 1880, 1070, 155 ], "crop_image": "assets/front-terms-139.png" } ] }, { "id": "front-terms-140", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 169, "original": "Ce qu’il seroit à propos d’observer pour se former l’oreille à la Mesure. 151", "english": "Useful practices for training the ear in meter. 151", "sources": [ { "pdf_page": 22, "source_image": "source-pages/bnf-022.png", "printed_label": "PDF 22", "bbox_pixels": [ 1510, 2035, 1070, 225 ], "crop_image": "assets/front-terms-140.png" } ] }, { "id": "front-terms-141", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 170, "original": "Les seuls Chiffres 2. 3. & 4. suffisent pour désigner toutes sortes de Mesures. Ibid.", "english": "The numbers 2, 3, and 4 alone suffice to indicate every meter. Ibid.", "sources": [ { "pdf_page": 22, "source_image": "source-pages/bnf-022.png", "printed_label": "PDF 22", "bbox_pixels": [ 1510, 2255, 1070, 225 ], "crop_image": "assets/front-terms-141.png" } ] }, { "id": "front-terms-142", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 171, "original": "L’habitude où l’on est de marquer des mêmes Signes les mouvemens à Temps égaux, & ceux à Temps inégaux, empêche de distinguer ces mouvemens. 156", "english": "Using the same signs for movements with equal and unequal beats prevents their distinction. 156", "sources": [ { "pdf_page": 22, "source_image": "source-pages/bnf-022.png", "printed_label": "PDF 22", "bbox_pixels": [ 1510, 2480, 1070, 380 ], "crop_image": "assets/front-terms-142.png" } ] }, { "id": "front-terms-143", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 172, "original": "Une Notte mise avant la Clef peut désigner par sa valeur celle de chaque Temps de la Mesure, & par consequent fait distinguer la lenteur & la vitesse du mouvement. 152", "english": "A note before the clef may indicate each beat’s value by its own duration, thus distinguishing slow from fast tempo. 152", "sources": [ { "pdf_page": 22, "source_image": "source-pages/bnf-022.png", "printed_label": "PDF 22", "bbox_pixels": [ 1510, 2860, 1070, 460 ], "crop_image": "assets/front-terms-143.png" } ] }, { "id": "front-terms-144", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 173, "original": "Cette Notte mise avant la Clef peut non-seulement donner la connoissance du Ton dans lequel une Piece de Musique est composée, mais elle donne encore la facilité de solfier, sans se mettre en peine de la quantité des ♯ ou des ♭ qui se trouvent après la Clef. page 158", "english": "This pre-clef note can identify the key and also facilitate solmization without concern for the number of sharps or flats after the clef. page 158", "sources": [ { "pdf_page": 22, "source_image": "source-pages/bnf-022.png", "printed_label": "PDF 22", "bbox_pixels": [ 1510, 3315, 1070, 235 ], "crop_image": "assets/front-terms-144.png" }, { "pdf_page": 23, "source_image": "source-pages/bnf-023.png", "printed_label": "PDF 23", "bbox_pixels": [ 430, 370, 1080, 480 ], "crop_image": "assets/front-terms-145.png" } ] }, { "id": "front-terms-146", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 174, "original": "MODE. C’est ce qui constituë non-seulement la Progression Diatonique des Sons compris dans l’étenduë d’une Octave, mais ce qui détermine encore un certain ordre entre les Accords, qui ne peuvent être composez d’ailleurs que des Sons compris dans l’étenduë de cette Octave.", "english": "MODE. It determines not only the diatonic progression of sounds within an octave, but also an order among chords, which can consist only of those octave’s sounds.", "sources": [ { "pdf_page": 23, "source_image": "source-pages/bnf-023.png", "printed_label": "PDF 23", "bbox_pixels": [ 430, 850, 1080, 670 ], "crop_image": "assets/front-terms-146.png" } ] }, { "id": "front-terms-147", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 175, "original": "Les Modes sont tirez du Systême Diatonique parfait. 143. & 144", "english": "Modes are derived from the perfect diatonic system. 143 and 144", "sources": [ { "pdf_page": 23, "source_image": "source-pages/bnf-023.png", "printed_label": "PDF 23", "bbox_pixels": [ 430, 1520, 1080, 150 ], "crop_image": "assets/front-terms-147.png" } ] }, { "id": "front-terms-148", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 176, "original": "Il n’y a que deux Modes. 143", "english": "There are only two modes. 143", "sources": [ { "pdf_page": 23, "source_image": "source-pages/bnf-023.png", "printed_label": "PDF 23", "bbox_pixels": [ 430, 1670, 1080, 80 ], "crop_image": "assets/front-terms-148.png" } ] }, { "id": "front-terms-149", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 177, "original": "Les Anciens & Zarlin se sont trompez dans l’établissement de leurs Modes, & la cause vrai-semblable de l’erreur de Zarlin. 145. jusqu’à 148", "english": "Errors of the ancients and Zarlino in establishing modes, and the probable cause of Zarlino’s error. 145 through 148", "sources": [ { "pdf_page": 23, "source_image": "source-pages/bnf-023.png", "printed_label": "PDF 23", "bbox_pixels": [ 430, 1750, 1080, 370 ], "crop_image": "assets/front-terms-149.png" } ] }, { "id": "front-terms-150", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 178, "original": "L’intelligence de la Modulation est d’un grand secours pour connoître si une Piece de Musique est bien composée. 135. Voyez Cadence, Ton, Tri-Ton, Tierce.", "english": "Understanding modulation greatly helps determine whether music is well composed. 135. See Cadence, Key, Tritone, Third.", "sources": [ { "pdf_page": 23, "source_image": "source-pages/bnf-023.png", "printed_label": "PDF 23", "bbox_pixels": [ 430, 2120, 1080, 370 ], "crop_image": "assets/front-terms-150.png" } ] }, { "id": "front-terms-151", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 179, "original": "MUSIQUE. Ce que c’est que la Musique, & en quoi elle consiste. 1", "english": "MUSIC. What music is and what it consists of. 1", "sources": [ { "pdf_page": 23, "source_image": "source-pages/bnf-023.png", "printed_label": "PDF 23", "bbox_pixels": [ 430, 2490, 1080, 150 ], "crop_image": "assets/front-terms-151.png" } ] }, { "id": "front-terms-152", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 180, "original": "Si nous pouvons juger des effets de la Musique par la seule sensation des organes de l’oüie, l’esprit n’en peut concevoir les proprietez que par le secours de la raison. 125", "english": "Although hearing alone may judge music’s effects, the mind can grasp its properties only with reason’s help. 125", "sources": [ { "pdf_page": 23, "source_image": "source-pages/bnf-023.png", "printed_label": "PDF 23", "bbox_pixels": [ 430, 2640, 1080, 430 ], "crop_image": "assets/front-terms-152.png" } ] }, { "id": "front-terms-153", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 181, "original": "Comme l’experience nous offre un grand nombre d’Accords, & que la raison les rassemble-tous dans un seul, celle-cy doit prendre le dessus dans nos jugemens. 126", "english": "Experience presents many chords, but reason unites them all in one; reason must therefore govern our judgments. 126", "sources": [ { "pdf_page": 23, "source_image": "source-pages/bnf-023.png", "printed_label": "PDF 23", "bbox_pixels": [ 430, 3070, 1080, 370 ], "crop_image": "assets/front-terms-153.png" } ] }, { "id": "front-terms-154", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 182, "original": "L’experience dans la Musique n’est pas seule capable de nous convaincre. page 106", "english": "Musical experience alone cannot convince us. page 106", "sources": [ { "pdf_page": 23, "source_image": "source-pages/bnf-023.png", "printed_label": "PDF 23", "bbox_pixels": [ 430, 3440, 1080, 100 ], "crop_image": "assets/front-terms-154.png" }, { "pdf_page": 23, "source_image": "source-pages/bnf-023.png", "printed_label": "PDF 23", "bbox_pixels": [ 1510, 365, 1070, 170 ], "crop_image": "assets/front-terms-155.png" } ] }, { "id": "front-terms-156", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 183, "original": "Mais la raison peut y suppléer. 114", "english": "But reason can supply what is missing. 114", "sources": [ { "pdf_page": 23, "source_image": "source-pages/bnf-023.png", "printed_label": "PDF 23", "bbox_pixels": [ 1510, 535, 1070, 85 ], "crop_image": "assets/front-terms-156.png" } ] }, { "id": "front-terms-157", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 184, "original": "La Musique est subordonnée à l’Arithmetique. 18. & 19", "english": "Music is subordinate to arithmetic. 18 and 19", "sources": [ { "pdf_page": 23, "source_image": "source-pages/bnf-023.png", "printed_label": "PDF 23", "bbox_pixels": [ 1510, 615, 1070, 145 ], "crop_image": "assets/front-terms-157.png" } ] }, { "id": "front-terms-158", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 185, "original": "Mais si la Progression Arithmetique doit aller en augmentant, celle de l’Harmonie doit aller en diminuant. 11", "english": "While arithmetic progression must increase, harmonic progression must decrease. 11", "sources": [ { "pdf_page": 23, "source_image": "source-pages/bnf-023.png", "printed_label": "PDF 23", "bbox_pixels": [ 1510, 760, 1070, 300 ], "crop_image": "assets/front-terms-158.png" } ] }, { "id": "front-terms-159", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 186, "original": "Et pour que la Progression naturelle aux Nombres puisse servir à celle de l’Harmonie, il n’y a qu’à s’imaginer que les Nombres y marquent la division de l’unité, &c. 11. & 19", "english": "To apply the natural numerical sequence to harmony, imagine that numbers indicate divisions of unity, and so forth. 11 and 19", "sources": [ { "pdf_page": 23, "source_image": "source-pages/bnf-023.png", "printed_label": "PDF 23", "bbox_pixels": [ 1510, 1060, 1070, 450 ], "crop_image": "assets/front-terms-159.png" } ] }, { "id": "front-terms-160", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 187, "original": "Ce qu’un bon Musicien doit observer dans ses productions. 143", "english": "What a good musician must observe in creating works. 143", "sources": [ { "pdf_page": 23, "source_image": "source-pages/bnf-023.png", "printed_label": "PDF 23", "bbox_pixels": [ 1510, 1510, 1070, 160 ], "crop_image": "assets/front-terms-160.png" } ] }, { "id": "front-terms-161", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 188, "original": "Voyez Mode.", "english": "See Mode.", "sources": [ { "pdf_page": 23, "source_image": "source-pages/bnf-023.png", "printed_label": "PDF 23", "bbox_pixels": [ 1510, 1670, 1070, 85 ], "crop_image": "assets/front-terms-161.png" } ] }, { "id": "front-terms-162", "type": "heading", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 189, "original": "N", "english": "N", "sources": [ { "pdf_page": 23, "source_image": "source-pages/bnf-023.png", "printed_label": "PDF 23", "bbox_pixels": [ 1510, 1795, 1070, 115 ], "crop_image": "assets/front-terms-162.png" } ] }, { "id": "front-terms-163", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 190, "original": "NOMBRE. On a attribué toute la force de l’Harmonie à celle des Nombres. page 3", "english": "NUMBER. All harmony’s power has been attributed to numbers. page 3", "sources": [ { "pdf_page": 23, "source_image": "source-pages/bnf-023.png", "printed_label": "PDF 23", "bbox_pixels": [ 1510, 1960, 1070, 220 ], "crop_image": "assets/front-terms-163.png" } ] }, { "id": "front-terms-164", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 191, "original": "Il n’y a que trois Nombres accordans, dont se forme l’Accord parfait. 34. & 35", "english": "Only three consonant numbers form the perfect chord. 34 and 35", "sources": [ { "pdf_page": 23, "source_image": "source-pages/bnf-023.png", "printed_label": "PDF 23", "bbox_pixels": [ 1510, 2180, 1070, 240 ], "crop_image": "assets/front-terms-164.png" } ] }, { "id": "front-terms-165", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 192, "original": "Remarques sur la force du Nombre trois. 35", "english": "Observations on the power of three. 35", "sources": [ { "pdf_page": 23, "source_image": "source-pages/bnf-023.png", "printed_label": "PDF 23", "bbox_pixels": [ 1510, 2415, 1070, 145 ], "crop_image": "assets/front-terms-165.png" } ] }, { "id": "front-terms-166", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 193, "original": "Tout Nombre multiplié geometriquement represente toûjours, pour ainsi dire, le même Son, &c. 7", "english": "A number multiplied geometrically always represents, so to speak, the same sound, and so forth. 7", "sources": [ { "pdf_page": 23, "source_image": "source-pages/bnf-023.png", "printed_label": "PDF 23", "bbox_pixels": [ 1510, 2560, 1070, 300 ], "crop_image": "assets/front-terms-166.png" } ] }, { "id": "front-terms-167", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 194, "original": "Le Nombre 5. peut representer l’Unité. 13", "english": "The number 5 can represent unity. 13", "sources": [ { "pdf_page": 23, "source_image": "source-pages/bnf-023.png", "printed_label": "PDF 23", "bbox_pixels": [ 1510, 2855, 1070, 175 ], "crop_image": "assets/front-terms-167.png" } ] }, { "id": "front-terms-168", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 195, "original": "Le Nombre 3. où s’engendre la Quarte, ne peut se trouver à la tête des Accords, sans en renverser l’ordre naturel. 21. & 22", "english": "The number 3, where the fourth arises, cannot head a chord without inverting its natural order. 21 and 22", "sources": [ { "pdf_page": 23, "source_image": "source-pages/bnf-023.png", "printed_label": "PDF 23", "bbox_pixels": [ 1510, 3025, 1070, 285 ], "crop_image": "assets/front-terms-168.png" } ] }, { "id": "front-terms-169", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 196, "original": "En attachant aux Nombres l’idée que nous avons dit, (c’est-à-dire, qu’ils marquent la division de l’Unité) tout y est simple, familier, précis, juste & correct. p. 21", "english": "If numbers are understood as divisions of unity, everything becomes simple, familiar, precise, just, and correct. page 21", "sources": [ { "pdf_page": 23, "source_image": "source-pages/bnf-023.png", "printed_label": "PDF 23", "bbox_pixels": [ 1510, 3310, 1070, 240 ], "crop_image": "assets/front-terms-169.png" }, { "pdf_page": 24, "source_image": "source-pages/bnf-024.png", "printed_label": "PDF 24", "bbox_pixels": [ 430, 350, 1080, 170 ], "crop_image": "assets/front-terms-170.png" } ] }, { "id": "front-terms-171", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 197, "original": "Voyez Corde, Corps, & Musique.", "english": "See String, Body, and Music.", "sources": [ { "pdf_page": 24, "source_image": "source-pages/bnf-024.png", "printed_label": "PDF 24", "bbox_pixels": [ 430, 510, 1080, 85 ], "crop_image": "assets/front-terms-171.png" } ] }, { "id": "front-terms-172", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 198, "original": "NOTTE TONIQUE. NOTTE SENSIBLE. Voyez Son, & Sensible.", "english": "TONIC NOTE. LEADING NOTE. See Sound and Leading.", "sources": [ { "pdf_page": 24, "source_image": "source-pages/bnf-024.png", "printed_label": "PDF 24", "bbox_pixels": [ 430, 590, 1080, 155 ], "crop_image": "assets/front-terms-172.png" } ] }, { "id": "front-terms-173", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 199, "original": "NEUVIEME. De la difference de la Neuviéme à la Seconde. 28. & 78", "english": "NINTH. Difference between ninth and second. 28 and 78", "sources": [ { "pdf_page": 24, "source_image": "source-pages/bnf-024.png", "printed_label": "PDF 24", "bbox_pixels": [ 430, 740, 1080, 155 ], "crop_image": "assets/front-terms-173.png" } ] }, { "id": "front-terms-174", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 200, "original": "Que l’Intervale de la Neuviéme & l’Accord qui en est composé, proviennent de la Quinte. 32", "english": "The ninth interval and its chord derive from the fifth. 32", "sources": [ { "pdf_page": 24, "source_image": "source-pages/bnf-024.png", "printed_label": "PDF 24", "bbox_pixels": [ 430, 890, 1080, 225 ], "crop_image": "assets/front-terms-174.png" } ] }, { "id": "front-terms-175", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 201, "original": "Cet Accord nous prouve que la Septiéme peut être sauvée de l’Octave. 118. & 119", "english": "This chord proves that the seventh can resolve to the octave. 118 and 119", "sources": [ { "pdf_page": 24, "source_image": "source-pages/bnf-024.png", "printed_label": "PDF 24", "bbox_pixels": [ 430, 1110, 1080, 225 ], "crop_image": "assets/front-terms-175.png" } ] }, { "id": "front-terms-176", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 202, "original": "Lorsqu’on fait entendre un Accord de Neuviéme au-dessus d’une Notte Tonique, il faut éviter d’y joindre la Septiéme. 94", "english": "When a ninth chord sounds above a tonic, avoid adding the seventh. 94", "sources": [ { "pdf_page": 24, "source_image": "source-pages/bnf-024.png", "printed_label": "PDF 24", "bbox_pixels": [ 430, 1330, 1080, 320 ], "crop_image": "assets/front-terms-176.png" } ] }, { "id": "front-terms-177", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 203, "original": "Voyez Onziéme, Septiéme, Supposer, & Tri-Ton.", "english": "See Eleventh, Seventh, Suppose, and Tritone.", "sources": [ { "pdf_page": 24, "source_image": "source-pages/bnf-024.png", "printed_label": "PDF 24", "bbox_pixels": [ 430, 1650, 1080, 150 ], "crop_image": "assets/front-terms-177.png" } ] }, { "id": "front-terms-178", "type": "heading", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 204, "original": "O", "english": "O", "sources": [ { "pdf_page": 24, "source_image": "source-pages/bnf-024.png", "printed_label": "PDF 24", "bbox_pixels": [ 430, 1790, 1080, 95 ], "crop_image": "assets/front-terms-178.png" } ] }, { "id": "front-terms-179", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 205, "original": "OCTAVE. Ce que c’est que l’Octave, & ses proprietez. pag. 6. jusqu’à 17. & encore 54", "english": "OCTAVE. Definition and properties of the octave. pages 6 through 17, and also 54", "sources": [ { "pdf_page": 24, "source_image": "source-pages/bnf-024.png", "printed_label": "PDF 24", "bbox_pixels": [ 430, 1935, 1080, 235 ], "crop_image": "assets/front-terms-179.png" } ] }, { "id": "front-terms-180", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 206, "original": "Toute la diversité des Accords qui consiste dans leur renversement, provient de la force de l’Octave. 15. & 16", "english": "All chord variety arising from inversion comes from the octave’s power. 15 and 16", "sources": [ { "pdf_page": 24, "source_image": "source-pages/bnf-024.png", "printed_label": "PDF 24", "bbox_pixels": [ 430, 2170, 1080, 295 ], "crop_image": "assets/front-terms-180.png" } ] }, { "id": "front-terms-181", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 207, "original": "L’Octave devroit être appellée Æquisonance, plûtôt que Consonance. 7. 15. & 16", "english": "The octave should be called aequisonance rather than consonance. 7. 15 and 16", "sources": [ { "pdf_page": 24, "source_image": "source-pages/bnf-024.png", "printed_label": "PDF 24", "bbox_pixels": [ 430, 2465, 1080, 230 ], "crop_image": "assets/front-terms-181.png" } ] }, { "id": "front-terms-182", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 208, "original": "Voyez Principe, & Simulé.", "english": "See Principle and Simulated.", "sources": [ { "pdf_page": 24, "source_image": "source-pages/bnf-024.png", "printed_label": "PDF 24", "bbox_pixels": [ 430, 2695, 1080, 90 ], "crop_image": "assets/front-terms-182.png" } ] }, { "id": "front-terms-183", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 209, "original": "ONZIEME. De la difference de la Onziéme à la Quarte. 28. & 77", "english": "ELEVENTH. Difference between eleventh and fourth. 28 and 77", "sources": [ { "pdf_page": 24, "source_image": "source-pages/bnf-024.png", "printed_label": "PDF 24", "bbox_pixels": [ 430, 2785, 1080, 155 ], "crop_image": "assets/front-terms-183.png" } ] }, { "id": "front-terms-184", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 210, "original": "La Onziéme & la Neuviéme sont des Intervales premiers dans leur espece, au lieu que la Quarte & la Seconde sont des Intervales renversez ; il en est de même des Accords où ces Intervales ont lieu. 29. & 78", "english": "The eleventh and ninth are primary intervals of their kinds; the fourth and second are inversions. The same applies to their chords. 29 and 78", "sources": [ { "pdf_page": 24, "source_image": "source-pages/bnf-024.png", "printed_label": "PDF 24", "bbox_pixels": [ 430, 2940, 1080, 520 ], "crop_image": "assets/front-terms-184.png" } ] }, { "id": "front-terms-185", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 211, "original": "Comme l’Accord de la Onziéme est extrémement dur dans sa composition ordinaire, on en retranche ordinairement les Sons moyens, d’où nous l’appellons pour lors, Héteroclite. page 76", "english": "The eleventh chord is extremely harsh in its ordinary form, so its middle sounds are usually removed. We then call it heteroclite. page 76", "sources": [ { "pdf_page": 24, "source_image": "source-pages/bnf-024.png", "printed_label": "PDF 24", "bbox_pixels": [ 430, 3450, 1080, 90 ], "crop_image": "assets/front-terms-185.png" }, { "pdf_page": 24, "source_image": "source-pages/bnf-024.png", "printed_label": "PDF 24", "bbox_pixels": [ 1510, 355, 1070, 380 ], "crop_image": "assets/front-terms-186.png" } ] }, { "id": "front-terms-187", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 212, "original": "Voyez Supposer.", "english": "See Suppose.", "sources": [ { "pdf_page": 24, "source_image": "source-pages/bnf-024.png", "printed_label": "PDF 24", "bbox_pixels": [ 1510, 735, 1070, 95 ], "crop_image": "assets/front-terms-187.png" } ] }, { "id": "front-terms-188", "type": "heading", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 213, "original": "P", "english": "P", "sources": [ { "pdf_page": 24, "source_image": "source-pages/bnf-024.png", "printed_label": "PDF 24", "bbox_pixels": [ 1510, 815, 1070, 100 ], "crop_image": "assets/front-terms-188.png" } ] }, { "id": "front-terms-189", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 214, "original": "PARFAIT. L’Accord Parfait est composé de la Quinte & des deux Tierces.", "english": "PERFECT. The perfect chord consists of the fifth and the two thirds.", "sources": [ { "pdf_page": 24, "source_image": "source-pages/bnf-024.png", "printed_label": "PDF 24", "bbox_pixels": [ 1510, 965, 1070, 220 ], "crop_image": "assets/front-terms-189.png" } ] }, { "id": "front-terms-190", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 215, "original": "Les Accords qui proviennent du renversement du Parfait. page 34. 35. & 36", "english": "Chords arising from inversion of the perfect chord. pages 34. 35 and 36", "sources": [ { "pdf_page": 24, "source_image": "source-pages/bnf-024.png", "printed_label": "PDF 24", "bbox_pixels": [ 1510, 1185, 1070, 235 ], "crop_image": "assets/front-terms-190.png" } ] }, { "id": "front-terms-191", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 216, "original": "S’il y a d’autres Accords que le Parfait, il faut qu’ils soient composez du Parfait & de l’une de ses parties. 31. Voyez Cadence.", "english": "Any chord besides the perfect chord must consist of the perfect chord plus one of its parts. 31. See Cadence.", "sources": [ { "pdf_page": 24, "source_image": "source-pages/bnf-024.png", "printed_label": "PDF 24", "bbox_pixels": [ 1510, 1415, 1070, 300 ], "crop_image": "assets/front-terms-191.png" } ] }, { "id": "front-terms-192", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 217, "original": "PLEIN-CHANT. Le Plein-Chant ne convient à l’Harmonie que dans les Tons conformes au Systême parfait ; & l’on pourroit donner à ce Plein-Chant une Melodie plus facile & plus coulante. 147", "english": "PLAINCHANT. Plainchant suits harmony only in keys conforming to the perfect system. Its melody could be made easier and more flowing. 147", "sources": [ { "pdf_page": 24, "source_image": "source-pages/bnf-024.png", "printed_label": "PDF 24", "bbox_pixels": [ 1510, 1715, 1070, 520 ], "crop_image": "assets/front-terms-192.png" } ] }, { "id": "front-terms-193", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 218, "original": "PREPARER. On use de ce terme pour donner à entendre que la Dissonance mineure doit être précédée d’une Consonance en même degré. Cependant cela n’est pas general. 84. jusqu’à 87", "english": "PREPARE. This term means that a minor dissonance must be preceded by a consonance on the same degree. This is not, however, a universal rule. 84 through 87", "sources": [ { "pdf_page": 24, "source_image": "source-pages/bnf-024.png", "printed_label": "PDF 24", "bbox_pixels": [ 1510, 2230, 1070, 465 ], "crop_image": "assets/front-terms-193.png" } ] }, { "id": "front-terms-194", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 219, "original": "Il n’est pas vrai que la Dissonance doive être toûjours Preparée dans les mauvais Temps de la Mesure, & la Dissonance majeure ne peut jamais être Preparée. 86", "english": "Dissonance need not always be prepared on weak beats, and major dissonance can never be prepared. 86", "sources": [ { "pdf_page": 24, "source_image": "source-pages/bnf-024.png", "printed_label": "PDF 24", "bbox_pixels": [ 1510, 2685, 1070, 375 ], "crop_image": "assets/front-terms-194.png" } ] }, { "id": "front-terms-195", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 220, "original": "La Dissonance doit être absolument Préparée par une Consonance. 123. & 125", "english": "Dissonance absolutely must be prepared by a consonance. 123 and 125", "sources": [ { "pdf_page": 24, "source_image": "source-pages/bnf-024.png", "printed_label": "PDF 24", "bbox_pixels": [ 1510, 3060, 1070, 235 ], "crop_image": "assets/front-terms-195.png" } ] }, { "id": "front-terms-196", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 221, "original": "PRINCIPE. Le Principe de l’Harmonie subsiste dans un seul Son. 5. & 127", "english": "PRINCIPLE. Harmony’s principle resides in a single sound. 5 and 127", "sources": [ { "pdf_page": 24, "source_image": "source-pages/bnf-024.png", "printed_label": "PDF 24", "bbox_pixels": [ 1510, 3295, 1070, 250 ], "crop_image": "assets/front-terms-196.png" } ] }, { "id": "front-terms-197", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 222, "original": "Le Son Fondamental, c’est-à-dire, le Principe se sert de son Octave comme d’un second terme où doivent répondre tous les Intervales engendrez par sa division, pour mieux marquer qu’il en est le commencement & la fin. page 8", "english": "The fundamental sound, or principle, uses its octave as a second endpoint to which all intervals generated by its division must answer, showing more clearly that it is their beginning and end. page 8", "sources": [ { "pdf_page": 25, "source_image": "source-pages/bnf-025.png", "printed_label": "PDF 25", "bbox_pixels": [ 430, 370, 1080, 600 ], "crop_image": "assets/front-terms-197.png" } ] }, { "id": "front-terms-198", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 223, "original": "Tout ce qui s’accorde avec le Principe, s’accorde également avec son Octave. Ibid.", "english": "Everything agreeing with the principle agrees equally with its octave. Ibid.", "sources": [ { "pdf_page": 25, "source_image": "source-pages/bnf-025.png", "printed_label": "PDF 25", "bbox_pixels": [ 430, 970, 1080, 230 ], "crop_image": "assets/front-terms-198.png" } ] }, { "id": "front-terms-199", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 224, "original": "Le Principe est sous-entendu dans son Octave. 8. & 9", "english": "The principle is implied in its octave. 8 and 9", "sources": [ { "pdf_page": 25, "source_image": "source-pages/bnf-025.png", "printed_label": "PDF 25", "bbox_pixels": [ 430, 1200, 1080, 145 ], "crop_image": "assets/front-terms-199.png" } ] }, { "id": "front-terms-200", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 225, "original": "Il faut toûjours chercher le Principe dans les Accords fondamentaux. 117", "english": "Always seek the principle in fundamental chords. 117", "sources": [ { "pdf_page": 25, "source_image": "source-pages/bnf-025.png", "printed_label": "PDF 25", "bbox_pixels": [ 430, 1345, 1080, 220 ], "crop_image": "assets/front-terms-200.png" } ] }, { "id": "front-terms-201", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 226, "original": "Le Principe ne reside pas seulement dans les Accords fondamentaux, mais plus précisément encore dans le Son grave de ces Accords. 133", "english": "The principle resides not merely in fundamental chords, but more precisely in their lowest sound. 133", "sources": [ { "pdf_page": 25, "source_image": "source-pages/bnf-025.png", "printed_label": "PDF 25", "bbox_pixels": [ 430, 1565, 1080, 370 ], "crop_image": "assets/front-terms-201.png" } ] }, { "id": "front-terms-202", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 227, "original": "Comme le Fondement, c’est-à-dire, le Principe ne peut subsister que dans l’étenduë de son Octave, s’il se trouve des Accords qui en excedent l’étenduë, il faut pour lors que ce Fondement ou Principe y soit supposé. 32. & 33", "english": "Since the foundation or principle can subsist only within its octave, chords exceeding that span must employ this foundation by supposition. 32 and 33", "sources": [ { "pdf_page": 25, "source_image": "source-pages/bnf-025.png", "printed_label": "PDF 25", "bbox_pixels": [ 430, 1935, 1080, 600 ], "crop_image": "assets/front-terms-202.png" } ] }, { "id": "front-terms-203", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 228, "original": "Voyez Supposer.", "english": "See Suppose.", "sources": [ { "pdf_page": 25, "source_image": "source-pages/bnf-025.png", "printed_label": "PDF 25", "bbox_pixels": [ 430, 2535, 1080, 85 ], "crop_image": "assets/front-terms-203.png" } ] }, { "id": "front-terms-204", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 229, "original": "Zarlin qui a connu ce Principe, l’a perdu de vuë dans ses operations & dans ses regles. 18. jusqu’à 21", "english": "Zarlino knew this principle but lost sight of it in his operations and rules. 18 through 21", "sources": [ { "pdf_page": 25, "source_image": "source-pages/bnf-025.png", "printed_label": "PDF 25", "bbox_pixels": [ 430, 2615, 1080, 275 ], "crop_image": "assets/front-terms-204.png" } ] }, { "id": "front-terms-205", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 230, "original": "La Dissonance tire son Principe de l’Accord parfait, &c. & cet Accord tire son Principe du Son le plus grave, &c. 109", "english": "Dissonance derives its principle from the perfect chord, and so forth; that chord derives its principle from its lowest sound, and so forth. 109", "sources": [ { "pdf_page": 25, "source_image": "source-pages/bnf-025.png", "printed_label": "PDF 25", "bbox_pixels": [ 430, 2890, 1080, 315 ], "crop_image": "assets/front-terms-205.png" } ] }, { "id": "front-terms-206", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 231, "original": "Voyez Viole, & Centre.", "english": "See Viol and Center.", "sources": [ { "pdf_page": 25, "source_image": "source-pages/bnf-025.png", "printed_label": "PDF 25", "bbox_pixels": [ 430, 3205, 1080, 85 ], "crop_image": "assets/front-terms-206.png" } ] }, { "id": "front-terms-207", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 232, "original": "PROGRESSION. Si la Progression de la Basse-Fondamentale doit être Consonante, celle des Parties superieures doit être Diatonique. page 52", "english": "PROGRESSION. While fundamental-bass progression must be consonant, upper-part progression must be diatonic. page 52", "sources": [ { "pdf_page": 25, "source_image": "source-pages/bnf-025.png", "printed_label": "PDF 25", "bbox_pixels": [ 430, 3285, 1080, 220 ], "crop_image": "assets/front-terms-207.png" }, { "pdf_page": 25, "source_image": "source-pages/bnf-025.png", "printed_label": "PDF 25", "bbox_pixels": [ 1510, 360, 1070, 165 ], "crop_image": "assets/front-terms-208.png" } ] }, { "id": "front-terms-209", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 233, "original": "On peut donner à une Partie la Progression qui convient à l’autre. Ibid.", "english": "One part may be given the progression belonging to another. Ibid.", "sources": [ { "pdf_page": 25, "source_image": "source-pages/bnf-025.png", "printed_label": "PDF 25", "bbox_pixels": [ 1510, 525, 1070, 220 ], "crop_image": "assets/front-terms-209.png" } ] }, { "id": "front-terms-210", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 234, "original": "La Progression de la Dissonance doit être Diatonique, & il faut même que les Sons qui la précedent & qui la suivent, soient Consonans. Ibid.", "english": "Dissonance must move diatonically, and the sounds preceding and following it must be consonant. Ibid.", "sources": [ { "pdf_page": 25, "source_image": "source-pages/bnf-025.png", "printed_label": "PDF 25", "bbox_pixels": [ 1510, 745, 1070, 375 ], "crop_image": "assets/front-terms-210.png" } ] }, { "id": "front-terms-211", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 235, "original": "Voyez Basse-Fondamentale, Cadence, Corde, Harmonie, Musique, Proportion, Raison, Consonance, Dissonance, Chromatique, Diatonique, Conjoint & Disjoint.", "english": "See Fundamental Bass, Cadence, String, Harmony, Music, Proportion, Ratio, Consonance, Dissonance, Chromatic, Diatonic, Conjunct, and Disjunct.", "sources": [ { "pdf_page": 25, "source_image": "source-pages/bnf-025.png", "printed_label": "PDF 25", "bbox_pixels": [ 1510, 1120, 1070, 450 ], "crop_image": "assets/front-terms-211.png" } ] }, { "id": "front-terms-212", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 236, "original": "PROPORTION. C’est un certain rapport qui se trouve entre deux ou plusieurs Sons comparez ensemble.", "english": "PROPORTION. A relationship between two or more sounds compared together.", "sources": [ { "pdf_page": 25, "source_image": "source-pages/bnf-025.png", "printed_label": "PDF 25", "bbox_pixels": [ 1510, 1570, 1070, 300 ], "crop_image": "assets/front-terms-212.png" } ] }, { "id": "front-terms-213", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 237, "original": "La Proportion Harmonique ou Arithmetique donne un certain ordre aux Consonances, qui plaît infiniment. 4", "english": "Harmonic or arithmetic proportion gives consonances an especially pleasing order. 4", "sources": [ { "pdf_page": 25, "source_image": "source-pages/bnf-025.png", "printed_label": "PDF 25", "bbox_pixels": [ 1510, 1870, 1070, 290 ], "crop_image": "assets/front-terms-213.png" } ] }, { "id": "front-terms-214", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 238, "original": "La Proportion de 2. à 4. qui donne l’Octave, fait à peu-près le même effet à l’oreille que celle de 2. à 2. qui donne l’Unisson. 7", "english": "The ratio 2 to 4, giving the octave, affects the ear much like 2 to 2, giving the unison. 7", "sources": [ { "pdf_page": 25, "source_image": "source-pages/bnf-025.png", "printed_label": "PDF 25", "bbox_pixels": [ 1510, 2160, 1070, 310 ], "crop_image": "assets/front-terms-214.png" } ] }, { "id": "front-terms-215", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 239, "original": "La Proportion ou Progression Harmonique provient de celle de l’Arithmetique ; & leur rapport. 17 & 20", "english": "Harmonic proportion or progression derives from arithmetic proportion; their relationship. 17 and 20", "sources": [ { "pdf_page": 25, "source_image": "source-pages/bnf-025.png", "printed_label": "PDF 25", "bbox_pixels": [ 1510, 2470, 1070, 295 ], "crop_image": "assets/front-terms-215.png" } ] }, { "id": "front-terms-216", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 240, "original": "Des défauts qui semblent provenir de ce qu’on s’est plûtôt attaché à la Proportion Harmonique, qu’à celle de l’Arithmetique. 18. 19. & 20", "english": "Faults apparently caused by favoring harmonic over arithmetic proportion. 18. 19 and 20", "sources": [ { "pdf_page": 25, "source_image": "source-pages/bnf-025.png", "printed_label": "PDF 25", "bbox_pixels": [ 1510, 2765, 1070, 370 ], "crop_image": "assets/front-terms-216.png" } ] }, { "id": "front-terms-217", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 241, "original": "Des idées justes que la Proportion Arithmetique donne de l’Harmonie. 21. & 22", "english": "Sound ideas about harmony supplied by arithmetic proportion. 21 and 22", "sources": [ { "pdf_page": 25, "source_image": "source-pages/bnf-025.png", "printed_label": "PDF 25", "bbox_pixels": [ 1510, 3135, 1070, 220 ], "crop_image": "assets/front-terms-217.png" } ] }, { "id": "front-terms-218", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 242, "original": "La difference des Proportions Harmoniques & Arithmetiques est en partie cause de l’erreur des Anciens dans la distribution de leurs Modes. page 147", "english": "The difference between harmonic and arithmetic proportions partly caused the ancients’ errors in arranging modes. page 147", "sources": [ { "pdf_page": 25, "source_image": "source-pages/bnf-025.png", "printed_label": "PDF 25", "bbox_pixels": [ 1510, 3355, 1070, 160 ], "crop_image": "assets/front-terms-218.png" }, { "pdf_page": 26, "source_image": "source-pages/bnf-026.png", "printed_label": "PDF 26", "bbox_pixels": [ 430, 370, 1080, 230 ], "crop_image": "assets/front-terms-219.png" } ] }, { "id": "front-terms-220", "type": "heading", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 243, "original": "Q", "english": "Q", "sources": [ { "pdf_page": 26, "source_image": "source-pages/bnf-026.png", "printed_label": "PDF 26", "bbox_pixels": [ 430, 650, 1080, 100 ], "crop_image": "assets/front-terms-220.png" } ] }, { "id": "front-terms-221", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 244, "original": "QUARTE. De l’origine de la Quarte. page 10. & 11", "english": "FOURTH. Origin of the fourth. pages 10 and 11", "sources": [ { "pdf_page": 26, "source_image": "source-pages/bnf-026.png", "printed_label": "PDF 26", "bbox_pixels": [ 430, 750, 1080, 155 ], "crop_image": "assets/front-terms-221.png" } ] }, { "id": "front-terms-222", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 245, "original": "Si la Quarte peut nous donner une Septiéme par ses Quarrez, elle ne peut la diviser Harmoniquement. 31", "english": "Although the fourth can produce a seventh through its squares, it cannot divide that seventh harmonically. 31", "sources": [ { "pdf_page": 26, "source_image": "source-pages/bnf-026.png", "printed_label": "PDF 26", "bbox_pixels": [ 430, 905, 1080, 300 ], "crop_image": "assets/front-terms-222.png" } ] }, { "id": "front-terms-223", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 246, "original": "La Quarte dans les Accords de Seconde, & de petite-Sixte, est Consonante. 99. & 102", "english": "The fourth in second and small-sixth chords is consonant. 99 and 102", "sources": [ { "pdf_page": 26, "source_image": "source-pages/bnf-026.png", "printed_label": "PDF 26", "bbox_pixels": [ 430, 1205, 1080, 230 ], "crop_image": "assets/front-terms-223.png" } ] }, { "id": "front-terms-224", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 247, "original": "Voyez Nombre, Onziéme & Tri-Ton.", "english": "See Number, Eleventh, and Tritone.", "sources": [ { "pdf_page": 26, "source_image": "source-pages/bnf-026.png", "printed_label": "PDF 26", "bbox_pixels": [ 430, 1435, 1080, 155 ], "crop_image": "assets/front-terms-224.png" } ] }, { "id": "front-terms-225", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 248, "original": "QUINTE. De l’origine de la Quinte, & de la préference qu’elle doit avoir sur la Quarte. 10 & 11", "english": "FIFTH. Origin of the fifth and its precedence over the fourth. 10 and 11", "sources": [ { "pdf_page": 26, "source_image": "source-pages/bnf-026.png", "printed_label": "PDF 26", "bbox_pixels": [ 430, 1590, 1080, 300 ], "crop_image": "assets/front-terms-225.png" } ] }, { "id": "front-terms-226", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 249, "original": "La Quinte est la premiere de toutes les Consonances, sans y comprendre l’Octave. 5", "english": "The fifth is the first consonance, excluding the octave. 5", "sources": [ { "pdf_page": 26, "source_image": "source-pages/bnf-026.png", "printed_label": "PDF 26", "bbox_pixels": [ 430, 1890, 1080, 230 ], "crop_image": "assets/front-terms-226.png" } ] }, { "id": "front-terms-227", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 250, "original": "La Quinte & les Tierces composent tous les Accords. 29. 30. 31. & 32", "english": "The fifth and thirds compose all chords. 29. 30. 31 and 32", "sources": [ { "pdf_page": 26, "source_image": "source-pages/bnf-026.png", "printed_label": "PDF 26", "bbox_pixels": [ 430, 2120, 1080, 230 ], "crop_image": "assets/front-terms-227.png" } ] }, { "id": "front-terms-228", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 251, "original": "La Quinte est le premier objet de tous les Accords. 12. 32. & 54", "english": "The fifth is the primary object of all chords. 12. 32 and 54", "sources": [ { "pdf_page": 26, "source_image": "source-pages/bnf-026.png", "printed_label": "PDF 26", "bbox_pixels": [ 430, 2350, 1080, 155 ], "crop_image": "assets/front-terms-228.png" } ] }, { "id": "front-terms-229", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 252, "original": "La Quinte ne peut servir de bornes aux Intervales. 13", "english": "The fifth cannot serve as the limit of intervals. 13", "sources": [ { "pdf_page": 26, "source_image": "source-pages/bnf-026.png", "printed_label": "PDF 26", "bbox_pixels": [ 430, 2505, 1080, 145 ], "crop_image": "assets/front-terms-229.png" } ] }, { "id": "front-terms-230", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 253, "original": "Il n’y a point d’Accord complet sans la Quinte, ni par consequent sans l’union des deux Tierces qui la composent. 30", "english": "No chord is complete without the fifth, hence without the two thirds composing it. 30", "sources": [ { "pdf_page": 26, "source_image": "source-pages/bnf-026.png", "printed_label": "PDF 26", "bbox_pixels": [ 430, 2650, 1080, 295 ], "crop_image": "assets/front-terms-230.png" } ] }, { "id": "front-terms-231", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 254, "original": "La Quinte a le privilege d’engendrer par ses Quarrez un Intervale qui excede l’étenduë de l’Octave, & l’Accord qui en resulte n’est supportable que parce que cette Quinte le divise Harmoniquement. 32", "english": "The fifth alone can generate through its squares an interval exceeding an octave; the resulting chord is tolerable only because the fifth divides it harmonically. 32", "sources": [ { "pdf_page": 26, "source_image": "source-pages/bnf-026.png", "printed_label": "PDF 26", "bbox_pixels": [ 430, 2945, 1080, 510 ], "crop_image": "assets/front-terms-231.png" } ] }, { "id": "front-terms-232", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 255, "original": "La premiere des deux Nottes qui dans la Basse descend de Quinte, ou monte de Quarte, peut & doit même porter l’Accord de la Septiéme. page 69", "english": "The first bass note of a descending fifth or ascending fourth may, and indeed should, bear a seventh chord. page 69", "sources": [ { "pdf_page": 26, "source_image": "source-pages/bnf-026.png", "printed_label": "PDF 26", "bbox_pixels": [ 430, 3450, 1080, 100 ], "crop_image": "assets/front-terms-232.png" }, { "pdf_page": 26, "source_image": "source-pages/bnf-026.png", "printed_label": "PDF 26", "bbox_pixels": [ 1510, 375, 1070, 305 ], "crop_image": "assets/front-terms-233.png" } ] }, { "id": "front-terms-234", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 256, "original": "Les personnes un peu sensibles à l’Harmonie, n’entendent jamais une conclusion de Chant, qu’elles ne se sentent comme forcées d’en faire proceder la Basse par un Intervale de Quinte en descendant, &c. 50", "english": "Anyone somewhat sensitive to harmony hears a melodic conclusion with an almost irresistible urge to make the bass descend a fifth, and so forth. 50", "sources": [ { "pdf_page": 26, "source_image": "source-pages/bnf-026.png", "printed_label": "PDF 26", "bbox_pixels": [ 1510, 680, 1070, 530 ], "crop_image": "assets/front-terms-234.png" } ] }, { "id": "front-terms-235", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 257, "original": "Il y a des occasions où l’on ne peut gueres se dispenser de faire entendre deux Quintes de suite dans l’Accompagnement du Clavecin, entre les parties superieures qu’on y touche de la main droite ; parce que cela introduit une certaine liaison dans la Progression des Accords, dont l’habitude s’acquiert plus facilement en tolerant cette petite faute, qu’en y faisant observer à la rigueur les Regles de la Composition sur ce sujet.", "english": "In harpsichord accompaniment, consecutive fifths between right-hand upper parts are sometimes almost unavoidable. They create a connection in chord progression whose habit is more easily acquired by tolerating this small fault than by strictly enforcing compositional rules.", "sources": [ { "pdf_page": 26, "source_image": "source-pages/bnf-026.png", "printed_label": "PDF 26", "bbox_pixels": [ 1510, 1210, 1070, 1040 ], "crop_image": "assets/front-terms-235.png" } ] }, { "id": "front-terms-236", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 258, "original": "J’ai dit, cette petite faute, supposé que c’en soit une dans l’Accompagnement, puisqu’elle ne détruit pas le fond de l’Harmonie, & que les Italiens la pratiquent sans scrupule en pareil cas.", "english": "I call it a small fault, if it is a fault at all in accompaniment: it does not destroy the harmonic foundation, and Italians use it without scruple in such cases.", "sources": [ { "pdf_page": 26, "source_image": "source-pages/bnf-026.png", "printed_label": "PDF 26", "bbox_pixels": [ 1510, 2250, 1070, 465 ], "crop_image": "assets/front-terms-236.png" } ] }, { "id": "front-terms-237", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 259, "original": "Voyez Basse-Fondamentale, Simulé, Tri-Ton & Cadence.", "english": "See Fundamental Bass, Simulated, Tritone, and Cadence.", "sources": [ { "pdf_page": 26, "source_image": "source-pages/bnf-026.png", "printed_label": "PDF 26", "bbox_pixels": [ 1510, 2710, 1070, 155 ], "crop_image": "assets/front-terms-237.png" } ] }, { "id": "front-terms-238", "type": "heading", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 260, "original": "R", "english": "R", "sources": [ { "pdf_page": 26, "source_image": "source-pages/bnf-026.png", "printed_label": "PDF 26", "bbox_pixels": [ 1510, 2890, 1070, 120 ], "crop_image": "assets/front-terms-238.png" } ] }, { "id": "front-terms-239", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 261, "original": "RAISON. Des differentes Raisons qu’on peut donner à un même Accord. page 26. & 46", "english": "RATIO. Different ratios assignable to one chord. pages 26 and 46", "sources": [ { "pdf_page": 26, "source_image": "source-pages/bnf-026.png", "printed_label": "PDF 26", "bbox_pixels": [ 1510, 3000, 1070, 250 ], "crop_image": "assets/front-terms-239.png" } ] }, { "id": "front-terms-240", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 262, "original": "Les Raisons des Vibrations sont pareilles à celles des Divisions, & les Raisons des longueurs en sont renversées. page 47. & 48", "english": "Vibration ratios match division ratios; length ratios are their inversions. pages 47 and 48", "sources": [ { "pdf_page": 26, "source_image": "source-pages/bnf-026.png", "printed_label": "PDF 26", "bbox_pixels": [ 1510, 3245, 1070, 310 ], "crop_image": "assets/front-terms-240.png" } ] }, { "id": "front-terms-241", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 263, "original": "Catalogue des Raisons naturelles & renversées de tous les Intervales. page 26", "english": "Catalogue of natural and inverted ratios for all intervals. page 26", "sources": [ { "pdf_page": 27, "source_image": "source-pages/bnf-027.png", "printed_label": "PDF 27", "bbox_pixels": [ 430, 360, 1080, 225 ], "crop_image": "assets/front-terms-241.png" } ] }, { "id": "front-terms-242", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 264, "original": "Voyez Corde.", "english": "See String.", "sources": [ { "pdf_page": 27, "source_image": "source-pages/bnf-027.png", "printed_label": "PDF 27", "bbox_pixels": [ 430, 585, 1080, 90 ], "crop_image": "assets/front-terms-242.png" } ] }, { "id": "front-terms-243", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 265, "original": "RENVERSER. RENVERSEMENT. C’est en termes de Musique, la transposition de l’ordre naturel que les Sons doivent tenir entr’eux, pour former une Harmonie parfaite.", "english": "INVERT. INVERSION. In music, rearranging the natural order of sounds relative to one another in forming perfect harmony.", "sources": [ { "pdf_page": 27, "source_image": "source-pages/bnf-027.png", "printed_label": "PDF 27", "bbox_pixels": [ 430, 675, 1080, 440 ], "crop_image": "assets/front-terms-243.png" } ] }, { "id": "front-terms-244", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 266, "original": "Ce Renversement provient de la force de l’Octave. 7. 15. & 16", "english": "Inversion comes from the octave’s power. 7. 15 and 16", "sources": [ { "pdf_page": 27, "source_image": "source-pages/bnf-027.png", "printed_label": "PDF 27", "bbox_pixels": [ 430, 1115, 1080, 145 ], "crop_image": "assets/front-terms-244.png" } ] }, { "id": "front-terms-245", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 267, "original": "Le Renversement des Intervales n’a été consideré de la plupart des Théoriciens que comme la simple difference qu’il y a d’un Intervale à un autre. 16", "english": "Most theorists have considered interval inversion merely as the difference between one interval and another. 16", "sources": [ { "pdf_page": 27, "source_image": "source-pages/bnf-027.png", "printed_label": "PDF 27", "bbox_pixels": [ 430, 1260, 1080, 365 ], "crop_image": "assets/front-terms-245.png" } ] }, { "id": "front-terms-246", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 268, "original": "Zarlin a connu le Renversement des Intervales, & a oublié celui des Accords. 20. & 111", "english": "Zarlino understood interval inversion but forgot chord inversion. 20 and 111", "sources": [ { "pdf_page": 27, "source_image": "source-pages/bnf-027.png", "printed_label": "PDF 27", "bbox_pixels": [ 430, 1625, 1080, 225 ], "crop_image": "assets/front-terms-246.png" } ] }, { "id": "front-terms-247", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 269, "original": "Comment on distingue par les operations Arithmetiques les Intervales Renversez de ceux qui ne le sont point. 17", "english": "Distinguishing inverted and uninverted intervals through arithmetic operations. 17", "sources": [ { "pdf_page": 27, "source_image": "source-pages/bnf-027.png", "printed_label": "PDF 27", "bbox_pixels": [ 430, 1850, 1080, 295 ], "crop_image": "assets/front-terms-247.png" } ] }, { "id": "front-terms-248", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 270, "original": "Ce Renversement est le nœud de toute la diversité dont l’Harmonie puisse participer. 10. & 114", "english": "Inversion is the key to all harmonic variety. 10 and 114", "sources": [ { "pdf_page": 27, "source_image": "source-pages/bnf-027.png", "printed_label": "PDF 27", "bbox_pixels": [ 430, 2145, 1080, 230 ], "crop_image": "assets/front-terms-248.png" } ] }, { "id": "front-terms-249", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 271, "original": "La connoissance des Accords Renversez n’est venuë que par succession de temps. 132", "english": "Knowledge of inverted chords developed only over time. 132", "sources": [ { "pdf_page": 27, "source_image": "source-pages/bnf-027.png", "printed_label": "PDF 27", "bbox_pixels": [ 430, 2370, 1080, 220 ], "crop_image": "assets/front-terms-249.png" } ] }, { "id": "front-terms-250", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 272, "original": "Ce Renversement se découvre de plus en plus, à mesure qu’on veut pénetrer dans les secrets de l’Harmonie. 11", "english": "Inversion becomes clearer as we penetrate harmony’s secrets. 11", "sources": [ { "pdf_page": 27, "source_image": "source-pages/bnf-027.png", "printed_label": "PDF 27", "bbox_pixels": [ 430, 2590, 1080, 300 ], "crop_image": "assets/front-terms-250.png" } ] }, { "id": "front-terms-251", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 273, "original": "Quelques Musiciens s’imaginent que les Accords par supposition sont susceptibles du Renversement, faute de connoître le principe de ces Accords & celui du Renversement.", "english": "Some musicians believe chords by supposition can be inverted because they misunderstand the principles of both these chords and inversion.", "sources": [ { "pdf_page": 27, "source_image": "source-pages/bnf-027.png", "printed_label": "PDF 27", "bbox_pixels": [ 430, 2890, 1080, 450 ], "crop_image": "assets/front-terms-251.png" } ] }, { "id": "front-terms-252", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 274, "original": "Voyez Supposer.", "english": "See Suppose.", "sources": [ { "pdf_page": 27, "source_image": "source-pages/bnf-027.png", "printed_label": "PDF 27", "bbox_pixels": [ 430, 3330, 1080, 85 ], "crop_image": "assets/front-terms-252.png" } ] }, { "id": "front-terms-253", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 275, "original": "REPLIQUE. Ce que c’est que Replique. page 6", "english": "OCTAVE EQUIVALENT. Definition of an octave equivalent. page 6", "sources": [ { "pdf_page": 27, "source_image": "source-pages/bnf-027.png", "printed_label": "PDF 27", "bbox_pixels": [ 430, 3405, 1080, 100 ], "crop_image": "assets/front-terms-253.png" }, { "pdf_page": 27, "source_image": "source-pages/bnf-027.png", "printed_label": "PDF 27", "bbox_pixels": [ 1510, 360, 1070, 85 ], "crop_image": "assets/front-terms-254.png" } ] }, { "id": "front-terms-255", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 276, "original": "REGLE. La Regle se tire du Principe, & non pas le Principe de la Regle. 113. & 126", "english": "RULE. Rules derive from principles, not principles from rules. 113 and 126", "sources": [ { "pdf_page": 27, "source_image": "source-pages/bnf-027.png", "printed_label": "PDF 27", "bbox_pixels": [ 1510, 435, 1070, 225 ], "crop_image": "assets/front-terms-255.png" } ] }, { "id": "front-terms-256", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 277, "original": "Les Regles qui tirent leur origine de l’Harmonie Fondamentale ne subsistent que dans les Accords affectez à cette Harmonie Fondamentale. 90. & 91", "english": "Rules originating in fundamental harmony hold only within the chords assigned to that harmony. 90 and 91", "sources": [ { "pdf_page": 27, "source_image": "source-pages/bnf-027.png", "printed_label": "PDF 27", "bbox_pixels": [ 1510, 660, 1070, 365 ], "crop_image": "assets/front-terms-256.png" } ] }, { "id": "front-terms-257", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 278, "original": "Il faut chercher les proprietez d’un Accord derivé, dans son Accord Fondamental. 103", "english": "Seek a derived chord’s properties in its fundamental chord. 103", "sources": [ { "pdf_page": 27, "source_image": "source-pages/bnf-027.png", "printed_label": "PDF 27", "bbox_pixels": [ 1510, 1025, 1070, 225 ], "crop_image": "assets/front-terms-257.png" } ] }, { "id": "front-terms-258", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 279, "original": "La Regle de Preparer toute Dissonance par une Consonance, est sans exception. 104", "english": "The rule requiring every dissonance to be prepared by a consonance has no exception. 104", "sources": [ { "pdf_page": 27, "source_image": "source-pages/bnf-027.png", "printed_label": "PDF 27", "bbox_pixels": [ 1510, 1250, 1070, 220 ], "crop_image": "assets/front-terms-258.png" } ] }, { "id": "front-terms-259", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 280, "original": "La preuve des erreurs contenuës dans les Regles modernes. 105 jusqu’à 109. & 132", "english": "Proof of errors in modern rules. 105 through 109, and 132", "sources": [ { "pdf_page": 27, "source_image": "source-pages/bnf-027.png", "printed_label": "PDF 27", "bbox_pixels": [ 1510, 1470, 1070, 235 ], "crop_image": "assets/front-terms-259.png" } ] }, { "id": "front-terms-260", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 281, "original": "Du défaut des Commentateurs des premieres Regles. 125. & 143", "english": "Faults of commentators on the first rules. 125 and 143", "sources": [ { "pdf_page": 27, "source_image": "source-pages/bnf-027.png", "printed_label": "PDF 27", "bbox_pixels": [ 1510, 1700, 1070, 155 ], "crop_image": "assets/front-terms-260.png" } ] }, { "id": "front-terms-261", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 282, "original": "La Basse-Fondamentale détermine toutes les Regles qui concernent les Consonances. 128. & 129", "english": "The fundamental bass determines every rule concerning consonances. 128 and 129", "sources": [ { "pdf_page": 27, "source_image": "source-pages/bnf-027.png", "printed_label": "PDF 27", "bbox_pixels": [ 1510, 1855, 1070, 225 ], "crop_image": "assets/front-terms-261.png" } ] }, { "id": "front-terms-262", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 283, "original": "Quels sont les differens principes de la Regle, qui permet de faire syncoper la Basse sous une Dissonance. 107. & 108", "english": "Different principles behind the rule allowing a syncopated bass beneath a dissonance. 107 and 108", "sources": [ { "pdf_page": 27, "source_image": "source-pages/bnf-027.png", "printed_label": "PDF 27", "bbox_pixels": [ 1510, 2080, 1070, 305 ], "crop_image": "assets/front-terms-262.png" } ] }, { "id": "front-terms-263", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 284, "original": "Voyez Cadence & Contrepoint.", "english": "See Cadence and Counterpoint.", "sources": [ { "pdf_page": 27, "source_image": "source-pages/bnf-027.png", "printed_label": "PDF 27", "bbox_pixels": [ 1510, 2380, 1070, 85 ], "crop_image": "assets/front-terms-263.png" } ] }, { "id": "front-terms-264", "type": "heading", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 285, "original": "S", "english": "S", "sources": [ { "pdf_page": 27, "source_image": "source-pages/bnf-027.png", "printed_label": "PDF 27", "bbox_pixels": [ 1510, 2500, 1070, 120 ], "crop_image": "assets/front-terms-264.png" } ] }, { "id": "front-terms-265", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 286, "original": "SAUVER. On use de ce terme en Musique, pour donner à entendre que toute Dissonance doit être suivie Diatoniquement d’une Consonance.", "english": "RESOLVE. In music, this means every dissonance must be followed diatonically by a consonance.", "sources": [ { "pdf_page": 27, "source_image": "source-pages/bnf-027.png", "printed_label": "PDF 27", "bbox_pixels": [ 1510, 2640, 1070, 400 ], "crop_image": "assets/front-terms-265.png" } ] }, { "id": "front-terms-266", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 287, "original": "Les Dissonances majeures doivent être Sauvées en montant d’un semi-Ton, & les mineures en descendant diatoniquement. page 55. & 130", "english": "Major dissonances must resolve upward by semitone; minor ones downward diatonically. pages 55 and 130", "sources": [ { "pdf_page": 27, "source_image": "source-pages/bnf-027.png", "printed_label": "PDF 27", "bbox_pixels": [ 1510, 3035, 1070, 380 ], "crop_image": "assets/front-terms-266.png" } ] }, { "id": "front-terms-267", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 288, "original": "SECONDE. La Dissonance mineure se reconnoît toûjours dans un Intervale de Seconde ou de Septiéme. page 100", "english": "SECOND. Minor dissonance is always recognized in a second or seventh. page 100", "sources": [ { "pdf_page": 27, "source_image": "source-pages/bnf-027.png", "printed_label": "PDF 27", "bbox_pixels": [ 1510, 3415, 1070, 100 ], "crop_image": "assets/front-terms-267.png" }, { "pdf_page": 28, "source_image": "source-pages/bnf-028.png", "printed_label": "PDF 28", "bbox_pixels": [ 430, 365, 1080, 230 ], "crop_image": "assets/front-terms-268.png" } ] }, { "id": "front-terms-269", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 289, "original": "La Seconde est renversée de la Septiéme, cela se reconnoît dans les Quarrez de la page 38", "english": "The second is an inverted seventh, as shown in the squares on page 38.", "sources": [ { "pdf_page": 28, "source_image": "source-pages/bnf-028.png", "printed_label": "PDF 28", "bbox_pixels": [ 430, 595, 1080, 220 ], "crop_image": "assets/front-terms-269.png" } ] }, { "id": "front-terms-270", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 290, "original": "De l’origine de la Seconde superfluë, & comme elle emprunte son fondement du Son fondamental. 41. jusqu’à 44", "english": "Origin of the augmented second and how it borrows its foundation from the fundamental sound. 41 through 44", "sources": [ { "pdf_page": 28, "source_image": "source-pages/bnf-028.png", "printed_label": "PDF 28", "bbox_pixels": [ 430, 815, 1080, 305 ], "crop_image": "assets/front-terms-270.png" } ] }, { "id": "front-terms-271", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 291, "original": "Il naît autant d’Accords de cet Emprunt que de l’Accord de la Septiéme d’une Dominante Tonique. 80. 283. 284. 404. & 405", "english": "This borrowing generates as many chords as a tonic dominant’s seventh chord. 80. 283. 284. 404 and 405", "sources": [ { "pdf_page": 28, "source_image": "source-pages/bnf-028.png", "printed_label": "PDF 28", "bbox_pixels": [ 430, 1120, 1080, 315 ], "crop_image": "assets/front-terms-271.png" } ] }, { "id": "front-terms-272", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 292, "original": "Voyez Septiéme.", "english": "See Seventh.", "sources": [ { "pdf_page": 28, "source_image": "source-pages/bnf-028.png", "printed_label": "PDF 28", "bbox_pixels": [ 430, 1430, 1080, 85 ], "crop_image": "assets/front-terms-272.png" } ] }, { "id": "front-terms-273", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 293, "original": "SEMI-TON. Ce mot derive du Grec, & signifie Demi-Ton.", "english": "SEMITONE. This word derives from Greek and means half-tone.", "sources": [ { "pdf_page": 28, "source_image": "source-pages/bnf-028.png", "printed_label": "PDF 28", "bbox_pixels": [ 430, 1510, 1080, 150 ], "crop_image": "assets/front-terms-273.png" } ] }, { "id": "front-terms-274", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 294, "original": "Le Semi-Ton fait tout l’ornement de l’Harmonie & de la Melodie, il sert toûjours à la Progression de la Dissonance majeure, & Zarlin après en avoir parlé avec succès, l’abandonne aux endroits où il se fait sentir le mieux. 55. jusqu’à 57", "english": "The semitone provides all the ornament of harmony and melody. It always governs major-dissonance progression. Zarlino, after discussing it successfully, abandons it where it is felt most strongly. 55 through 57", "sources": [ { "pdf_page": 28, "source_image": "source-pages/bnf-028.png", "printed_label": "PDF 28", "bbox_pixels": [ 430, 1660, 1080, 600 ], "crop_image": "assets/front-terms-274.png" } ] }, { "id": "front-terms-275", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 295, "original": "Le Semi-Ton mineur fait la difference de la Tierce majeure à la mineure, & par consequent celle de tous les Intervales qui se distinguent en majeurs, en mineurs, en superflus ou en diminuez. 27", "english": "The minor semitone distinguishes major from minor thirds, hence all intervals classed as major, minor, augmented, or diminished. 27", "sources": [ { "pdf_page": 28, "source_image": "source-pages/bnf-028.png", "printed_label": "PDF 28", "bbox_pixels": [ 430, 2260, 1080, 450 ], "crop_image": "assets/front-terms-275.png" } ] }, { "id": "front-terms-276", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 296, "original": "La distinction du Ton & du Semi-Ton en majeur, en mineur, &c. est inutile dans la pratique. 364", "english": "Distinguishing major and minor whole tones and semitones, and so forth, is useless in practice. 364", "sources": [ { "pdf_page": 28, "source_image": "source-pages/bnf-028.png", "printed_label": "PDF 28", "bbox_pixels": [ 430, 2705, 1080, 225 ], "crop_image": "assets/front-terms-276.png" } ] }, { "id": "front-terms-277", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 297, "original": "Voyez Sensible & Tri-Ton.", "english": "See Leading and Tritone.", "sources": [ { "pdf_page": 28, "source_image": "source-pages/bnf-028.png", "printed_label": "PDF 28", "bbox_pixels": [ 430, 2925, 1080, 85 ], "crop_image": "assets/front-terms-277.png" } ] }, { "id": "front-terms-278", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 298, "original": "SENSIBLE. Ce que c’est que la Notte sensible. 56. & 217", "english": "LEADING. Definition of the leading note. 56 and 217", "sources": [ { "pdf_page": 28, "source_image": "source-pages/bnf-028.png", "printed_label": "PDF 28", "bbox_pixels": [ 430, 3000, 1080, 155 ], "crop_image": "assets/front-terms-278.png" } ] }, { "id": "front-terms-279", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 299, "original": "La Notte sensible sert à faire connoître le Ton dans lequel on est. 258", "english": "The leading note identifies the current key. 258", "sources": [ { "pdf_page": 28, "source_image": "source-pages/bnf-028.png", "printed_label": "PDF 28", "bbox_pixels": [ 430, 3155, 1080, 230 ], "crop_image": "assets/front-terms-279.png" } ] }, { "id": "front-terms-280", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 300, "original": "Voyez Dissonance.", "english": "See Dissonance.", "sources": [ { "pdf_page": 28, "source_image": "source-pages/bnf-028.png", "printed_label": "PDF 28", "bbox_pixels": [ 430, 3380, 1080, 85 ], "crop_image": "assets/front-terms-280.png" } ] }, { "id": "front-terms-281", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 301, "original": "SEPTIÉME. La Septiéme est l’origine de toutes les Dissonances, car sans elle la Dissonance majeure n’est plus qu’une Consonance, cela doit se reconnoître dans les Quarrez de la page 38. où la Septiéme est ajoûtée à l’Accord parfait, & d’où naissent par consequent toutes les Dissonances.", "english": "SEVENTH. The seventh is the origin of all dissonances: without it, the major dissonance is merely a consonance. The squares on page 38 show this: adding the seventh to the perfect chord produces all dissonances.", "sources": [ { "pdf_page": 28, "source_image": "source-pages/bnf-028.png", "printed_label": "PDF 28", "bbox_pixels": [ 430, 3455, 1080, 85 ], "crop_image": "assets/front-terms-281.png" }, { "pdf_page": 28, "source_image": "source-pages/bnf-028.png", "printed_label": "PDF 28", "bbox_pixels": [ 1510, 365, 1070, 615 ], "crop_image": "assets/front-terms-282.png" } ] }, { "id": "front-terms-283", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 302, "original": "Voyez encore le Supplément.", "english": "See also the Supplement.", "sources": [ { "pdf_page": 28, "source_image": "source-pages/bnf-028.png", "printed_label": "PDF 28", "bbox_pixels": [ 1510, 975, 1070, 85 ], "crop_image": "assets/front-terms-283.png" } ] }, { "id": "front-terms-284", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 303, "original": "La Septiéme ne peut être sauvée que de la Tierce selon l’Harmonie naturelle & fondamentale. page 121", "english": "In natural, fundamental harmony, the seventh can resolve only to the third. page 121", "sources": [ { "pdf_page": 28, "source_image": "source-pages/bnf-028.png", "printed_label": "PDF 28", "bbox_pixels": [ 1510, 1060, 1070, 305 ], "crop_image": "assets/front-terms-284.png" } ] }, { "id": "front-terms-285", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 304, "original": "L’Accord de la Septiéme où la Dissonance mineure & la majeure sont jointes ensemble, est le plus fécond de tous. 45", "english": "The seventh chord combining minor and major dissonances is the most fruitful of all. 45", "sources": [ { "pdf_page": 28, "source_image": "source-pages/bnf-028.png", "printed_label": "PDF 28", "bbox_pixels": [ 1510, 1360, 1070, 300 ], "crop_image": "assets/front-terms-285.png" } ] }, { "id": "front-terms-286", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 305, "original": "La Septiéme, la Seconde, ni la Neuviéme ne doivent point être distinguées en majeures ni en mineures. 166. & 168", "english": "The seventh, second, and ninth should not be distinguished as major or minor. 166 and 168", "sources": [ { "pdf_page": 28, "source_image": "source-pages/bnf-028.png", "printed_label": "PDF 28", "bbox_pixels": [ 1510, 1660, 1070, 300 ], "crop_image": "assets/front-terms-286.png" } ] }, { "id": "front-terms-287", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 306, "original": "La Septiéme diminuée sert de Principe à tous les Accords par emprunt, mais il faut pour lors qu’elle se trouve au-dessous des Accords, où elle forme le Son grave de l’Intervale de la Seconde superfluë, qui en est renversé. 43. & 44", "english": "The diminished seventh is the principle of all chords by borrowing, but must then lie beneath the chords, forming the lower sound of its inversion, the augmented second. 43 and 44", "sources": [ { "pdf_page": 28, "source_image": "source-pages/bnf-028.png", "printed_label": "PDF 28", "bbox_pixels": [ 1510, 1955, 1070, 600 ], "crop_image": "assets/front-terms-287.png" } ] }, { "id": "front-terms-288", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 307, "original": "Si la Septiéme peut être distinguée en fausse-Quinte, Neuviéme, &c. & si elle peut être sauvée sur des Intervales differens, cela ne provient que de la differente Progression de la Basse. 67", "english": "The seventh’s different forms, such as diminished fifth or ninth, and its resolutions to different intervals result only from different bass progressions. 67", "sources": [ { "pdf_page": 28, "source_image": "source-pages/bnf-028.png", "printed_label": "PDF 28", "bbox_pixels": [ 1510, 2550, 1070, 450 ], "crop_image": "assets/front-terms-288.png" } ] }, { "id": "front-terms-289", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 308, "original": "Monsieur de Brossard s’est trompé dans la maniere dont il accompagne la Septiéme superfluë. 167", "english": "Monsieur de Brossard erred in accompanying the augmented seventh. 167", "sources": [ { "pdf_page": 28, "source_image": "source-pages/bnf-028.png", "printed_label": "PDF 28", "bbox_pixels": [ 1510, 3000, 1070, 225 ], "crop_image": "assets/front-terms-289.png" } ] }, { "id": "front-terms-290", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 309, "original": "Il s’est également trompé dans le rapport qu’elle doit avoir avec la Seconde diminuée. 166", "english": "He also erred about its relationship to the diminished second. 166", "sources": [ { "pdf_page": 28, "source_image": "source-pages/bnf-028.png", "printed_label": "PDF 28", "bbox_pixels": [ 1510, 3220, 1070, 230 ], "crop_image": "assets/front-terms-290.png" } ] }, { "id": "front-terms-291", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 310, "original": "Voyez Accord, & Dissonance,", "english": "See Chord and Dissonance.", "sources": [ { "pdf_page": 28, "source_image": "source-pages/bnf-028.png", "printed_label": "PDF 28", "bbox_pixels": [ 1510, 3440, 1070, 100 ], "crop_image": "assets/front-terms-291.png" } ] }, { "id": "front-terms-292", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 311, "original": "Voyez encore Seconde & Tri-Ton.", "english": "See also Second and Tritone.", "sources": [ { "pdf_page": 29, "source_image": "source-pages/bnf-029.png", "printed_label": "PDF 29", "bbox_pixels": [ 430, 395, 1080, 85 ], "crop_image": "assets/front-terms-292.png" } ] }, { "id": "front-terms-293", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 312, "original": "SIMULÉ. Ce que c’est que deux Octaves ou deux Quintes Simulées ; comment on peut les pratiquer, & le moyen de les éviter. page 120. & 121", "english": "SIMULATED. Definition of two simulated octaves or fifths, their use, and ways to avoid them. pages 120 and 121", "sources": [ { "pdf_page": 29, "source_image": "source-pages/bnf-029.png", "printed_label": "PDF 29", "bbox_pixels": [ 430, 480, 1080, 375 ], "crop_image": "assets/front-terms-293.png" } ] }, { "id": "front-terms-294", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 313, "original": "SIXTE. De l’origine des Sixtes. 12. jusqu’à 14", "english": "SIXTH. Origin of sixths. 12 through 14", "sources": [ { "pdf_page": 29, "source_image": "source-pages/bnf-029.png", "printed_label": "PDF 29", "bbox_pixels": [ 430, 855, 1080, 155 ], "crop_image": "assets/front-terms-294.png" } ] }, { "id": "front-terms-295", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 314, "original": "On ne peut admettre les Accords de Sixte & de Sixte-Quarte, sans supposer que le Son fondamental est pour lors sous-entendu dans son Octave. 9", "english": "Sixth and sixth–fourth chords require the fundamental sound to be understood as implied in its octave. 9", "sources": [ { "pdf_page": 29, "source_image": "source-pages/bnf-029.png", "printed_label": "PDF 29", "bbox_pixels": [ 430, 1005, 1080, 365 ], "crop_image": "assets/front-terms-295.png" } ] }, { "id": "front-terms-296", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 315, "original": "Voyez Tierce.", "english": "See Third.", "sources": [ { "pdf_page": 29, "source_image": "source-pages/bnf-029.png", "printed_label": "PDF 29", "bbox_pixels": [ 430, 1370, 1080, 85 ], "crop_image": "assets/front-terms-296.png" } ] }, { "id": "front-terms-297", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 316, "original": "SOLFIER. Voyez Mesure & Transposer.", "english": "SOLMIZE. See Meter and Transpose.", "sources": [ { "pdf_page": 29, "source_image": "source-pages/bnf-029.png", "printed_label": "PDF 29", "bbox_pixels": [ 430, 1450, 1080, 150 ], "crop_image": "assets/front-terms-297.png" } ] }, { "id": "front-terms-298", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 317, "original": "SON. Le Son est le principal objet de la Musique. 1", "english": "SOUND. Sound is music’s principal object. 1", "sources": [ { "pdf_page": 29, "source_image": "source-pages/bnf-029.png", "printed_label": "PDF 29", "bbox_pixels": [ 430, 1600, 1080, 155 ], "crop_image": "assets/front-terms-298.png" } ] }, { "id": "front-terms-299", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 318, "original": "Comment il se distingue dans la Musique-pratique. 2", "english": "Its distinctions in practical music. 2", "sources": [ { "pdf_page": 29, "source_image": "source-pages/bnf-029.png", "printed_label": "PDF 29", "bbox_pixels": [ 430, 1750, 1080, 155 ], "crop_image": "assets/front-terms-299.png" } ] }, { "id": "front-terms-300", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 319, "original": "La maniere de connoître le rapport des Sons. 2. jusqu’à 4", "english": "Knowing the relationships between sounds. 2 through 4", "sources": [ { "pdf_page": 29, "source_image": "source-pages/bnf-029.png", "printed_label": "PDF 29", "bbox_pixels": [ 430, 1900, 1080, 150 ], "crop_image": "assets/front-terms-300.png" } ] }, { "id": "front-terms-301", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 320, "original": "Les Sons permanens se dérobent, en quelque maniere, à nôtre attention. 122", "english": "Sustained sounds in some way escape our attention. 122", "sources": [ { "pdf_page": 29, "source_image": "source-pages/bnf-029.png", "printed_label": "PDF 29", "bbox_pixels": [ 430, 2050, 1080, 215 ], "crop_image": "assets/front-terms-301.png" } ] }, { "id": "front-terms-302", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 321, "original": "Voyez Basse-Fondamentale, Corde, Accord, Principe, Sous-entendre, & Supposer.", "english": "See Fundamental Bass, String, Chord, Principle, Imply, and Suppose.", "sources": [ { "pdf_page": 29, "source_image": "source-pages/bnf-029.png", "printed_label": "PDF 29", "bbox_pixels": [ 430, 2265, 1080, 235 ], "crop_image": "assets/front-terms-302.png" } ] }, { "id": "front-terms-303", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 322, "original": "SOUS-ENTENDRE. On regarde dans la Musique les termes de Sous-entendre & de Supposer presque comme synonimes ; cependant leur signification y renferme un sens bien different l’un de l’autre. Par le mot de Sous-entendre on doit être prévenu que les Sons auxquels on l’applique, peuvent être entendus dans les Accords où ils ne se trouvent point ; & même, à l’égard du Son-Fondamental, il faut s’imaginer qu’il devroit être pour lors entendu au dessous des autres Sons, lorsqu’on dit qu’il est Sous-entendu. Et par le mot de Supposer, on doit être prévenu que les Sons auxquels on l’applique, en supposent d’autres, qui ne paroissent point, ou qui paroissent avant ou après : Mais bien plus, à l’égard du Son Fondamental, il faut s’imaginer qu’il doit être posé ou placé immédiatement au-dessus de celui que nous appellons surnumeraire dans les Accords par supposition. Voyez Supposer. De sorte que par la juste application que nous faisons ici de chacun de ces termes au Son-Fondamental, leur veritable signification s’y trouve renduë à la lettre.", "english": "IMPLY. Musicians regard “imply” and “suppose” as nearly synonymous, yet their meanings differ greatly. “Imply” means the sounds concerned may be heard in chords where they are absent. An implied fundamental sound should be imagined below the other sounds. “Suppose” means the sounds concerned stand for others that are absent or appear before or afterward. More specifically, the fundamental sound must be imagined immediately above the sound we call supernumerary in chords by supposition. See Suppose. Applied precisely to the fundamental sound, these terms thus express their true meanings literally.", "sources": [ { "pdf_page": 29, "source_image": "source-pages/bnf-029.png", "printed_label": "PDF 29", "bbox_pixels": [ 430, 2490, 1080, 1040 ], "crop_image": "assets/front-terms-303.png" }, { "pdf_page": 29, "source_image": "source-pages/bnf-029.png", "printed_label": "PDF 29", "bbox_pixels": [ 1510, 390, 1070, 1420 ], "crop_image": "assets/front-terms-304.png" } ] }, { "id": "front-terms-305", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 323, "original": "SUPPOSER. SUPPOSITION. Ce terme qu’on n’a appliqué jusqu’à present qu’aux Sons qu’on fait passer pour le goût du Chant, & qu’on dit pour lors n’être admis que par supposition, en ce qu’ils ne forment point Harmonie avec les autres Sons de l’Accord où ils se trouvent, doit être plus précisément appliqué aux Sons qui alterent la perfection des Accords, en ce que par leur addition les Accords excedent l’étenduë de l’Octave.", "english": "SUPPOSE. SUPPOSITION. Until now this term applied only to passing sounds used for melodic taste, admitted by supposition because they do not harmonize with the other chord sounds. More precisely, it should apply to sounds that alter a chord’s perfection by extending it beyond the octave when added.", "sources": [ { "pdf_page": 29, "source_image": "source-pages/bnf-029.png", "printed_label": "PDF 29", "bbox_pixels": [ 1510, 1810, 1070, 1045 ], "crop_image": "assets/front-terms-305.png" } ] }, { "id": "front-terms-306", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 324, "original": "Il n’y a que deux Accords par supposition, dont deux autres dérivent. page 406", "english": "There are only two chords by supposition, from which two others derive. page 406", "sources": [ { "pdf_page": 29, "source_image": "source-pages/bnf-029.png", "printed_label": "PDF 29", "bbox_pixels": [ 1510, 2850, 1070, 230 ], "crop_image": "assets/front-terms-306.png" } ] }, { "id": "front-terms-307", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 325, "original": "On trouvera dans les Quarrez de la page 38. que le Son surnumeraire de l’Accord de la Neuviéme ne peut y être placé, & que se trouvant pour lors immédiatement au-dessous du Son-Fondamental, il le suppose par consequent.", "english": "The squares on page 38 cannot accommodate the ninth chord’s supernumerary sound. This sound lies immediately beneath the fundamental and therefore supposes it.", "sources": [ { "pdf_page": 29, "source_image": "source-pages/bnf-029.png", "printed_label": "PDF 29", "bbox_pixels": [ 1510, 3080, 1070, 460 ], "crop_image": "assets/front-terms-307.png" }, { "pdf_page": 30, "source_image": "source-pages/bnf-030.png", "printed_label": "PDF 30", "bbox_pixels": [ 430, 375, 1080, 145 ], "crop_image": "assets/front-terms-308.png" } ] }, { "id": "front-terms-309", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 326, "original": "Ce Son surnumeraire ne peut se renverser. page 74", "english": "This supernumerary sound cannot be inverted. page 74", "sources": [ { "pdf_page": 30, "source_image": "source-pages/bnf-030.png", "printed_label": "PDF 30", "bbox_pixels": [ 430, 520, 1080, 150 ], "crop_image": "assets/front-terms-309.png" } ] }, { "id": "front-terms-310", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 327, "original": "Voyez Cadence.", "english": "See Cadence.", "sources": [ { "pdf_page": 30, "source_image": "source-pages/bnf-030.png", "printed_label": "PDF 30", "bbox_pixels": [ 430, 670, 1080, 85 ], "crop_image": "assets/front-terms-310.png" } ] }, { "id": "front-terms-311", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 328, "original": "SYNCOPE. Ce terme est significatif pour donner à entendre, lorsque la Dissonance a lieu, qu’il se forme pour lors un certain Choc entre cette Dissonance & la Consonance dont elle approche le plus. Dans le Supplément.", "english": "SYNCOPATION. Where dissonance occurs, this term signifies a clash between the dissonance and its nearest consonance. In the Supplement.", "sources": [ { "pdf_page": 30, "source_image": "source-pages/bnf-030.png", "printed_label": "PDF 30", "bbox_pixels": [ 430, 750, 1080, 535 ], "crop_image": "assets/front-terms-311.png" } ] }, { "id": "front-terms-312", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 329, "original": "Cependant ce terme a une autre signification dans la pratique, comme on le trouvera à la page 296", "english": "The term has another practical meaning, explained on page 296.", "sources": [ { "pdf_page": 30, "source_image": "source-pages/bnf-030.png", "printed_label": "PDF 30", "bbox_pixels": [ 430, 1285, 1080, 295 ], "crop_image": "assets/front-terms-312.png" } ] }, { "id": "front-terms-313", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 330, "original": "La Syncope ne regarde que le Son Dissonant. 98. 99. & 108", "english": "Syncopation concerns only the dissonant sound. 98. 99 and 108", "sources": [ { "pdf_page": 30, "source_image": "source-pages/bnf-030.png", "printed_label": "PDF 30", "bbox_pixels": [ 430, 1580, 1080, 155 ], "crop_image": "assets/front-terms-313.png" } ] }, { "id": "front-terms-314", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 331, "original": "SYSTEME. Systême Diatonique parfait. 23", "english": "SYSTEM. Perfect diatonic system. 23", "sources": [ { "pdf_page": 30, "source_image": "source-pages/bnf-030.png", "printed_label": "PDF 30", "bbox_pixels": [ 430, 1730, 1080, 150 ], "crop_image": "assets/front-terms-314.png" } ] }, { "id": "front-terms-315", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 332, "original": "Systême Chromatique. 28", "english": "Chromatic system. 28", "sources": [ { "pdf_page": 30, "source_image": "source-pages/bnf-030.png", "printed_label": "PDF 30", "bbox_pixels": [ 430, 1880, 1080, 85 ], "crop_image": "assets/front-terms-315.png" } ] }, { "id": "front-terms-316", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 333, "original": "Les Anciens qui ont trouvé le modele de la Modulation dans le Systême Diatonique parfait, ont abandonné ce modele dans la multiplicité de leurs Modes. 145. & 146", "english": "The ancients found the model of modulation in the perfect diatonic system but abandoned it in their multiplicity of modes. 145 and 146", "sources": [ { "pdf_page": 30, "source_image": "source-pages/bnf-030.png", "printed_label": "PDF 30", "bbox_pixels": [ 430, 1960, 1080, 450 ], "crop_image": "assets/front-terms-316.png" } ] }, { "id": "front-terms-317", "type": "heading", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 334, "original": "T", "english": "T", "sources": [ { "pdf_page": 30, "source_image": "source-pages/bnf-030.png", "printed_label": "PDF 30", "bbox_pixels": [ 430, 2400, 1080, 110 ], "crop_image": "assets/front-terms-317.png" } ] }, { "id": "front-terms-318", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 335, "original": "TEMPS. Voyez Mesure.", "english": "BEAT. See Meter.", "sources": [ { "pdf_page": 30, "source_image": "source-pages/bnf-030.png", "printed_label": "PDF 30", "bbox_pixels": [ 430, 2560, 1080, 110 ], "crop_image": "assets/front-terms-318.png" } ] }, { "id": "front-terms-319", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 336, "original": "TERME. L’erreur de quelques Musiciens vient de ce qu’ils ne comprennent pas la force des Termes. page 124", "english": "TERM. Some musicians err because they do not understand the force of terms. page 124", "sources": [ { "pdf_page": 30, "source_image": "source-pages/bnf-030.png", "printed_label": "PDF 30", "bbox_pixels": [ 430, 2650, 1080, 300 ], "crop_image": "assets/front-terms-319.png" } ] }, { "id": "front-terms-320", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 337, "original": "TIERCE. De l’origine des Tierces. 12. 13. & 14", "english": "THIRD. Origin of thirds. 12. 13 and 14", "sources": [ { "pdf_page": 30, "source_image": "source-pages/bnf-030.png", "printed_label": "PDF 30", "bbox_pixels": [ 430, 2940, 1080, 155 ], "crop_image": "assets/front-terms-320.png" } ] }, { "id": "front-terms-321", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 338, "original": "La Quinte & les Tierces composent tous les Accords. 29. jusqu’à 32", "english": "The fifth and thirds compose all chords. 29 through 32", "sources": [ { "pdf_page": 30, "source_image": "source-pages/bnf-030.png", "printed_label": "PDF 30", "bbox_pixels": [ 430, 3095, 1080, 150 ], "crop_image": "assets/front-terms-321.png" } ] }, { "id": "front-terms-322", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 339, "original": "Les Tierces peuvent être regardées comme l’unique objet de tous les Accords. 33. jusqu’à 44", "english": "Thirds may be regarded as the sole object of all chords. 33 through 44", "sources": [ { "pdf_page": 30, "source_image": "source-pages/bnf-030.png", "printed_label": "PDF 30", "bbox_pixels": [ 430, 3240, 1080, 225 ], "crop_image": "assets/front-terms-322.png" } ] }, { "id": "front-terms-323", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 340, "original": "La Tierce se distingue en majeure & en mineure. page 130 & dans la Demonstration de la page 4", "english": "The third is distinguished as major or minor. page 130 and the demonstration on page 4", "sources": [ { "pdf_page": 30, "source_image": "source-pages/bnf-030.png", "printed_label": "PDF 30", "bbox_pixels": [ 430, 3460, 1080, 85 ], "crop_image": "assets/front-terms-323.png" }, { "pdf_page": 30, "source_image": "source-pages/bnf-030.png", "printed_label": "PDF 30", "bbox_pixels": [ 1510, 375, 1070, 220 ], "crop_image": "assets/front-terms-324.png" } ] }, { "id": "front-terms-325", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 341, "original": "La Tierce est l’unique Consonance qui puisse sauver la Dissonance dans une Harmonie naturelle & Fondamentale. 53 & 121", "english": "The third is the only consonance that can resolve dissonance in natural, fundamental harmony. 53 and 121", "sources": [ { "pdf_page": 30, "source_image": "source-pages/bnf-030.png", "printed_label": "PDF 30", "bbox_pixels": [ 1510, 600, 1070, 385 ], "crop_image": "assets/front-terms-325.png" } ] }, { "id": "front-terms-326", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 342, "original": "Les Accords Dissonans, formez d’une Tierce mineure ajoûtée au-dessus de l’Accord parfait, sont plus suportables que lorsque la Tierce majeure y est ajoûtée. 33. 34. & 40", "english": "Dissonant chords formed by adding a minor third above the perfect chord are more tolerable than those formed by adding a major third. 33. 34 and 40", "sources": [ { "pdf_page": 30, "source_image": "source-pages/bnf-030.png", "printed_label": "PDF 30", "bbox_pixels": [ 1510, 980, 1070, 450 ], "crop_image": "assets/front-terms-326.png" } ] }, { "id": "front-terms-327", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 343, "original": "La Tierce majeure doit monter, & la mineure doit descendre. 55. 88. & 89", "english": "The major third must ascend; the minor third must descend. 55. 88 and 89", "sources": [ { "pdf_page": 30, "source_image": "source-pages/bnf-030.png", "printed_label": "PDF 30", "bbox_pixels": [ 1510, 1430, 1070, 230 ], "crop_image": "assets/front-terms-327.png" } ] }, { "id": "front-terms-328", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 344, "original": "Tous les Intervales qui se distinguent en majeurs & en mineurs, en superflus, & en diminuez, doivent suivre la proprieté de ces Tierces. 55. & 130", "english": "Every interval classed as major, minor, augmented, or diminished must follow the properties of these thirds. 55 and 130", "sources": [ { "pdf_page": 30, "source_image": "source-pages/bnf-030.png", "printed_label": "PDF 30", "bbox_pixels": [ 1510, 1655, 1070, 380 ], "crop_image": "assets/front-terms-328.png" } ] }, { "id": "front-terms-329", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 345, "original": "Le genre de la Tierce du Son Fondamental ou de la Notte Tonique détermine celui du Mode, & par consequent il n’y a que deux Modes, l’un majeur & l’autre mineur. 143", "english": "The third of the fundamental sound or tonic determines the mode’s kind. There are therefore only two modes, major and minor. 143", "sources": [ { "pdf_page": 30, "source_image": "source-pages/bnf-030.png", "printed_label": "PDF 30", "bbox_pixels": [ 1510, 2035, 1070, 445 ], "crop_image": "assets/front-terms-329.png" } ] }, { "id": "front-terms-330", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 346, "original": "Il n’y a que la Tierce & la Sixte qui doivent être distinguées en majeurs & en mineurs. 165", "english": "Only thirds and sixths should be distinguished as major and minor. 165", "sources": [ { "pdf_page": 30, "source_image": "source-pages/bnf-030.png", "printed_label": "PDF 30", "bbox_pixels": [ 1510, 2475, 1070, 225 ], "crop_image": "assets/front-terms-330.png" } ] }, { "id": "front-terms-331", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 347, "original": "Descartes s’est trompé sur l’origine de la Tierce mineure, & sur celle des Sixtes. 14", "english": "Descartes erred about the origin of the minor third and sixths. 14", "sources": [ { "pdf_page": 30, "source_image": "source-pages/bnf-030.png", "printed_label": "PDF 30", "bbox_pixels": [ 1510, 2700, 1070, 230 ], "crop_image": "assets/front-terms-331.png" } ] }, { "id": "front-terms-332", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 348, "original": "Les Tierces participent de la Consonance & de la Dissonance. 87", "english": "Thirds partake of consonance and dissonance. 87", "sources": [ { "pdf_page": 30, "source_image": "source-pages/bnf-030.png", "printed_label": "PDF 30", "bbox_pixels": [ 1510, 2925, 1070, 155 ], "crop_image": "assets/front-terms-332.png" } ] }, { "id": "front-terms-333", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 349, "original": "La Tierce majeure peut descendre. 90", "english": "The major third may descend. 90", "sources": [ { "pdf_page": 30, "source_image": "source-pages/bnf-030.png", "printed_label": "PDF 30", "bbox_pixels": [ 1510, 3075, 1070, 155 ], "crop_image": "assets/front-terms-333.png" } ] }, { "id": "front-terms-334", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 350, "original": "La Tierce mineure & la Sixte mineure peuvent monter dans une Harmonie renversée de la Fondamentale. 91. jusqu’à 93 & dans le Supplément.", "english": "Minor thirds and minor sixths may ascend in harmony inverted from the fundamental. 91 through 93 and the Supplement.", "sources": [ { "pdf_page": 30, "source_image": "source-pages/bnf-030.png", "printed_label": "PDF 30", "bbox_pixels": [ 1510, 3225, 1070, 315 ], "crop_image": "assets/front-terms-334.png" }, { "pdf_page": 31, "source_image": "source-pages/bnf-031.png", "printed_label": "PDF 31", "bbox_pixels": [ 350, 415, 1120, 80 ], "crop_image": "assets/front-terms-335.png" } ] }, { "id": "front-terms-336", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 351, "original": "TON. Ce terme a deux significations dans la pratique, qu’il est à propos de sçavoir distinguer. Il signifie premierement, l’espace qui se trouve entre deux Sons comparez ensemble ; & l’Intervale qui en est formé se distingue dans la Théorie en majeur & en mineur. 22. & 23", "english": "TONE / KEY. French “ton” has two practical meanings that must be distinguished. First, it names the distance between two compared sounds: the whole-tone interval, theoretically distinguished as major or minor. 22 and 23", "sources": [ { "pdf_page": 31, "source_image": "source-pages/bnf-031.png", "printed_label": "PDF 31", "bbox_pixels": [ 350, 495, 1120, 650 ], "crop_image": "assets/front-terms-336.png" } ] }, { "id": "front-terms-337", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 352, "original": "Mais cette distinction est inutile dans la Pratique. 364. & 367", "english": "This distinction is useless in practice. 364 and 367", "sources": [ { "pdf_page": 31, "source_image": "source-pages/bnf-031.png", "printed_label": "PDF 31", "bbox_pixels": [ 350, 1145, 1120, 155 ], "crop_image": "assets/front-terms-337.png" } ] }, { "id": "front-terms-338", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 353, "original": "La difference des raisons du Ton mineur & du majeur en cause une pareille dans les raisons de tous les Intervales, à l’exception de l’Octave & de la Septiéme superfluë. 25. & 26", "english": "Different ratios for minor and major whole tones cause corresponding differences in all interval ratios except the octave and augmented seventh. 25 and 26", "sources": [ { "pdf_page": 31, "source_image": "source-pages/bnf-031.png", "printed_label": "PDF 31", "bbox_pixels": [ 350, 1300, 1120, 455 ], "crop_image": "assets/front-terms-338.png" } ] }, { "id": "front-terms-339", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 354, "original": "Secondement ce mot de Ton prend souvent la place & les qualitez de celui de Mode, & c’est de-là qu’on appelle Notte Tonique le Son, qui dans l’étenduë de son Octave détermine l’ordre de la Modulation.", "english": "Second, “ton,” meaning key, often takes the place and properties of “mode.” Hence the sound determining modulation’s order within its octave is called the tonic note.", "sources": [ { "pdf_page": 31, "source_image": "source-pages/bnf-031.png", "printed_label": "PDF 31", "bbox_pixels": [ 350, 1750, 1120, 505 ], "crop_image": "assets/front-terms-339.png" } ] }, { "id": "front-terms-340", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 355, "original": "Le Mode ne peut changer que du majeur au mineur, ou du mineur au majeur ; mais à l’égard de la Notte Tonique, elle peut se prendre sur les vingt-quatre Nottes du Systême Chromatique. 149", "english": "Mode can change only from major to minor or vice versa, but the tonic may be taken on any of the chromatic system’s twenty-four notes. 149", "sources": [ { "pdf_page": 31, "source_image": "source-pages/bnf-031.png", "printed_label": "PDF 31", "bbox_pixels": [ 350, 2255, 1120, 450 ], "crop_image": "assets/front-terms-340.png" } ] }, { "id": "front-terms-341", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 356, "original": "Les Consonances ne déterminent pas seulement la construction des Accords, ni la Progression de la Basse-Fondamentale, d’où la Progression des Parties superieures est en même temps determinée ; mais elles nous apprennent encore la maniere de passer d’un Ton ou d’un Mode à un autre. Ibid.", "english": "Consonances determine not only chord construction and fundamental-bass progression, which also governs the upper parts, but also how to pass between keys or modes. Ibid.", "sources": [ { "pdf_page": 31, "source_image": "source-pages/bnf-031.png", "printed_label": "PDF 31", "bbox_pixels": [ 350, 2700, 1120, 745 ], "crop_image": "assets/front-terms-341.png" } ] }, { "id": "front-terms-342", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 357, "original": "Comment on distingue le Ton du Mode. page 149 & 198", "english": "Distinguishing key from mode. pages 149 and 198", "sources": [ { "pdf_page": 31, "source_image": "source-pages/bnf-031.png", "printed_label": "PDF 31", "bbox_pixels": [ 350, 3440, 1120, 100 ], "crop_image": "assets/front-terms-342.png" }, { "pdf_page": 31, "source_image": "source-pages/bnf-031.png", "printed_label": "PDF 31", "bbox_pixels": [ 1430, 395, 1110, 80 ], "crop_image": "assets/front-terms-343.png" } ] }, { "id": "front-terms-344", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 358, "original": "Comment on peut sçavoir si la Notte qui porte un Accord parfait est Tonique ou non, & les consequences qu’on en tire pour les Accords qui doivent être employez. 264. & 265", "english": "Determining whether a note bearing a perfect chord is tonic, and the consequences for choosing chords. 264 and 265", "sources": [ { "pdf_page": 31, "source_image": "source-pages/bnf-031.png", "printed_label": "PDF 31", "bbox_pixels": [ 1430, 475, 1110, 450 ], "crop_image": "assets/front-terms-344.png" } ] }, { "id": "front-terms-345", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 359, "original": "Voyez Mesure.", "english": "See Meter.", "sources": [ { "pdf_page": 31, "source_image": "source-pages/bnf-031.png", "printed_label": "PDF 31", "bbox_pixels": [ 1430, 920, 1110, 85 ], "crop_image": "assets/front-terms-345.png" } ] }, { "id": "front-terms-346", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 360, "original": "TRANSPOSER. Comme il n’y a que deux Modes, dont l’un a la Notte Ut pour premier degré, & l’autre la Notte La ; on dit que le Mode ou le Ton est Transposé, lorsqu’on s’y sert d’une autre Notte pour premier degré.", "english": "TRANSPOSE. There are only two modes, one beginning on C and the other on A. A mode or key is called transposed when another note serves as its first degree.", "sources": [ { "pdf_page": 31, "source_image": "source-pages/bnf-031.png", "printed_label": "PDF 31", "bbox_pixels": [ 1430, 995, 1110, 515 ], "crop_image": "assets/front-terms-346.png" } ] }, { "id": "front-terms-347", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 361, "original": "La plupart des Italiens oublient le principal Dieze qui doit se trouver après la Clef des Modes majeurs Transposez, & presque tous les François oublient le principal ♭ mol, qui doit se trouver après la Clef des Modes mineurs Transposez. Voyez le Supplement.", "english": "Most Italians omit the principal sharp required after the clef in transposed major modes; almost all French musicians omit the principal flat required in transposed minor modes. See the Supplement.", "sources": [ { "pdf_page": 31, "source_image": "source-pages/bnf-031.png", "printed_label": "PDF 31", "bbox_pixels": [ 1430, 1510, 1110, 665 ], "crop_image": "assets/front-terms-347.png" } ] }, { "id": "front-terms-348", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 362, "original": "L’ordre des ♯ & des ♭ qu’il faut observer dans les Modes Transposez. Ibid.", "english": "Order of sharps and flats in transposed modes. Ibid.", "sources": [ { "pdf_page": 31, "source_image": "source-pages/bnf-031.png", "printed_label": "PDF 31", "bbox_pixels": [ 1430, 2175, 1110, 230 ], "crop_image": "assets/front-terms-348.png" } ] }, { "id": "front-terms-349", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 363, "original": "Par quel moyen on peut se dispenser de calculer les ♯ & les ♭ qui se trouvent après la Clef, lorsqu’il s’agit de solfier, & l’embarras que ce calcul peut causer aux Commençans. Ibid.", "english": "Avoiding the need to count post-clef sharps and flats when solmizing, and the difficulties that counting causes beginners. Ibid.", "sources": [ { "pdf_page": 31, "source_image": "source-pages/bnf-031.png", "printed_label": "PDF 31", "bbox_pixels": [ 1430, 2400, 1110, 445 ], "crop_image": "assets/front-terms-349.png" } ] }, { "id": "front-terms-350", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 364, "original": "Monsieur Frere s’est trompé dans sa nouvelle maniere de marquer la Transposition des Modes mineurs. Ibid.", "english": "Monsieur Frere erred in his new notation for transposed minor modes. Ibid.", "sources": [ { "pdf_page": 31, "source_image": "source-pages/bnf-031.png", "printed_label": "PDF 31", "bbox_pixels": [ 1430, 2845, 1110, 300 ], "crop_image": "assets/front-terms-350.png" } ] }, { "id": "front-terms-351", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 365, "original": "TRI-TON. Comme l’Intervale de la Quarte superfluë est composé de trois Tons, on l’appelle pour ce sujet Tri-Ton. Cet Intervale represente souvent une Quarte juste, qui ne se trouve alterée que par la force de la Modulation, mais qui n’est plus ce Tri-Ton tel qu’on se l’imagine ; il en est de même de la Quinte, de la Seconde, de la Septiéme, & de la Neuviéme, que la Modulation oblige d’alterer quelquefois ; de sorte que la connoissance de la Modulation est d’un grand secours pour ne s’y pas tromper ; il en est parlé dans la page 236.", "english": "TRITONE. The augmented fourth contains three whole tones, hence its name. It often represents a perfect fourth altered only by modulation, and is then no longer the tritone usually imagined. The same applies to fifths, seconds, sevenths, and ninths that modulation sometimes alters. Understanding modulation greatly helps avoid confusion; see page 236.", "sources": [ { "pdf_page": 31, "source_image": "source-pages/bnf-031.png", "printed_label": "PDF 31", "bbox_pixels": [ 1430, 3145, 1110, 390 ], "crop_image": "assets/front-terms-351.png" }, { "pdf_page": 32, "source_image": "source-pages/bnf-032.png", "printed_label": "PDF 32", "bbox_pixels": [ 520, 375, 1060, 990 ], "crop_image": "assets/front-terms-352.png" } ] }, { "id": "front-terms-353", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 366, "original": "Masson a traité de Tri-Ton une Quarte ainsi alterée par la Modulation, où pour lors cette Quarte n’est pas Dissonante. 65 & 66", "english": "Masson called a fourth altered by modulation a tritone, although that fourth was not dissonant. 65 and 66", "sources": [ { "pdf_page": 32, "source_image": "source-pages/bnf-032.png", "printed_label": "PDF 32", "bbox_pixels": [ 520, 1360, 1060, 370 ], "crop_image": "assets/front-terms-353.png" } ] }, { "id": "front-terms-354", "type": "heading", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 367, "original": "V", "english": "V", "sources": [ { "pdf_page": 32, "source_image": "source-pages/bnf-032.png", "printed_label": "PDF 32", "bbox_pixels": [ 520, 1715, 1060, 100 ], "crop_image": "assets/front-terms-354.png" } ] }, { "id": "front-terms-355", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 368, "original": "VIBRATION. Voyez Raison.", "english": "VIBRATION. See Ratio.", "sources": [ { "pdf_page": 32, "source_image": "source-pages/bnf-032.png", "printed_label": "PDF 32", "bbox_pixels": [ 520, 1800, 1060, 115 ], "crop_image": "assets/front-terms-355.png" } ] }, { "id": "front-terms-356", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 369, "original": "VIOLE. La preuve qu’on peut tirer des Instrumens de Musique à l’égard du Principe & de son Octave. page 6", "english": "VIOL. Evidence from musical instruments concerning the principle and its octave. page 6", "sources": [ { "pdf_page": 32, "source_image": "source-pages/bnf-032.png", "printed_label": "PDF 32", "bbox_pixels": [ 520, 1890, 1060, 100 ], "crop_image": "assets/front-terms-356.png" }, { "pdf_page": 32, "source_image": "source-pages/bnf-032.png", "printed_label": "PDF 32", "bbox_pixels": [ 1580, 375, 1080, 240 ], "crop_image": "assets/front-terms-357.png" } ] }, { "id": "front-terms-358", "type": "heading", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 370, "original": "Z", "english": "Z", "sources": [ { "pdf_page": 32, "source_image": "source-pages/bnf-032.png", "printed_label": "PDF 32", "bbox_pixels": [ 1580, 660, 1080, 110 ], "crop_image": "assets/front-terms-358.png" } ] }, { "id": "front-terms-359", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 371, "original": "ZARLINO ou ZARLIN. Auteur celebre en Musique, que Monsieur de Brossard nomme le Prince des Musiciens Modernes.", "english": "ZARLINO or ZARLIN. Celebrated music author whom Monsieur de Brossard calls the Prince of Modern Musicians.", "sources": [ { "pdf_page": 32, "source_image": "source-pages/bnf-032.png", "printed_label": "PDF 32", "bbox_pixels": [ 1580, 815, 1080, 320 ], "crop_image": "assets/front-terms-359.png" } ] }, { "id": "front-terms-360", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 372, "original": "Les erreurs qui se trouvent dans les Regles de Zarlin proviennent en partie de ce qu’il n’envisageoit que deux Sons à la fois. page 89", "english": "Errors in Zarlino’s rules partly arose because he considered only two sounds at once. page 89", "sources": [ { "pdf_page": 32, "source_image": "source-pages/bnf-032.png", "printed_label": "PDF 32", "bbox_pixels": [ 1580, 1130, 1080, 385 ], "crop_image": "assets/front-terms-360.png" } ] }, { "id": "front-terms-361", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 373, "original": "Cet Auteur decide parfaitement au sujet des effets surprenans que les Anciens ont attribuez à leur Musique. 142", "english": "This author judges perfectly the astonishing effects the ancients attributed to their music. 142", "sources": [ { "pdf_page": 32, "source_image": "source-pages/bnf-032.png", "printed_label": "PDF 32", "bbox_pixels": [ 1580, 1510, 1080, 295 ], "crop_image": "assets/front-terms-361.png" } ] }, { "id": "front-terms-362", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 374, "original": "Voyez Renverser, Cadence, Principe, Mode & Semi-Ton.", "english": "See Invert, Cadence, Principle, Mode, and Semitone.", "sources": [ { "pdf_page": 32, "source_image": "source-pages/bnf-032.png", "printed_label": "PDF 32", "bbox_pixels": [ 1580, 1800, 1080, 150 ], "crop_image": "assets/front-terms-362.png" } ] }, { "id": "front-terms-363", "type": "paragraph", "section": "front-terms", "lesson": 3, "exercise": 3, "reading_order": 375, "original": "Fin de la Table des Termes.", "english": "End of the Table of Terms.", "sources": [ { "pdf_page": 32, "source_image": "source-pages/bnf-032.png", "printed_label": "PDF 32", "bbox_pixels": [ 1000, 2145, 1200, 120 ], "crop_image": "assets/front-terms-363.png" } ] }, { "id": "I-title-001", "type": "heading", "section": "I-title", "lesson": 4, "exercise": 4, "reading_order": 376, "original": "TRAITÉ DE L’HARMONIE\nReduite à ses Principes naturels,", "english": "TREATISE ON HARMONY\nReduced to Its Natural Principles", "sources": [ { "pdf_page": 33, "source_image": "source-pages/bnf-033.png", "printed_page": 1, "bbox_pixels": [ 430, 1050, 2160, 720 ], "crop_image": "assets/I-title-001.png" } ] }, { "id": "I-title-002", "type": "paragraph", "section": "I-title", "lesson": 4, "exercise": 4, "reading_order": 377, "original": "AVEC DES REGLES de Composition & d’Accompagnement;", "english": "WITH RULES of composition and accompaniment;", "sources": [ { "pdf_page": 33, "source_image": "source-pages/bnf-033.png", "printed_page": 1, "bbox_pixels": [ 530, 1830, 1920, 285 ], "crop_image": "assets/I-title-002.png" } ] }, { "id": "I-title-003", "type": "paragraph", "section": "I-title", "lesson": 4, "exercise": 4, "reading_order": 378, "original": "DIVISÉ EN QUATRE LIVRES.", "english": "DIVIDED INTO FOUR BOOKS.", "sources": [ { "pdf_page": 33, "source_image": "source-pages/bnf-033.png", "printed_page": 1, "bbox_pixels": [ 610, 2160, 1640, 115 ], "crop_image": "assets/I-title-003.png" } ] }, { "id": "I-title-004", "type": "heading", "section": "I-title", "lesson": 4, "exercise": 4, "reading_order": 379, "original": "LIVRE PREMIER.\nDu rapport des Raisons & Proportions Harmoniques:", "english": "BOOK ONE.\nOn the relationships between harmonic ratios and proportions.", "sources": [ { "pdf_page": 33, "source_image": "source-pages/bnf-033.png", "printed_page": 1, "bbox_pixels": [ 470, 2400, 2070, 285 ], "crop_image": "assets/I-title-004.png" } ] }, { "id": "I01-1", "type": "heading", "section": "I01", "lesson": 5, "exercise": 5, "reading_order": 380, "original": "CHAPITRE PREMIER.\nDe la Musique & du Son.", "english": "CHAPTER ONE.\nOn Music and Sound.", "sources": [ { "pdf_page": 33, "source_image": "source-pages/bnf-033.png", "printed_page": 1, "bbox_pixels": [ 864, 2773, 1279, 206 ], "crop_image": "assets/I01-001.png" } ] }, { "id": "I01-2", "type": "paragraph", "section": "I01", "lesson": 5, "exercise": 5, "reading_order": 381, "original": "La Musique est la Science des Sons; par consequent le Son est le principal objet de la Musique.", "english": "Music is the science of sounds; consequently, sound is the principal object of music.", "sources": [ { "pdf_page": 33, "source_image": "source-pages/bnf-033.png", "printed_page": 1, "bbox_pixels": [ 447, 3021, 2107, 172 ], "crop_image": "assets/I01-002.png" } ] }, { "id": "I01-3", "type": "paragraph", "section": "I01", "lesson": 5, "exercise": 5, "reading_order": 382, "original": "On divise ordinairement la Musique en Harmonie & en Melodie, quoique celle-cy ne soit qu’une partie de l’autre, & qu’il suffise de connoître l’Harmonie, pour être parfaitement instruit de toutes les proprietez de la Musique, comme il sera prouvé dans la suite.", "english": "Music is ordinarily divided into harmony and melody, although the latter is only a part of the former, and knowledge of harmony alone is sufficient for a complete understanding of all the properties of music, as will be demonstrated below.", "sources": [ { "pdf_page": 33, "source_image": "source-pages/bnf-033.png", "printed_page": 1, "bbox_pixels": [ 447, 3193, 2107, 353 ], "crop_image": "assets/I01-003.png" } ] }, { "id": "I01-4", "type": "paragraph", "section": "I01", "lesson": 5, "exercise": 5, "reading_order": 383, "original": "Nous laisserons à la Physique le soin de définir le Son; dans l’Harmonie on le distingue seulement en grave & en aigu, sans s’arrêter à sa force ny à sa durée; & c’est sur le rapport des Sons aigus aux graves, que toutes les connoissances de l’Harmonie doivent être fondées:", "english": "We shall leave the definition of sound to physics. In harmony, sound is distinguished only as low or high, without considering its strength or duration; all knowledge of harmony must rest upon the relation of high sounds to low sounds:", "sources": [ { "pdf_page": 34, "source_image": "source-pages/bnf-034.png", "printed_page": 2, "bbox_pixels": [ 419, 408, 2128, 378 ], "crop_image": "assets/I01-004.png" } ] }, { "id": "I01-5", "type": "paragraph", "section": "I01", "lesson": 5, "exercise": 5, "reading_order": 384, "original": "Les Sons graves sont les plus bas, comme ceux qui sont rendus par les voix mâles, & les aigus sont les plus élevez, comme ceux qui sont rendus par les voix féminines.", "english": "Low sounds are the lowest in pitch, such as those produced by male voices; high sounds are the highest in pitch, such as those produced by female voices.", "sources": [ { "pdf_page": 34, "source_image": "source-pages/bnf-034.png", "printed_page": 2, "bbox_pixels": [ 419, 787, 2128, 221 ], "crop_image": "assets/I01-005.png" } ] }, { "id": "I01-6", "type": "paragraph", "section": "I01", "lesson": 5, "exercise": 5, "reading_order": 385, "original": "L’on nomme Intervale la distance qu’il y a d’un Son grave à un Son aigu, & des differentes distances qui peuvent se trouver entre un Son & un autre, se forment differens intervales, dont les degrez tirent leur dénomination des nombres de l’Arithmetique; ainsi le premier degré ne peut être dénommé que par L’unité, d’où l’on appelle Unisson deux Sons en même degré; par consequent le second degré s’appelle Seconde, le 3me. Tierce, le 4me. Quarte, le 5me. Quinte, le 6me. Sixte, le 7me. Septiéme, le 8me. Octave; &c. en supposant que le premier degré est toûjours le plus grave, & que les autres se forment en élevant la voix successivement selon ses degrez naturels.", "english": "The distance from a low sound to a high sound is called an interval. The various distances that may occur between one sound and another form different intervals, whose degrees take their names from the numbers of arithmetic. Thus the first degree can be designated only by unity, whence two sounds on the same degree are called a unison. Consequently, the second degree is called a second, the 3rd a third, the 4th a fourth, the 5th a fifth, the 6th a sixth, the 7th a seventh, the 8th an octave, and so forth. This assumes that the first degree is always the lowest, and that the others are formed by raising the voice successively through its natural degrees.", "sources": [ { "pdf_page": 34, "source_image": "source-pages/bnf-034.png", "printed_page": 2, "bbox_pixels": [ 413, 1010, 2141, 755 ], "crop_image": "assets/I01-006.png" } ] }, { "id": "I02-1", "type": "heading", "section": "I02", "lesson": 6, "exercise": 6, "reading_order": 386, "original": "CHAPITRE SECOND.\nDes differentes manieres dont le rapport des Sons peut nous être connu.", "english": "CHAPTER TWO.\nOn the Different Ways in Which the Relations of Sounds May Be Known.", "sources": [ { "pdf_page": 34, "source_image": "source-pages/bnf-034.png", "printed_page": 2, "bbox_pixels": [ 475, 1890, 2032, 307 ], "crop_image": "assets/I02-001.png" } ], "correction_refs": [ "supplement-003" ] }, { "id": "I02-2", "type": "paragraph", "section": "I02", "lesson": 6, "exercise": 6, "reading_order": 387, "original": "Pour connoître le rapport des Sons, on a choisi une corde tenduë de façon qu’elle pût rendre un Son; l’on a divisé ensuite cette corde en plusieurs parties avec des chevalets mobiles, & l’on a trouvé que tous les Sons ou intervales qui pouvoient s’accorder ensemble étoient contenus dans les cinq premieres divisions de cette corde, en comparant reciproquement chaque longueur qui resultoit de cette division.", "english": "To discover the relations of sounds, a string was chosen and stretched so that it could produce a sound. The string was then divided into several parts by movable bridges. By comparing with one another all the lengths resulting from this division, it was found that all the sounds or intervals capable of agreeing together were contained in the first five divisions of the string.", "sources": [ { "pdf_page": 34, "source_image": "source-pages/bnf-034.png", "printed_page": 2, "bbox_pixels": [ 402, 2268, 2159, 546 ], "crop_image": "assets/I02-002.png" } ] }, { "id": "I02-3", "type": "paragraph", "section": "I02", "lesson": 6, "exercise": 6, "reading_order": 388, "original": "Les uns ont cherché ce rapport dans celuy qu’ont entr’eux les nombres qui nous marquent ces divisions; les autres ayant pris à part les longueurs qui resultent de ces divisions, ont cherché ce rapport dans celuy qu’ont entr’eux les nombres qui nous marquent ces differentes longueurs; d’autres ayant encore remarqué que la communication du Son à l’oreille ne pouvoit se faire sans la participation de l’air, ont cherché ce rapport dans celuy qu’ont entr’eux les nombres qui nous marquent les Vibrations de ces differentes longueurs; & sans s’arrêter à plusieurs autres manieres, dont ce rapport peut nous être connu, comme dans les differentes grosseurs de la corde, dans ses differentes tensions par des poids, ou dans des instruments à vent, &c. L’on a trouvé, en un mot, que toutes les Consonances * étoient contenuës dans les six premiers nombres, à l’exception des grosseurs & des poids, où il faut se servir des quarrez de ces nombres radicaux; ce qui a donné lieu d’attribuer toute la force de l’Harmonie à celle des nombres; ne s’agissant aprés cela que d’en faire une juste application à l’operation, sur laquelle on veut fonder son systême.", "english": "Some sought this relation in the relations between the numbers that express these divisions. Others considered separately the lengths resulting from the divisions and sought the relation in the numbers expressing those different lengths. Still others observed that sound could not be communicated to the ear without the participation of air, and sought the relation in the numbers expressing the vibrations of these different lengths. Without dwelling on the many other ways in which this relation may be known—through different thicknesses of string, different tensions produced by weights, wind instruments, and so forth—it was found, in a word, that all consonances* were contained in the first six numbers. String thicknesses and weights are exceptions: for these, the squares of those root numbers must be used. This led to attributing all the power of harmony to the power of numbers. Thereafter, all that remained was to apply them correctly to the operation on which one wished to found a system.", "sources": [ { "pdf_page": 34, "source_image": "source-pages/bnf-034.png", "printed_page": 2, "bbox_pixels": [ 404, 2810, 2143, 765 ], "crop_image": "assets/I02-003.png" }, { "pdf_page": 35, "source_image": "source-pages/bnf-035.png", "printed_page": 3, "bbox_pixels": [ 428, 378, 2120, 604 ], "crop_image": "assets/I02-004.png" } ] }, { "id": "I02-5", "type": "paragraph", "section": "I02", "lesson": 6, "exercise": 6, "reading_order": 389, "original": "Il faut remarquer à present, que les nombres qui nous marquent les divisions de la corde, où ses Vibrations, suivent leur progression naturelle, & que tout y est fondé sur les regles de l’Arithmetique; au lieu que les nombres qui nous marquent les longueurs de la corde, suivent une progression renversée de la premiere; ce qui détruit une partie des regles de l’Arithmetique, ou plûtôt nous oblige à les renverser, comme nous le verrons en son lieu; Mais si le choix de ces operations doit nous être indifferent à l’égard de l’Harmonie, nous ne nous attacherons qu’à celles où les nombres suivent leur progression naturelle, parce que le tout y est beaucoup plus intelligible.", "english": "We must now observe that the numbers expressing the divisions of the string, or its vibrations, follow their natural progression, and that everything there rests on the rules of arithmetic. The numbers expressing the lengths of the string, however, follow a progression that reverses the first. This destroys some of the rules of arithmetic, or rather obliges us to reverse them, as we shall see in the proper place. Although the choice among these operations should make no difference to harmony, we shall attend only to those in which the numbers follow their natural progression, because everything is much more intelligible there.", "sources": [ { "pdf_page": 35, "source_image": "source-pages/bnf-035.png", "printed_page": 3, "bbox_pixels": [ 432, 987, 2118, 817 ], "crop_image": "assets/I02-005.png" } ] }, { "id": "I02-6", "type": "footnote", "section": "I02", "lesson": 6, "exercise": 6, "reading_order": 390, "original": "* Voyez la Table des Termes.", "english": "* See the Table of Terms.", "sources": [ { "pdf_page": 35, "source_image": "source-pages/bnf-035.png", "printed_page": 3, "bbox_pixels": [ 1778, 1737, 725, 56 ], "crop_image": "assets/I02-006.png" } ] }, { "id": "I.03-001", "type": "heading", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 391, "original": "CHAPITRE TROISIEME.", "english": "CHAPTER THREE.", "sources": [ { "pdf_page": 35, "source_image": "source-pages/bnf-035.png", "printed_page": 3, "bbox_pixels": [ 791, 1922, 1471, 107 ], "crop_image": "assets/I.03-001.png" } ], "correction_refs": [ "supplement-003", "supplement-004", "supplement-005", "supplement-006", "supplement-007" ] }, { "id": "I.03-002", "type": "heading", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 392, "original": "De l’origine des Consonances & de leur rapport.", "english": "On the Origin of Consonances and Their Relations.", "sources": [ { "pdf_page": 35, "source_image": "source-pages/bnf-035.png", "printed_page": 3, "bbox_pixels": [ 621, 2062, 1769, 123 ], "crop_image": "assets/I.03-002.png" } ] }, { "id": "I.03-003", "type": "paragraph", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 393, "original": "* Le Son est au Son, comme la corde est à la corde : Or chaque corde contient en soy toutes les autres cordes qui sont moindres qu’elle, & non pas celles qui sont plus grandes ; par consequent aussi dans chaque Son, tous les aigus sont contenus dans le grave ; mais non pas reciproquement tous les graves dans celuy qui est aigu ; d’où il est évident que l’on doit chercher le terme plus aigu par la division du plus grave ; laquelle division doit être Arithmetique, c’est à dire en parties égales, &c. soit donc A B,", "english": "* Sound is to sound as string is to string. Now every string contains within itself all strings shorter than it, but not those that are longer. Consequently, in sound likewise, all high sounds are contained in the low sound, but not, conversely, all low sounds in the high one. It is therefore evident that the higher term must be sought by dividing the lower. This division must be arithmetical, that is, into equal parts, and so forth. Let A B, then, be", "sources": [ { "pdf_page": 35, "source_image": "source-pages/bnf-035.png", "printed_page": 3, "bbox_pixels": [ 443, 2199, 2137, 540 ], "crop_image": "assets/I.03-003.png" } ] }, { "id": "I.03-004", "type": "image", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 394, "original": "A — D — C — E — B", "english": "A — D — C — E — B", "sources": [ { "pdf_page": 35, "source_image": "source-pages/bnf-035.png", "printed_page": 3, "bbox_pixels": [ 363, 2733, 643, 131 ], "crop_image": "assets/I.03-004.png" } ], "original_title": "Division de la corde A B en deux et trois parties égales.", "english_title": "Division of string A B into two and three equal parts.", "asset_refs": [ "I.03-004" ] }, { "id": "I.03-005", "type": "paragraph", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 395, "original": "le terme le plus grave, dont si je veux trouver le terme le plus aigu, pour en former la premiere de toutes les Consonances, alors je le divise en deux (ce nombre étant le premier de tous) comme vous voyez qu’on a fait au point C, & alors A C, A. B, sont éloignées l’une de l’autre par la premiere des Consonances, qui est appellée Octave ou Diapason. Que si je veux avoir les autres Consonances qui suivent immediatement la premiere, je devise A B en trois parties égales, & alors il n’en resultera pas seulement un terme aigu, mais deux ; sçavoir A D, & A. E, d’où naîtront deux Consonances de même genre ; sçavoir une Douziéme & une Quinte ; je puis encore diviser la ligne A. B, en 4, en 5, ou en 6 parties, & non pas davantage, parce que la capacité des oreilles ne s’étend pas au-delà, &c.", "english": "the lowest term. If I wish to find its higher term in order to form the first of all consonances, I divide it into two—this being the first of all numbers—as you see done at point C. A C and A B then stand apart by the first consonance, called the octave or diapason. If I wish to obtain the other consonances immediately following the first, I divide A B into three equal parts. This produces not merely one higher term, but two: A D and A E. From these arise two consonances of the same kind, namely a twelfth and a fifth. I may also divide the line A B into 4, 5, or 6 parts, but no further, because the capacity of the ears does not extend beyond this, and so forth.", "sources": [ { "pdf_page": 35, "source_image": "source-pages/bnf-035.png", "printed_page": 3, "bbox_pixels": [ 447, 2741, 2133, 716 ], "crop_image": "assets/I.03-005.png" }, { "pdf_page": 36, "source_image": "source-pages/bnf-036.png", "printed_page": 4, "bbox_pixels": [ 458, 359, 2135, 226 ], "crop_image": "assets/I.03-007.png" } ] }, { "id": "I.03-006", "type": "footnote", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 396, "original": "* Descartes, abregé de la Musique, pag. 60.", "english": "* Descartes, Compendium of Music, p. 60.", "sources": [ { "pdf_page": 35, "source_image": "source-pages/bnf-035.png", "printed_page": 3, "bbox_pixels": [ 512, 3457, 1155, 90 ], "crop_image": "assets/I.03-006.png" } ] }, { "id": "I.03-008", "type": "paragraph", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 397, "original": "Pour rendre cette proposition plus évidente, nous prendrons sept cordes, dont les divisions seront marquées par des nombres, supposant qu’elles sont toutes accordées à l’Unisson, sans se mettre en peine d’ailleurs d’aucune autre égalité ; l’on mettra ensuite les nombres dans leur ordre naturel à côté de chaque corde, comme on l’a observé dans la démonstration suivante, chaque nombre marquant la division en parties égales de la corde qui luy répond ; où l’on remarquera seulement que le nombre 7, ne pouvant donner aucun intervale agréable, (comme cela est évident aux Connoisseurs) nous luy supposons le nombre 8, qui est le premier aprés 7, qui soit double de l’un de ceux qui sont contenus dans le Senaire, faisant la triple Octave avec 1. ce qui n’augmente pas la quantité des nombres proposez, puisque 6. & 8. nous donnent le même intervale que 3. & 4. tout nombre representant toûjours celuy dont il est double.", "english": "To make this proposition clearer, we shall take seven strings whose divisions will be indicated by numbers. We suppose them all tuned in unison, without concerning ourselves with any other equality. We shall then place the numbers in their natural order beside each string, as in the following demonstration. Each number indicates the division into equal parts of its corresponding string. We need only observe that, since the number 7 cannot produce any agreeable interval—as is evident to connoisseurs—we substitute 8 for it. After 7, this is the first number that doubles one of the numbers contained in the senary; it forms the triple octave with 1. This does not increase the quantity of numbers proposed, since 6 and 8 give the same interval as 3 and 4, every number always representing the number of which it is double.", "sources": [ { "pdf_page": 36, "source_image": "source-pages/bnf-036.png", "printed_page": 4, "bbox_pixels": [ 462, 596, 2133, 1107 ], "crop_image": "assets/I.03-008.png" } ] }, { "id": "I.03-009", "type": "heading", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 398, "original": "DÉMONSTRATION.", "english": "DEMONSTRATION.", "sources": [ { "pdf_page": 36, "source_image": "source-pages/bnf-036.png", "printed_page": 4, "bbox_pixels": [ 881, 1683, 1331, 103 ], "crop_image": "assets/I.03-009.png" } ] }, { "id": "I.03-010", "type": "image", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 399, "original": "Sons et divisions (haut en bas) :\nUt 8\nSol 6\nMi 5\nUt 4\nSol 3\nUt 2\nUt 1\nIntervales adjacents :\n6–8 Quarte ; 5–6 Tierce mineure ; 4–5 Tierce majeure ;\n3–4 Quarte ; 2–3 Quinte ; 1–2 Octave.\nAutres rapports :\n5–8 Sixte mineure ; 3–5 Sixte majeure ;\n1–3 Douziéme ; 1–4 Double Octave ; 1–8 Triple Octave.", "english": "Sounds and divisions (top to bottom):\nC 8\nG 6\nE 5\nC 4\nG 3\nC 2\nC 1\nAdjacent intervals:\n6–8 Fourth; 5–6 Minor third; 4–5 Major third;\n3–4 Fourth; 2–3 Fifth; 1–2 Octave.\nOther relations:\n5–8 Minor sixth; 3–5 Major sixth;\n1–3 Twelfth; 1–4 Double octave; 1–8 Triple octave.", "sources": [ { "pdf_page": 36, "source_image": "source-pages/bnf-036.png", "printed_page": 4, "bbox_pixels": [ 275, 1782, 2457, 1569 ], "crop_image": "assets/I.03-010.png" } ], "original_title": "Sept cordes et leurs divisions. Diagramme original avec indications de sons et d’intervales.", "english_title": "Seven strings and their divisions. Original diagram indicating sounds and intervals.", "format": "preformatted", "asset_refs": [ "I.03-010" ] }, { "id": "I.03-011", "type": "paragraph", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 400, "original": "Il faut se souvenir d’abord que les nombres marquent par tout la division de l’unité, de même que celle de la corde entiere qui répond à 1.", "english": "First, remember that the numbers everywhere indicate divisions of unity, just as they indicate divisions of the whole string corresponding to 1.", "sources": [ { "pdf_page": 36, "source_image": "source-pages/bnf-036.png", "printed_page": 4, "bbox_pixels": [ 488, 3347, 2107, 245 ], "crop_image": "assets/I.03-011.png" } ] }, { "id": "I.03-012", "type": "paragraph", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 401, "original": "L’ordre de l’origine & de la perfection de ces Consonances se trouve déterminé par celuy des nombres ; de sorte que l’Octave entre 1. & 2. qui est engendrée la premiere, est plus parfaite que la Quinte, qui se trouve entre 2. & 3 ; de-là à la Quarte qui est entre 3. & 4 ; &c. en suivant toûjours la progression naturelle des nombres, & en n’admettant les Sixtes que les dernieres.", "english": "The order of the origin and perfection of these consonances is determined by the order of the numbers. Thus the octave between 1 and 2, which is generated first, is more perfect than the fifth between 2 and 3. Next comes the fourth between 3 and 4, and so forth, always following the natural progression of the numbers and admitting the sixths only last.", "sources": [ { "pdf_page": 37, "source_image": "source-pages/bnf-037.png", "printed_page": 5, "bbox_pixels": [ 408, 408, 2116, 525 ], "crop_image": "assets/I.03-012.png" } ] }, { "id": "I.03-013", "type": "paragraph", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 402, "original": "Le nom des Notes doit faire appercevoir que la corde 1, son Octave 2, sa double & sa triple Octave 4, & 8. ne rendent, pour ainsi dire, qu’un même Son ; de plus, la disposition de ces Notes conforme à l’ordre des nombres, & des divisions de la corde donne l’Harmonie la plus parfaite que l’on puisse imaginer, comme il est libre à un chacun de l’éprouver : Pour ce qui est des proprietez particulieres à chaque Son ou à chaque Consonance, nous allons les distribuer par Articles, pour en donner une idée plus distincte.", "english": "The names of the notes should make it apparent that string 1, its octave 2, and its double and triple octaves 4 and 8 produce, so to speak, only one and the same sound. Moreover, arranging these notes according to the order of the numbers and the divisions of the string gives the most perfect harmony imaginable, as anyone is free to test. As for the properties particular to each sound or consonance, we shall set them out in separate articles, to give a more distinct idea of them.", "sources": [ { "pdf_page": 37, "source_image": "source-pages/bnf-037.png", "printed_page": 5, "bbox_pixels": [ 408, 933, 2113, 602 ], "crop_image": "assets/I.03-013.png" } ] }, { "id": "I.03-014", "type": "heading", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 403, "original": "ARTICLE PREMIER.", "english": "ARTICLE ONE.", "sources": [ { "pdf_page": 37, "source_image": "source-pages/bnf-037.png", "printed_page": 5, "bbox_pixels": [ 871, 1576, 1202, 105 ], "crop_image": "assets/I.03-014.png" } ] }, { "id": "I.03-015", "type": "heading", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 404, "original": "Du principe de l’Harmonie ou du Son fondamental.", "english": "On the Principle of Harmony, or the Fundamental Sound.", "sources": [ { "pdf_page": 37, "source_image": "source-pages/bnf-037.png", "printed_page": 5, "bbox_pixels": [ 606, 1722, 1741, 110 ], "crop_image": "assets/I.03-015.png" } ] }, { "id": "I.03-016", "type": "paragraph", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 405, "original": "Nous devons supposer d’abord que la corde entiere qui répond à 1. rend un certain Son, dont il faut examiner les proprietez, en les faisant rapporter à celles de cette corde unique, ou même à celles de l’Unité qui est le principe de tous les nombres.", "english": "We must first suppose that the whole string corresponding to 1 produces a certain sound. We must examine this sound’s properties by relating them to those of this single string, or even to those of unity, which is the principle of all numbers.", "sources": [ { "pdf_page": 37, "source_image": "source-pages/bnf-037.png", "printed_page": 5, "bbox_pixels": [ 408, 1892, 2120, 301 ], "crop_image": "assets/I.03-016.png" } ] }, { "id": "I.03-017", "type": "paragraph", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 406, "original": "1°. Les differentes divisions marquées sur toutes les cordes qui sont égales à la premiere, & déterminées par la quantité que contient chaque nombre qui leur répond, nous prouvent évidemment que chaque partie de ces cordes provient de la premiere, puisque ces parties sont contenuës dans cette corde premiere & unique ; donc les Sons que doivent rendre ces cordes divisées, sont engendrez du premier Son, qui en est par consequent le principe & le fondement.", "english": "1. The different divisions marked on all the strings equal to the first, and determined by the quantity expressed by each corresponding number, clearly prove that every part of these strings comes from the first string, since these parts are contained in that first and single string. Thus the sounds produced by the divided strings are generated from the first sound, which is consequently their principle and foundation.", "sources": [ { "pdf_page": 37, "source_image": "source-pages/bnf-037.png", "printed_page": 5, "bbox_pixels": [ 408, 2197, 2124, 578 ], "crop_image": "assets/I.03-017.png" } ] }, { "id": "I.03-018", "type": "paragraph", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 407, "original": "2°. Des differentes distances qui se trouvent entre ce Son fondamental & ceux qu’il a engendré par sa division, il se forme differents intervales, dont par consequent ce Son fondamental est le principe.", "english": "2. The different distances between this fundamental sound and those it has generated through its division form different intervals. The fundamental sound is consequently the principle of these intervals.", "sources": [ { "pdf_page": 37, "source_image": "source-pages/bnf-037.png", "printed_page": 5, "bbox_pixels": [ 408, 2786, 2111, 295 ], "crop_image": "assets/I.03-018.png" } ] }, { "id": "I.03-019", "type": "paragraph", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 408, "original": "3°. Et finalement, de l’union de ces differents intervales, il se forme differentes Consonances, dont l’Harmonie ne peut être parfaite, si ce premier Son ne regne au dessous d’eux, comme en étant la Base & le Fondement, selon ce qui paroît dans la Démonstration ; donc ce premier Son est encore le principe de ces Consonances & de l’Harmonie qu’elles forment.", "english": "3. Finally, the union of these different intervals forms different consonances. Their harmony cannot be perfect unless the first sound prevails beneath them as their base and foundation, as the demonstration shows. Thus this first sound is also the principle of these consonances and of the harmony they form.", "sources": [ { "pdf_page": 37, "source_image": "source-pages/bnf-037.png", "printed_page": 5, "bbox_pixels": [ 408, 3085, 2118, 458 ], "crop_image": "assets/I.03-019.png" } ] }, { "id": "I.03-020", "type": "paragraph", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 409, "original": "Nous allons voir dans les Articles suivans les Sons qui ont le plus de correspondance avec ce principe, & l’usage qu’il en fait.", "english": "In the following articles, we shall see which sounds correspond most closely with this principle, and the use it makes of them.", "sources": [ { "pdf_page": 38, "source_image": "source-pages/bnf-038.png", "printed_page": 6, "bbox_pixels": [ 428, 398, 2122, 163 ], "crop_image": "assets/I.03-020.png" } ] }, { "id": "I.03-021", "type": "heading", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 410, "original": "ARTICLE SECOND.", "english": "ARTICLE TWO.", "sources": [ { "pdf_page": 38, "source_image": "source-pages/bnf-038.png", "printed_page": 6, "bbox_pixels": [ 879, 596, 1245, 95 ], "crop_image": "assets/I.03-021.png" } ] }, { "id": "I.03-022", "type": "heading", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 411, "original": "De l’Unisson.", "english": "On the Unison.", "sources": [ { "pdf_page": 38, "source_image": "source-pages/bnf-038.png", "printed_page": 6, "bbox_pixels": [ 1243, 735, 467, 103 ], "crop_image": "assets/I.03-022.png" } ] }, { "id": "I.03-023", "type": "paragraph", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 412, "original": "L’Unisson n’est à proprement parler qu’un Son unique, qui peut être rendu par plusieurs voix ou par plusieurs instrumens, comme cela paroît dans les sept cordes de la démonstration précedente avant qu’elles soient divisées ; d’où l’on dit que l’Unisson n’est pas une Consonance, parce qu’il ne s’y trouve pas la condition necessaire pour en faire une ; sçavoir la difference des Sons à l’égard du grave & de l’aigu, mais qu’il a même rapport aux Consonances, que l’Unité l’a aux nombres.", "english": "Strictly speaking, a unison is only a single sound, which may be produced by several voices or instruments, as may be seen in the seven strings of the preceding demonstration before they are divided. Hence it is said that the unison is not a consonance, because it lacks the condition necessary to make one: a difference between sounds in low and high pitch. Rather, the unison has the same relation to consonances that unity has to numbers.", "sources": [ { "pdf_page": 38, "source_image": "source-pages/bnf-038.png", "printed_page": 6, "bbox_pixels": [ 426, 914, 2131, 604 ], "crop_image": "assets/I.03-023.png" } ] }, { "id": "I.03-024", "type": "heading", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 413, "original": "ARTICLE TROISIEME.", "english": "ARTICLE THREE.", "sources": [ { "pdf_page": 38, "source_image": "source-pages/bnf-038.png", "printed_page": 6, "bbox_pixels": [ 813, 1563, 1378, 116 ], "crop_image": "assets/I.03-024.png" } ] }, { "id": "I.03-025", "type": "heading", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 414, "original": "De l’Octave.", "english": "On the Octave.", "sources": [ { "pdf_page": 38, "source_image": "source-pages/bnf-038.png", "printed_page": 6, "bbox_pixels": [ 1262, 1711, 436, 105 ], "crop_image": "assets/I.03-025.png" } ] }, { "id": "I.03-026", "type": "paragraph", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 415, "original": "La proportion du tout à sa moitié, ou de la moitié au tout est si naturelle, qu’elle se conçoit d’abord ; ce qui doit nous prévenir en faveur de l’Octave, dont la raison est comme 1. à 2. l’Unité est le principe des nombres, & 2. en est le premier, se trouvant un grand rapport entre ces deux Epithetes, Principe & Premier, dont l’application est tres-juste. Aussi dans la pratique, l’Octave n’est distinguée que sous le nom de replique ; toute replique y étant pour lors confondue avec son principe, comme cela paroît par le nom des Notes de la démonstration précedente ; & cette replique y étant moins regardée comme un accord, que comme un supplément aux accords ; ce qui fait que quelque-uns la comparent au zero. Les voix mâles & feminines entonnent naturellement l’Octave, croyant entonner l’Unisson ou le même Son : Dans les Flûtes cette Octave ne dépend que de la force du vent ; & si l’on prend une Viole dont les cordes sont assez longues pour pouvoir en distinguer les battemens, l’on y remarquera qu’en faisant resonner une corde avec un peu de violence, celles qui seront plus basses ou plus élevées d’une Octave, trembleront d’elles-mêmes, au lieu qu’il n’y a que le Son aigu de la Quinte qui tremble, & non pas le grave ; ce qui prouve que le principe de l’Octave est confondu dans les deux Sons qui la forment, & que celuy de la Quinte, & par consequent de tous les autres intervales, reside uniquement dans le Son grave & fondamental. * Descartes s’étant trompé icy par la fausse preuve qu’il tire d’un Luth, à l’égard de l’Octave.", "english": "The proportion of a whole to its half, or of a half to its whole, is so natural that it is understood at once. This should incline us in favor of the octave, whose ratio is 1 to 2. Unity is the principle of numbers, and 2 is the first number; the terms “principle” and “first” are closely related, and their application here is entirely apt. In practice, too, the octave is distinguished only by the name “replica.” Every replica is then identified with its principle, as the note names in the preceding demonstration show. It is regarded less as a chord than as a supplement to chords, which leads some to compare it with zero. Male and female voices naturally sing the octave while believing that they are singing the unison, or the same sound. On flutes, this octave depends only on the strength of the breath. If one takes a viol whose strings are long enough for their vibrations to be distinguished, one will observe that, when a string is made to sound with some force, strings an octave lower or higher will vibrate of themselves. With the fifth, however, only the higher sound vibrates, not the lower. This proves that the principle of the octave is identified with both sounds that form it, whereas the principle of the fifth, and consequently of all other intervals, resides solely in the low, fundamental sound. * Descartes was mistaken here because of the false evidence he drew from a lute concerning the octave.", "sources": [ { "pdf_page": 38, "source_image": "source-pages/bnf-038.png", "printed_page": 6, "bbox_pixels": [ 426, 1881, 2143, 1673 ], "crop_image": "assets/I.03-026.png" }, { "pdf_page": 39, "source_image": "source-pages/bnf-039.png", "printed_page": 7, "bbox_pixels": [ 449, 398, 2107, 155 ], "crop_image": "assets/I.03-027.png" } ] }, { "id": "I.03-028", "type": "paragraph", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 416, "original": "De plus, l’Octave sert de bornes à tous les intervales, & tout ce qui est engendré par la division du principe, peut, aprés avoir été comparé à ce principe, être également comparé à son Octave ; cette double comparaison ne produisant dans l’Harmonie que la seule diversité qui peut provenir de la differente situation de deux termes, comme 2. 3. ou 3. 2. ce que l’on appelle en termes de Geometrie, raison ou comparaison renversée. Or comme cette comparaison renversée n’est autre chose dans l’Harmonie que la transposition d’un Son grave à l’aigu, puisque si 2. marque le Son grave, étant le premier, il marquera par consequent le Son aigu, étant le dernier ; il faut distinguer cette transposition par le nombre qui en represente l’Octave, en mettant 3. 4. au lieu de 3. 2 : ce qui doit nous faire appercevoir que tout nombre multiplié Geometriquement represente toûjours, pour ainsi dire, le même Son, ou bien qu’il donne la replique de celuy qui en est la racine ; comme cela se prouve par la démonstration précedente, en faisant commencer cette multiplication au nombre 2. qui est engendré le premier par la division de l’Unité, celle-cy cedant à ce nombre, le privilege d’engendrer en sa place tout le reste, sans rien perdre neanmoins de sa force ; car ce qui s’accorde avec 2. s’accorde également avec 1. l’Octave, la Double, la Triple Octave, & plus si l’on veut, ne sont dans le fond qu’un même intervale, que l’on distingue seulement sous le nom de doublé ou de replique, ainsi de la Quinte avec la Douziéme, &c. & ce n’est que pour trouver les nombres moyens qui peuvent s’accorder avec chaque terme de cette raison 1. 2, qu’on la multiplie autant qu’il est necessaire, se trouvant par exemple 3. entre 2. & 4. 5. 6. 7. entre 4. & 8. ainsi de plus en plus jusqu’à l’infini ; 2. 4. ou 4. 8. étant en même raison qu’1. à 2.", "english": "Moreover, the octave sets the bounds of all intervals. Everything generated by division of the principle, after being compared with that principle, may equally be compared with its octave. This double comparison produces no diversity in harmony other than that arising from the different positions of two terms, such as 2, 3 or 3, 2: what geometry calls an inverted ratio or comparison. In harmony, this inverted comparison is nothing other than the transposition of a sound from low to high. If 2 denotes the low sound when it comes first, it will consequently denote the high sound when it comes last. We must therefore mark this transposition by the number representing its octave, writing 3, 4 instead of 3, 2. This should show us that a number multiplied geometrically always represents, so to speak, the same sound, or gives the replica of the sound represented by its root. The preceding demonstration proves this when the multiplication begins with 2, the first number generated by dividing unity. Unity yields to this number the privilege of generating all the rest in its place, without nevertheless losing any of its force: whatever agrees with 2 agrees equally with 1. The octave, double octave, triple octave, and further octaves if desired are fundamentally only the same interval, distinguished merely by the name “double” or “replica.” The same holds for the fifth and twelfth, and so forth. The ratio 1, 2 is multiplied as far as necessary only to find intermediate numbers that can agree with each of its terms. Thus, for example, 3 lies between 2 and 4; 5, 6, 7 lie between 4 and 8; and this continues increasingly to infinity. The ratios 2, 4 and 4, 8 are the same as 1 to 2.", "sources": [ { "pdf_page": 39, "source_image": "source-pages/bnf-039.png", "printed_page": 7, "bbox_pixels": [ 443, 555, 2120, 2077 ], "crop_image": "assets/I.03-028.png" } ] }, { "id": "I.03-029", "type": "paragraph", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 417, "original": "De cette conformité qui se trouve entre les intervales qui naissent des nombres comparez indifferemment à 1. & à 2. bien que ce soit toûjours au dessus d’1. & au dessus de 2. nous pouvons juger que ces mêmes nombres comparez au dessus d’1. & au dessous de 2. formeront des intervales, dont le rapport sera presqu’égal ; mais bien plus, de cette comparaison renversée qui ne provient que de la transposition d’un Son dans son Octave, ou d’un nombre à son double, nous devons juger que le rapport de ces Sons ainsi transposez ne peut y être alteré que par une difference de proportion, qui n’en cause presqu’aucune à l’oreille, puisque la proportion de 2. à 4. fait à peu-prés le même effet que celuy de 2. à 2. comme tout ce que nous venons de dire, joint à l’experience, le prouve suffisamment ; ce qui a donné lieu d’attribuer à l’Octave la même force qu’au Son principal & fondamental de cette Octave : L’Octave, * dit Zarlin, est la mere, la source & l’origine de tous les intervales, c’est par la division de ces deux termes que s’engendrent tous les accords Harmonieux ; cependant, quoique cela soit vrai en quelque façon, c’est toûjours de la division du Son unique & fondamental que s’engendrent tous les autres Sons, & par consequent tous les intervales & tous les accords ; de sorte que pour faire valoir le sentiment de Zarlin, l’on ne peut se dispenser d’y ajoûter, que pour lors le Son fondamental se sert de son Octave comme d’un second terme où doivent répondre tous les intervales engendrez de sa division, pour mieux marquer qu’il en est le commencement & la fin ; que cette Octave n’y a d’autres proprietez que celles qui luy sont communiquées par le Son fondamental dont elle est engendrée, ou pour mieux dire encore, que c’est toûjours le même Son qui se transpose dans son Octave ou dans sa replique, ou encore qui se multiplie, si l’on veut, pour déterminer de tous côtez des intervales particuliers à chaque Son qu’il a engendré, sans alterer neanmoins les proprietez qui sont tombées en partage à ces Sons engendrez dans la premiere comparaison qui a dû en être faite d’abord avec ce Son fondamental. Tel a formé une Consonance parfaite avec ce Son fondamental, qui la forme également avec son Octave ; tel a formé d’un côté une Consonance imparfaite, ou une Dissonance qui la forme également de l’autre ; tel a dû monter ou descendre d’un côté qui monte & descend de l’autre ; enfin tout ce qui s’accorde d’un côté s’accorde aussi de l’autre, & rien n’y est alteré en aucune façon ; excepté que la perfection attachée aux accords formez des principales Consonances, où pour lors le Son fondamental occupe sa place naturelle, qui est le lieu le plus grave, se trouve dûment alterée, lorsque ce Son fondamental se transpose dans son Octave pour introduire de la diversité par le different ordre que ces mêmes Consonances tiennent entr’elles, comme on peut l’éprouver dans la démonstration précedente, où l’on recevra une satisfaction tres-grande de la disposition presente de toutes les Consonances, & où cette satisfaction se diminuera sans choquer neanmoins l’oreille, si l’on en retranche les Sons 1. 2. & ensuite les Sons 1. 2. 3. 4. bien que cela soit encore plus sensible dans la suite d’une piece de Musique.", "english": "From the correspondence between intervals arising when numbers are compared indifferently with 1 or 2, though always above 1 and above 2, we may judge that these same numbers, compared above 1 and below 2, will form intervals whose relations are almost equal. More importantly, since this inverted comparison comes only from transposing a sound into its octave, or a number into its double, we must judge that the relation of sounds so transposed can change only through a difference of proportion that causes almost no difference to the ear. The proportion 2 to 4 has nearly the same effect as 2 to 2, as all we have said, together with experience, sufficiently proves. This has led to granting the octave the same force as its principal, fundamental sound. “The octave,” says Zarlino,* “is the mother, source, and origin of all intervals; the division of its two terms generates all harmonious chords.” Although this is true in a certain sense, it is always the division of the single fundamental sound that generates all other sounds, and consequently all intervals and chords. To uphold Zarlino’s opinion, we must therefore add that the fundamental sound uses its octave as a second term to which all intervals generated by its division must correspond, making clearer that it is their beginning and end. The octave has no properties except those communicated to it by the fundamental sound that generates it. Or, more precisely, it is always the same sound transposed into its octave or replica—or multiplied, if one wishes—in order to determine, on every side, intervals particular to each sound it has generated. This does not alter the properties allotted to those generated sounds in the first comparison that had to be made with the fundamental sound. A sound that formed a perfect consonance with the fundamental forms one equally with its octave. A sound that formed an imperfect consonance or a dissonance on one side forms the same on the other. A sound that had to ascend or descend on one side ascends and descends on the other. In short, whatever agrees on one side also agrees on the other, and nothing is altered in any way, with this exception: the perfection belonging to chords formed from the principal consonances, where the fundamental occupies its natural position as the lowest sound, is indeed changed when that fundamental moves into its octave. This introduces variety by changing the order in which those same consonances stand in relation to one another. One may test this in the preceding demonstration. Its present arrangement of all the consonances gives very great satisfaction. That satisfaction diminishes, though without offending the ear, if sounds 1 and 2 are removed, and then if sounds 1, 2, 3, 4 are removed. The effect is even more perceptible in the course of a piece of music.", "sources": [ { "pdf_page": 39, "source_image": "source-pages/bnf-039.png", "printed_page": 7, "bbox_pixels": [ 445, 2634, 2116, 830 ], "crop_image": "assets/I.03-029.png" }, { "pdf_page": 40, "source_image": "source-pages/bnf-040.png", "printed_page": 8, "bbox_pixels": [ 436, 357, 2131, 2866 ], "crop_image": "assets/I.03-031.png" } ] }, { "id": "I.03-030", "type": "footnote", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 418, "original": "* Descartes, pag. 59.", "english": "* Descartes, p. 59.", "sources": [ { "pdf_page": 39, "source_image": "source-pages/bnf-039.png", "printed_page": 7, "bbox_pixels": [ 499, 3472, 662, 84 ], "crop_image": "assets/I.03-030.png" } ] }, { "id": "I.03-032", "type": "paragraph", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 419, "original": "De toutes ces remarques nous pouvons conclure qu’un Son quelconque est toûjours sous-entendu dans son Octave ; * Descartes en convient en partie, (lorsqu’il dit, qu’on n’entend jamais aucun Son, que son Octave en dessus ne semble frapper les oreilles en quelque façon ; & il y auroit peut-être ajoûté l’Octave au dessous, s’il ne se fût pas trompé dans la preuve qu’il en a tirée d’un Luth (comme nous l’avons dit) ou s’il eut fait cas du sentiment d’Aristote, qui dit dans son 24ᵐᵉ, & dans son 43ᵐᵉ Problême (au rapport de Desermes *) si l’on touche la corde nete qui fait l’aigu de l’Octave, on entendra aussi la corde hypate qui en fait le grave, parce que la fin languissante du Son aigu est le commencement du Son grave qui ressemble à l’écho ou à l’image du Son aigu ; il n’y a peut-être pas un Musicien qui ne se serve de cette expression, un tel Son, une telle notte, ou un tel intervale est sous-entendu, en ajoûtant quelquefois dans la Basse ; de sorte que l’expression prévient souvent en ce cas celuy qui en connoît le moins la force : Les raisons Harmoniques ne nous offrant que l’accord parfait, l’on ne peut pour-lors admettre les accords de Sixte, & de Sixte Quarte qui en dérivent, sans supposer que le Son fondamental de cet accord parfait est sous-entendu dans son Octave, sinon il faut détruire tout principe ; & pardessus tout cela, l’experience qui nous fait sentir qu’un accord composé de la Tierce & de la Quinte est toûjours parfait & complet sans l’Octave, nous laisse à penser que cette Octave y est sous-entenduë, puisqu’elle est engendrée la premiere ; ensuite cette Octave mise au dessus de cette Tierce & de cette Quinte, avec lesquelles elle forme pour lors une Sixte & une Quarte, nous fait entendre neanmoins un accord qui est toûjours bon, quoique le Son fondamental n’y ait plus lieu ; donc ce Son fondamental est transposé ou sous-entendu dans son Octave ; d’où vient que ce dernier accord est moins parfait que le premier, bien qu’il soit composé des mêmes Sons ; ainsi ces differentes façons de s’exprimer, le principe est renversé, il est confondu, transposé, ou sous-entendu dans son Octave, reviennent toûjours à la même ; de sorte que le Son aigu de l’Octave ne doit point être regardé comme un principe different de celuy dont il est engendré immediatement, mais comme le representant & comme faisant un tout avec luy où tous les Sons, tous les intervales, & tous les accords doivent commencer & finir, sans oublier cependant que toutes les proprietez de cette Octave, des Sons en général, des intervales & des accords dépendent absolument de ce principe unique & fondamental, qui nous est representé par la corde entiere ou par l’unité.", "english": "From all these observations we may conclude that any sound is always implied in its octave. * Descartes partly agrees when he says that no sound is ever heard without its octave above seeming, in some manner, to strike the ears. He might perhaps have added the octave below, had he not been mistaken in his proof drawn from a lute, as we have said, or had he taken account of Aristotle’s opinion. In his 24th and 43rd Problems, according to Desermes,* Aristotle says that if the nete string, which forms the upper sound of the octave, is plucked, the hypate string, which forms the lower sound, will also be heard, because the fading end of the high sound is the beginning of the low sound, which resembles an echo or image of the high one. Perhaps no musician fails to use the expression “such a sound, such a note, or such an interval is implied,” sometimes adding “in the bass.” In this case the expression often comes before an understanding of its force in the person who uses it. Harmonic ratios offer us only the perfect chord. We therefore cannot admit the sixth and sixth–fourth chords derived from it without supposing that the fundamental sound of that perfect chord is implied in its octave; otherwise, every principle must be destroyed. Beyond all this, experience shows us that a chord composed of the third and fifth is always perfect and complete without the octave. This leads us to think that the octave is implied, since it is generated first. If that octave is then placed above the third and fifth, with which it now forms a sixth and fourth, we nevertheless hear a chord that is still good, although the fundamental sound is no longer present. Thus the fundamental is transposed or implied in its octave. This is why the latter chord is less perfect than the former, although composed of the same sounds. These various expressions—“the principle is inverted,” “it is identified with its octave,” “transposed into its octave,” or “implied in its octave”—therefore amount to the same thing. The high sound of the octave must not be regarded as a principle different from the one that immediately generates it, but as representing that principle and forming a whole with it, in which all sounds, intervals, and chords must begin and end. We must nevertheless remember that all the properties of this octave, of sounds in general, of intervals, and of chords depend absolutely on this single fundamental principle, represented by the whole string or by unity.", "sources": [ { "pdf_page": 40, "source_image": "source-pages/bnf-040.png", "printed_page": 8, "bbox_pixels": [ 439, 3212, 2124, 239 ], "crop_image": "assets/I.03-032.png" }, { "pdf_page": 41, "source_image": "source-pages/bnf-041.png", "printed_page": 9, "bbox_pixels": [ 419, 396, 2128, 2763 ], "crop_image": "assets/I.03-035.png" } ] }, { "id": "I.03-033", "type": "footnote", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 420, "original": "* Zarlino, terza parte, cap. 3. f. 174.", "english": "* Zarlino, Terza parte, chapter 3, fol. 174.", "sources": [ { "pdf_page": 40, "source_image": "source-pages/bnf-040.png", "printed_page": 8, "bbox_pixels": [ 490, 3457, 1015, 77 ], "crop_image": "assets/I.03-033.png" } ] }, { "id": "I.03-034", "type": "footnote", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 421, "original": "* Descartes, p. 61.", "english": "* Descartes, p. 61.", "sources": [ { "pdf_page": 40, "source_image": "source-pages/bnf-040.png", "printed_page": 8, "bbox_pixels": [ 1881, 3457, 596, 77 ], "crop_image": "assets/I.03-034.png" } ] }, { "id": "I.03-036", "type": "footnote", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 422, "original": "* Desermes, pag. 41.", "english": "* Desermes, p. 41.", "sources": [ { "pdf_page": 41, "source_image": "source-pages/bnf-041.png", "printed_page": 9, "bbox_pixels": [ 499, 3367, 636, 73 ], "crop_image": "assets/I.03-036.png" } ] }, { "id": "I.03-037", "type": "heading", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 423, "original": "ARTICLE QUATRIEME.", "english": "ARTICLE FOUR.", "sources": [ { "pdf_page": 42, "source_image": "source-pages/bnf-042.png", "printed_page": 10, "bbox_pixels": [ 864, 443, 1408, 118 ], "crop_image": "assets/I.03-037.png" } ] }, { "id": "I.03-038", "type": "heading", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 424, "original": "De la Quinte & de la Quarte.", "english": "On the Fifth and the Fourth.", "sources": [ { "pdf_page": 42, "source_image": "source-pages/bnf-042.png", "printed_page": 10, "bbox_pixels": [ 1056, 596, 1056, 112 ], "crop_image": "assets/I.03-038.png" } ] }, { "id": "I.03-039", "type": "paragraph", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 425, "original": "Les Sons qui forment la Quinte & la Quarte sont compris dans les divisions de la corde entiere, & par consequent sont engendrez du Son fondamental ; cependant eu égard aux intervales, il n’y a en ce cas que l’Octave & la Quinte qui soient engendrées immediatement du Son fondamental ; car la Quarte n’y est qu’une suite de l’Octave ; cette Quarte ne provenant que de la difference qui se trouve entre cette Octave & la Quinte ; aussi n’en est-il point fait mention dans les accords originaux, dont toute la force n’est attribuée qu’à la Quinte seule, l’Octave n’y étant pas même rappellée, bien que celle-cy ait précedé la Quinte dans son origine, & que par consequent la Quinte ne puisse avoir lieu sans elle ; de sorte que si l’on ne rappelle point cette Octave dans les accords, c’est apparemment qu’elle y est sous-entenduë, autrement la Quarte ne pourroit jamais y être admise, puisqu’elle ne peut subsister sans l’Octave.", "english": "The sounds forming the fifth and fourth are contained in the divisions of the whole string and are consequently generated by the fundamental sound. With regard to intervals, however, only the octave and fifth are generated immediately by the fundamental in this case. The fourth is merely a consequence of the octave: it arises only from the difference between that octave and the fifth. Accordingly, it is not mentioned in the original chords, whose entire force is attributed solely to the fifth. Even the octave is not recalled there, although it originated before the fifth and the fifth consequently cannot exist without it. If the octave is not recalled in these chords, it is apparently because it is implied. Otherwise the fourth could never be admitted, since it cannot subsist without the octave.", "sources": [ { "pdf_page": 42, "source_image": "source-pages/bnf-042.png", "printed_page": 10, "bbox_pixels": [ 494, 757, 2152, 1047 ], "crop_image": "assets/I.03-039.png" } ] }, { "id": "I.03-040", "type": "paragraph", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 426, "original": "C’est icy qu’il faut donner toute son attention à ce renversement de comparaison, dont nous avons parlé dans l’article précedent. Ce renversement est le nœud de toute la diversité dont l’Harmonie puisse participer, il suffit de le connoître pour venir à bout des plus grandes difficultez ; & cette connoissance ne consiste qu’à sçavoir distinguer les intervales qui peuvent naître de la comparaison reciproque d’un nombre moyen, à chaque terme de l’Octave : de sorte que si nous prenons 3. qui est le milieu Arithmetique de l’Octave 2. 4, pour le comparer à chacun de ces termes, il nous donnera d’un côté la Quinte avec 2, & de l’autre la Quarte avec 4 ; ne se trouvant de difference dans ces intervales, qu’en ce que celuy qui provient de la comparaison faite avec le Son grave & fondamental de l’Octave doit être sans doute, plus parfait que celuy qui provient de la comparaison faite avec le Son aigu de la même Octave ; car la difference de proportion qui s’y rencontre d’ailleurs ne doit point nous arrester, puisqu’elle ne provient que de celle de l’Octave à l’Unisson, comme si l’on comparoit 3. à 2, & encore à 2 ; ce qui ne causeroit aucune difference : Or donc ce grand rapport des deux Sons de l’Octave, lesquels se distinguent à peine de l’Unisson, & semblent n’être plus qu’un, nous donnant à juger que 2. 4. font à peu-prés le même effet à l’oreille que 2. 2 ; doit nous porter en même tems à regarder comme presqu’égaux deux intervales, dont la difference ne consiste que dans l’un de ces termes 2. 4 ; en donnant seulement la préference à celuy où le Son fondamental occupe sa place naturelle, comme provenant immediatement de ce Son ; ce qui a donné lieu de se servir en ce cas de la proportion Arithmetique qui est tres-simple, puisqu’elle ne consiste qu’à trouver le milieu de deux nombres proposez, comme nous avons trouvé 3. entre 2. & 4, & ce qui a donné lieu encore à ceux qui ont suivis l’ordre des multiplications d’inventer une nouvelle proportion qu’ils ont appellée Harmonique, & qui n’est autre qu’un renversement de la précedente, comme nous le verrons au Chapitre suivant ; si bien que chacune de ces deux proportions étant appliquée à son objet, nous donne la Quinte par rapport au Son grave de l’Octave, & la Quarte par rapport au Son aigu ; & si l’on applique ensuite l’une de ces proportions à l’objet de l’autre, elle nous donnera la Quarte au grave, & la Quinte à l’aigu ; ce renversement se découvrant de plus en plus à mesure que l’on veut penetrer dans les secrets de l’Harmonie : Par exemple, si l’on commence par les nombres, dont la progression naturelle est d’aller en augmentant ; l’on verra que dans l’Harmonie cette progression doit aller en diminuant ; si d’un côté la proportion Arithmetique peut nous être favorable, de l’autre celle que l’on appelle Harmonique fait le même effet ; si pour se conformer à la premiere proportion, il faut supposer pour lors que les nombres nous marquent la division de l’unité ; pour se conformer à la seconde, il faut renverser l’ordre de la progression des nombres ; si pour se conformer à la progression naturelle des nombres (en supposant toûjours qu’ils marquent la division de l’unité,) il faut diviser une corde proposée ; pour se conformer au renversement de la progression de ces nombres, il faut multiplier cette corde proposée ; si tous les Sons qui naissent des divisions se trouvent à l’aigu, comme cela doit ; tous ceux qui naissent des multiplications se trouvent au contraire au grave contre l’ordre naturel, ce qui se repare neanmoins au moyen de la proportion Harmonique : Enfin si l’Octave a tout le rapport que nous avons remarqué, & que nous ne pouvons luy disputer, sans détruire ce que la raison & l’experience nous offrent sur ce sujet ; nous voyons icy que sa division nous donne d’abord la Quinte pour premier intervale dans son espece, puisqu’il n’est tel que par rapport au Son grave & fondamental de cette Octave, & qu’elle nous donne ensuite la Quarte comme l’ombre (c’est l’expression de Descartes *) de cette Quinte ; ce qui ne provient que du renversement des deux Sons qui ont composé cette Quinte en premier lieu, par la transposition du Son grave de l’Octave dans l’aigu ; ce dernier renversement étant le principal objet de cet Ouvrage.", "english": "Here we must attend closely to the inversion of comparison discussed in the preceding article. This inversion is the key to all the variety of which harmony is capable; knowing it is enough to overcome the greatest difficulties. That knowledge consists only in distinguishing the intervals that may arise from comparing an intermediate number in turn with each term of the octave. Thus, if we take 3, the arithmetic mean of the octave 2, 4, and compare it with each term, it gives the fifth with 2 on one side and the fourth with 4 on the other. The only difference between these intervals is that the one resulting from comparison with the low, fundamental sound of the octave must undoubtedly be more perfect than the one resulting from comparison with its high sound. The further difference in proportion need not detain us, since it arises only from the difference between octave and unison. It is as though we compared 3 with 2, and again with 2, which would produce no difference. Thus the close relation between the octave’s two sounds—barely distinguishable from unison and seeming to be one—leads us to judge that 2, 4 has nearly the same effect on the ear as 2, 2. It must likewise lead us to regard as almost equal two intervals differing only in one of these terms, 2 or 4. We give preference only to the interval in which the fundamental occupies its natural position, since that interval comes directly from it. This led to using arithmetic proportion in this case. It is very simple: it consists only in finding the mean of two given numbers, as we found 3 between 2 and 4. It also led those who followed the order of multiplications to invent a new proportion, called harmonic, which is merely an inversion of the former, as we shall see in the next chapter. Each of these proportions, applied to its own object, therefore gives the fifth in relation to the octave’s low sound and the fourth in relation to its high sound. Apply either proportion to the object of the other, and it gives the fourth on the low side and the fifth on the high side. This inversion reveals itself increasingly as one seeks to penetrate the secrets of harmony. For example, begin with numbers, whose natural progression is to increase: in harmony, that progression must decrease. If arithmetic proportion favors us on one side, the proportion called harmonic produces the same effect on the other. To conform to the first proportion, we must suppose that the numbers express divisions of unity; to conform to the second, we must reverse the order of numerical progression. To conform to the natural progression of numbers—still supposing they express divisions of unity—we must divide a given string; to conform to the reversed progression, we must multiply that string. All sounds arising from division lie above, as they should; those arising from multiplication lie below, contrary to the natural order. Harmonic proportion nevertheless remedies this. Finally, if the octave has the entire relation we have observed—and we cannot deny it without overturning what reason and experience offer on this subject—its division first gives us the fifth as the first interval of its kind, since it is such only in relation to the octave’s low, fundamental sound. It then gives the fourth as the “shadow,” in Descartes’s expression,* of that fifth. This comes solely from reversing the two sounds that first formed the fifth, by transposing the octave’s low sound into its high sound. This final inversion is the principal subject of this work.", "sources": [ { "pdf_page": 42, "source_image": "source-pages/bnf-042.png", "printed_page": 10, "bbox_pixels": [ 492, 1806, 2137, 1729 ], "crop_image": "assets/I.03-040.png" }, { "pdf_page": 43, "source_image": "source-pages/bnf-043.png", "printed_page": 11, "bbox_pixels": [ 445, 359, 2131, 3070 ], "crop_image": "assets/I.03-041.png" } ] }, { "id": "I.03-042", "type": "footnote", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 427, "original": "* Descartes, p. 69.", "english": "* Descartes, p. 69.", "sources": [ { "pdf_page": 43, "source_image": "source-pages/bnf-043.png", "printed_page": 11, "bbox_pixels": [ 486, 3433, 604, 71 ], "crop_image": "assets/I.03-042.png" } ] }, { "id": "I.03-043", "type": "heading", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 428, "original": "ARTICLE CINQUIEME.", "english": "ARTICLE FIVE.", "sources": [ { "pdf_page": 44, "source_image": "source-pages/bnf-044.png", "printed_page": 12, "bbox_pixels": [ 836, 441, 1322, 110 ], "crop_image": "assets/I.03-043.png" } ] }, { "id": "I.03-044", "type": "heading", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 429, "original": "Des Tierces & des Sixtes.", "english": "On Thirds and Sixths.", "sources": [ { "pdf_page": 44, "source_image": "source-pages/bnf-044.png", "printed_page": 12, "bbox_pixels": [ 1045, 596, 901, 103 ], "crop_image": "assets/I.03-044.png" } ] }, { "id": "I.03-045", "type": "paragraph", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 430, "original": "Les Sons qui forment les Tierces & les Sixtes sont tous contenus dans les divisions de la corde entiere, & par consequent sont engendrez du Son fondamental : cependant eu égard aux intervales, il n’y a en ce cas que l’Octave, la Quinte & la Tierce majeure qui soient engendrées immediatement du Son fondamental, la Tierce mineure & les Sixtes n’étant qu’une suite de la Quinte & de l’Octave, en ce que cette Tierce mineure & ces Sixtes ne proviennent que de la difference qui se trouve entre la Tierce majeure & la Quinte, & entre les deux Tierces & l’Octave ; ce qui merite quelques reflexions, sur tout à l’égard de la Tierce mineure.", "english": "The sounds forming thirds and sixths are all contained in the divisions of the whole string and are consequently generated by the fundamental sound. With regard to intervals, however, only the octave, fifth, and major third are here generated immediately by the fundamental sound. The minor third and the sixths are merely consequences of the fifth and octave: they arise only from the difference between the major third and fifth, and between the two thirds and the octave. This deserves some reflection, particularly concerning the minor third.", "sources": [ { "pdf_page": 44, "source_image": "source-pages/bnf-044.png", "printed_page": 12, "bbox_pixels": [ 424, 755, 2137, 759 ], "crop_image": "assets/I.03-045.png" } ] }, { "id": "I.03-046", "type": "paragraph", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 431, "original": "Puisque tous les intervales sont engendrez de l’Octave, & que c’est-là que tous commencent & finissent ; donc la Tierce mineure doit y être comprise, & non pas indirectement, comme nous la trouvons icy entre la Tierce majeure & la Quinte, mais en se rapportant directement au Son fondamental ou à son Octave ; sinon cette Tierce ne pourroit plus changer de lieu, le milieu seroit son partage dans les accords, & jamais elle ne pourroit en occuper les extremitez, ce qui seroit tout-à-fait contraire à ce que l’experience nous prouve, & aux proprietez que l’on attribuë en ce cas, aux proportions Arithmetiques & Harmoniques ; la premiere divisant la Quinte (selon nôtre systême) par la Tierce majeure au grave, & la mineure à l’aigu ; & la seconde la divisant au contraire par la Tierce mineure au grave, & la majeure à l’aigu ; nouvelle espece de renversement dans l’ordre des Tierces qui prouve bien que toute la diversité de l’Harmonie est principalement fondée sur ce renversement.", "english": "Since all intervals are generated from the octave, where all begin and end, the minor third must be included in it—not indirectly, as we find it here between the major third and fifth, but in direct relation to the fundamental sound or its octave. Otherwise the minor third could never change its position: it would be confined to the middle of chords and could never occupy their extremities. This would be entirely contrary to experience and to the properties attributed here to arithmetic and harmonic proportions. According to our system, the first divides the fifth with a major third below and a minor third above; the second, conversely, divides it with a minor third below and a major third above. This new kind of inversion in the order of thirds clearly proves that all harmony’s variety is founded chiefly on inversion.", "sources": [ { "pdf_page": 44, "source_image": "source-pages/bnf-044.png", "printed_page": 12, "bbox_pixels": [ 426, 1514, 2143, 1131 ], "crop_image": "assets/I.03-046.png" } ] }, { "id": "I.03-047", "type": "paragraph", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 432, "original": "Pour mieux se convaincre encore là-dessus, il n’y a qu’à remarquer l’agréable effet que produisent toutes les Consonances de la démonstration précedente dans l’ordre qu’elles y tiennent, & les proprietez qui sont attachées à chacune d’elles ; d’abord l’Octave s’y presente comme tellement unie au principe dont elle tire son origine, qu’elle en devient inséparable, & c’est pour cela qu’il n’en est plus fait mention dans tout le reste, parce qu’elle y est sous-entenduë, ensuite le Son fondamental s’approprie la Quinte pour en former tous les accords, en déterminant immediatement aprés, la construction de ces accords, par son union avec la Tierce : de sorte que la Quinte se trouvant pour lors composée d’une Tierce majeure & d’une Tierce mineure, il est impossible que chacune de ces Tierces puisse se rapporter en même tems à son principe ; mais il suffit aussi que l’une d’elles paroisse en être engendrée immediatement, pour que l’on ne puisse se dispenser d’attribuer à l’autre le même privilege, parce que la difference du majeur au mineur qui s’y rencontre n’en cause aucune dans le genre de l’intervale qui est toûjours une Tierce de part & d’autre ; qui plus est, la Quinte ne peut servir de borne aux intervales, cette qualité n’est dûë qu’à l’Octave ; ainsi tout ce qui peut se rencontrer entre le principe & sa Quinte est toûjours de la dépendance de l’Octave, puisqu’elle est inséparable de ce principe, comme nous l’avons prouvé jusqu’à present ; & d’ailleurs, vû que l’on ne peut juger d’un intervale par un autre, si ce n’est par le secours de l’Octave ; il faut donc bien abandonner la Quinte & la Tierce majeure pour juger de la Tierce mineure, ainsi l’Octave du Son grave & fondamental de cette Tierce mineure y sera pour lors sous-entenduë, & joüira des mêmes privileges qui luy sont affectez dans l’origine de tous les intervales ; c’est-à-dire, que de même que la Quinte entre 2. & 3. engendrée immediatement du Son fondamental de l’Octave 2. 4, a produit la Quarte entre 3. & 4. par son renversement, ou par la transposition du Son fondamental 2. dans son Octave 4, ce qui est égal ; de même aussi la Tierce majeure entre 4. & 5. engendrée immediatement du Son fondamental de l’Octave 4. 8, produira par son renversement une Sixte mineure entre 5. & 8 ; & de même encore la Tierce mineure entre 5. & 6. engendrée immediatement du Son fondamental de l’Octave 5. 10, produira par son renversement une Sixte majeure entre 6. & 10, ou entre 3. & 5 : de sorte qu’il n’y a point icy de difference entre l’origine immediate de la Quinte & celle des deux Tierces, ny entre l’origine mediate de la Quarte & celle des deux Sixtes ; & comme on pourroit nous opposer encore que le principe de la Tierce mineure semble être different de celuy de la Tierce majeure, de la Quinte ou de l’Octave, en ce que 5. n’est pas multiple de 2. (prenant icy 2. pour l’unité) il est bon d’avertir que ce n’est que pour éviter les fractions, en se conformant à l’ordre naturel des nombres, qui en prescrit un pareil aux divisions de la corde, que l’on fait trouver la raison de cette Tierce mineure entre 5. & 6 ; puisque cette raison pourroit nous être renduë en même proportion entre 1. & 1. 1/5 dont pour lors l’unité seroit le principe ; ce qui s’apperçoit dans l’Article suivant.", "english": "To be further convinced, one need only observe the agreeable effect produced by all the consonances of the preceding demonstration in their given order, and the properties belonging to each. First, the octave appears so united with the principle from which it originates that it becomes inseparable from it. It is therefore not mentioned in all that follows, because it is implied. Next, the fundamental sound appropriates the fifth to form all chords, immediately determining their construction by its union with the third. The fifth is then composed of a major third and a minor third, so it is impossible for both thirds to relate to their principle at the same time. Yet if one appears to be generated immediately from that principle, we must grant the other the same privilege. Their major–minor difference does not change the kind of interval: each remains a third. Moreover, the fifth cannot set the bounds of intervals; that quality belongs only to the octave. Everything between the principle and its fifth therefore remains dependent on the octave, which is inseparable from that principle, as we have proved thus far. Besides, since one interval can be judged by another only with the octave’s assistance, we must set aside the fifth and major third when judging the minor third. The octave of the minor third’s low, fundamental sound will then be implied and will enjoy the same privileges assigned to it in the origin of all intervals. Thus the fifth between 2 and 3, generated immediately from the fundamental sound of the octave 2, 4, produces the fourth between 3 and 4 through inversion—or, equivalently, by transposing the fundamental 2 into its octave 4. Likewise, the major third between 4 and 5, generated immediately from the fundamental of the octave 4, 8, produces through inversion a minor sixth between 5 and 8. Similarly, the minor third between 5 and 6, generated immediately from the fundamental of the octave 5, 10, produces through inversion a major sixth between 6 and 10, or between 3 and 5. There is therefore no difference here between the immediate origin of the fifth and that of the two thirds, nor between the mediate origin of the fourth and that of the two sixths. One might still object that the minor third’s principle appears different from that of the major third, fifth, or octave, since 5 is not a multiple of 2—taking 2 here as unity. We should therefore point out that the minor third’s ratio is placed between 5 and 6 only to avoid fractions while following the natural order of numbers, which prescribes a corresponding order for string divisions. The same proportion could express this ratio between 1 and 1 1/5; unity would then be its principle. The next article makes this apparent.", "sources": [ { "pdf_page": 44, "source_image": "source-pages/bnf-044.png", "printed_page": 12, "bbox_pixels": [ 432, 2640, 2139, 920 ], "crop_image": "assets/I.03-047.png" }, { "pdf_page": 45, "source_image": "source-pages/bnf-045.png", "printed_page": 13, "bbox_pixels": [ 451, 376, 2148, 2896 ], "crop_image": "assets/I.03-048.png" } ] }, { "id": "I.03-049", "type": "image", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 433, "original": "1. & 1. 1/5", "english": "1. & 1. 1/5", "sources": [ { "pdf_page": 45, "source_image": "source-pages/bnf-045.png", "printed_page": 13, "bbox_pixels": [ 1737, 3034, 359, 140 ], "crop_image": "assets/I.03-049.png" } ], "original_title": "Fraction imprimée endommagée.", "english_title": "Damaged printed fraction.", "asset_refs": [ "I.03-049" ] }, { "id": "I.03-050", "type": "paragraph", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 434, "original": "Il faut conclure de tout ce que nous venons de dire, qu’il n’y a que trois Consonances premieres, qui sont la Quinte & les deux Tierces, dont se compose un accord qui s’appelle naturel ou parfait, & d’où proviennent trois Consonances secondes, qui sont la Quarte & les deux Sixtes, dont se composent deux nouveaux accords qui sont neanmoins renversez du premier, laissant à part l’Octave qui doit être sous-entenduë dans chacun de ces accords, & pour qui le terme de Consonance n’est pas aussi propre que celuy d’Equisonance, dont la plûpart des meilleurs Auteurs l’ont ornée.", "english": "We must conclude from all that has been said that there are only three primary consonances: the fifth and the two thirds. Together they compose the chord called natural or perfect. From them arise three secondary consonances: the fourth and the two sixths. These compose two new chords, which are nevertheless inversions of the first. We set aside the octave, which must be implied in each of these chords, and for which “consonance” is less fitting than “equisonance,” the name bestowed upon it by most of the best authors.", "sources": [ { "pdf_page": 45, "source_image": "source-pages/bnf-045.png", "printed_page": 13, "bbox_pixels": [ 473, 3276, 2109, 322 ], "crop_image": "assets/I.03-050.png" }, { "pdf_page": 46, "source_image": "source-pages/bnf-046.png", "printed_page": 14, "bbox_pixels": [ 443, 499, 2120, 381 ], "crop_image": "assets/I.03-051.png" } ] }, { "id": "I.03-052", "type": "paragraph", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 435, "original": "* Zarlin, aprés avoir remarqué dans ses démonstrations Harmoniques, que les Sixtes sont renversées des Tierces, dit dans ses Institutions qu’elles sont composées d’une Quarte & d’une Tierce ; ce qui fait perdre de vûë sa premiere proposition.", "english": "* After observing in his Harmonic Demonstrations that sixths are inversions of thirds, Zarlino says in his Institutions that they are composed of a fourth and a third. This causes his first proposition to be lost from view.", "sources": [ { "pdf_page": 46, "source_image": "source-pages/bnf-046.png", "printed_page": 14, "bbox_pixels": [ 436, 877, 2116, 305 ], "crop_image": "assets/I.03-052.png" } ] }, { "id": "I.03-053", "type": "paragraph", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 436, "original": "* Descartes s’est également trompé sur l’origine de la Tierce mineure & sur celle des Sixtes, lorsqu’il dit que, la Tierce mineure est engendrée de la majeure, comme la Quarte l’est de la Quinte, &c. plus-bas, la Sixte majeure procede de la Tierce majeure, &c. & encore plus-bas, la Sixte mineure est dérivée de la Tierce mineure, comme la Sixte majeure de la Tierce majeure, & ainsi elle en emprunte les proprietez & la nature, &c. la Quarte n’est engendrée de la Quinte que par la force de l’Octave, de même que la Sixte mineure l’est de la Tierce majeure ; & que la Sixte majeure l’est de la Tierce mineure, sans que cette Tierce mineure participe de la même origine ; donc toutes ces conclusions de Descartes sont fausses, excepté en ce qui regarde la proprieté des Sixtes qu’il a confonduë avec leur origine ; car la proprieté qu’elles ont de commun avec les Tierces n’est attachée qu’au genre majeure ou mineure, dont chaque Tierce & chaque Sixte doivent participer, de sorte que suivre les proprietez par rapport au genre majeur ou mineur, & proceder ou dériver, cela est fort different. Au reste, ces défauts sont pardonnables à un Auteur qui n’a fait qu’éfleurer la matiere, & qui nous fait assez connoître d’ailleurs qu’il l’auroit poussée plus loin qu’un autre, s’il s’y fût attaché.", "english": "* Descartes was equally mistaken about the origin of the minor third and of the sixths when he said, “The minor third is generated from the major, as the fourth is from the fifth,” and so forth; further down, “The major sixth proceeds from the major third,” and so forth; and further still, “The minor sixth is derived from the minor third as the major sixth is from the major third, and thus borrows its properties and nature,” and so forth. The fourth is generated from the fifth only through the force of the octave, just as the minor sixth is generated from the major third and the major sixth from the minor third, without the minor third sharing that same origin. Thus all these conclusions of Descartes are false, except concerning the properties of sixths, which he confused with their origin. The property they share with thirds attaches only to the major or minor kind to which each third and sixth must belong. Following the properties of the major or minor kind is therefore very different from proceeding or deriving from it. Nevertheless, these faults are pardonable in an author who only touched upon the subject, and who otherwise makes it quite clear that, had he devoted himself to it, he would have pursued it further than another.", "sources": [ { "pdf_page": 46, "source_image": "source-pages/bnf-046.png", "printed_page": 14, "bbox_pixels": [ 419, 1174, 2133, 1436 ], "crop_image": "assets/I.03-053.png" } ] }, { "id": "I.03-054", "type": "paragraph", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 437, "original": "Si nous avons donné une force égale à chaque Tierce par rapport au Son fondamental ; ce n’est pas à dire que le lieu qui leur est déterminé par la division naturelle de la Quinte, ne leur soit le plus convenable ; sur tout lorsque l’on veut penetrer plus avant ; & nous verrons par tout que l’aigu convient moins à la Tierce majeure qu’à la mineure.", "english": "If we have given each third equal force in relation to the fundamental sound, this does not mean that the position determined for each by the natural division of the fifth is not the most suitable, especially when one seeks a deeper understanding. We shall see throughout that the high position suits the major third less well than the minor.", "sources": [ { "pdf_page": 46, "source_image": "source-pages/bnf-046.png", "printed_page": 14, "bbox_pixels": [ 415, 2606, 2122, 456 ], "crop_image": "assets/I.03-054.png" } ] }, { "id": "I.03-055", "type": "footnote", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 438, "original": "* Zarlino. Ragion. 2°, def. x, f. 83. & 84. Terza parte, cap. 20, & 21. f. 192, & 193.", "english": "* Zarlino, Ragion. 2°, definition x, fols. 83 and 84. Terza parte, chapters 20 and 21, fols. 192 and 193.", "sources": [ { "pdf_page": 46, "source_image": "source-pages/bnf-046.png", "printed_page": 14, "bbox_pixels": [ 467, 3113, 2064, 86 ], "crop_image": "assets/I.03-055.png" } ] }, { "id": "I.03-056", "type": "footnote", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 439, "original": "* Descartes, p. 71.", "english": "* Descartes, p. 71.", "sources": [ { "pdf_page": 46, "source_image": "source-pages/bnf-046.png", "printed_page": 14, "bbox_pixels": [ 469, 3182, 572, 84 ], "crop_image": "assets/I.03-056.png" } ] }, { "id": "I.03-057", "type": "heading", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 440, "original": "ARTICLE SIXIEME.", "english": "ARTICLE SIX.", "sources": [ { "pdf_page": 47, "source_image": "source-pages/bnf-047.png", "printed_page": 15, "bbox_pixels": [ 817, 439, 1309, 112 ], "crop_image": "assets/I.03-057.png" } ] }, { "id": "I.03-058", "type": "heading", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 441, "original": "Abregé du contenu de ce Chapitre, où les Proprietez de la démonstration precedente se trouvent renfermées dans une seule corde.", "english": "Summary of This Chapter, in Which the Properties of the Preceding Demonstration Are Contained in a Single String.", "sources": [ { "pdf_page": 47, "source_image": "source-pages/bnf-047.png", "printed_page": 15, "bbox_pixels": [ 406, 583, 2133, 224 ], "crop_image": "assets/I.03-058.png" } ] }, { "id": "I.03-059", "type": "paragraph", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 442, "original": "Comme une partie de chaque corde de la Démonstration precedente suffit pour la preuve de tout ce que nous venons de dire ; nous marquerons cette partie sur une seule corde avec le nombre qui en détermine la division en parties égales, & nous prendrons cette partie depuis le nombre jusqu’au bout de la corde en tirant à droite.", "english": "Since a part of each string in the preceding demonstration is sufficient to prove all that we have said, we shall mark that part on a single string, with the number determining its division into equal parts. We shall take the part extending from the number to the end of the string toward the right.", "sources": [ { "pdf_page": 47, "source_image": "source-pages/bnf-047.png", "printed_page": 15, "bbox_pixels": [ 404, 823, 2161, 477 ], "crop_image": "assets/I.03-059.png" } ] }, { "id": "I.03-060", "type": "image", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 443, "original": "Points de la corde, de gauche à droite :\n1 2 3 4 5 6 8 10\nAu-dessus :\n2–3 Quinte ; 3–4 Quarte ; 2–4 Octave.\n5–8 Sixte min. ; 6–10 Sixte maj. ; 5–10 Octave.\nAu-dessous :\n1–2 Octave ; 1–4 Double Octave ; 1–8 Triple Octave.\n4–5 Tierce maj. ; 5–6 Tierce min. ; 4–6 Quinte ; 4–8 Octave.", "english": "Points on the string, left to right:\n1 2 3 4 5 6 8 10\nAbove:\n2–3 Fifth; 3–4 Fourth; 2–4 Octave.\n5–8 Minor sixth; 6–10 Major sixth; 5–10 Octave.\nBelow:\n1–2 Octave; 1–4 Double octave; 1–8 Triple octave.\n4–5 Major third; 5–6 Minor third; 4–6 Fifth; 4–8 Octave.", "sources": [ { "pdf_page": 47, "source_image": "source-pages/bnf-047.png", "printed_page": 15, "bbox_pixels": [ 396, 1256, 2163, 716 ], "crop_image": "assets/I.03-060.png" } ], "original_title": "Divisions d’une seule corde et leurs intervales.", "english_title": "Divisions of a Single String and Their Intervals.", "format": "preformatted", "asset_refs": [ "I.03-060" ] }, { "id": "I.03-061", "type": "paragraph", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 444, "original": "Il ne faut faire attention icy qu’aux Octaves 2. 4., 4. 8., & 5. 10., pour comparer reciproquement à chaque nombre de chacune de ces Octaves ceux qui se trouveront au milieu ; où l’on trouvera que l’intervale premier sera toûjours renfermé dans la comparaison que l’on fera du nombre moyen à celuy qui represente le Son grave & fondamental de l’Octave, & que l’intervale renversé du premier sera renfermé dans la comparaison du même nombre à celuy qui represente le Son aigu de la même Octave : Par exemple, si l’on prend l’Octave 2. 4., l’on y trouvera que la Quinte 2. 3. est le principe de la Quarte 3. 4 ; si l’on prend ensuite l’Octave 4. 8., l’on y trouvera que la Tierce majeure 4. 5. est le principe de la Sixte mineure 5. 8., & si l’on prend enfin l’Octave 5. 10., l’on y trouvera que la Tierce mineure 5. 6. est le principe de la Sixte majeure 6. 10 ; le tout ne provenant que de la transposition des Sons fondamentaux 2. 4. & 5. dans leurs Octaves 4. 8. & 10.", "english": "Here we need attend only to the octaves 2, 4; 4, 8; and 5, 10, comparing the numbers lying between each pair with each of that octave’s terms in turn. We shall find that the primary interval is always contained in the comparison of the intermediate number with the number representing the octave’s low, fundamental sound. The inversion of that primary interval is contained in the comparison of the same intermediate number with the number representing the octave’s high sound. For example, in the octave 2, 4, the fifth 2, 3 is the principle of the fourth 3, 4. In the octave 4, 8, the major third 4, 5 is the principle of the minor sixth 5, 8. Finally, in the octave 5, 10, the minor third 5, 6 is the principle of the major sixth 6, 10. All this comes only from transposing the fundamental sounds 2, 4, and 5 into their octaves 4, 8, and 10.", "sources": [ { "pdf_page": 47, "source_image": "source-pages/bnf-047.png", "printed_page": 15, "bbox_pixels": [ 430, 2032, 2154, 1118 ], "crop_image": "assets/I.03-061.png" } ] }, { "id": "I.03-062", "type": "paragraph", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 445, "original": "Pour rendre le tout encore plus évident, il n’y a qu’à prendre les longueurs qui resultent de la même division, en tirant à gauche depuis le nombre jusqu’au bout de la corde, où pour lors chaque longueur pourra être comparée à la corde entiere qui en est le principe, & à son Octave 2. qui luy sert de terme ; de sorte que 3. donnera la Quinte avec 1., & la Quarte avec 2, 5. donnera la Tierce majeure avec 1., & la Sixte mineure avec 2., & 6. donnera la Tierce mineure avec 1., & la Sixte majeure avec 2 ; l’unité étant icy (comme l’on voit) le principe immediat de la Quinte, & des deux Tierces, dont se forment la Quarte & les deux Sixtes par la transposition de cette unité dans son Octave 2 : ainsi l’on ne doit plus s’étonner si l’unité est representée par les nombres 2. 4. ou 5., ou par tel autre nombre que ce soit, puisque cela ne se fait que pour éviter les fractions.", "english": "To make this clearer still, take the lengths resulting from the same division, but extending to the left from the number to the end of the string. Each length may then be compared with the whole string, which is its principle, and with its octave 2, which serves as its limiting term. Thus 3 gives the fifth with 1 and the fourth with 2; 5 gives the major third with 1 and the minor sixth with 2; and 6 gives the minor third with 1 and the major sixth with 2. As we see, unity is here the immediate principle of the fifth and both thirds. The fourth and both sixths arise from these by transposing unity into its octave 2. We should therefore no longer be surprised if unity is represented by 2, 4, 5, or any other number, since this is done only to avoid fractions.", "sources": [ { "pdf_page": 47, "source_image": "source-pages/bnf-047.png", "printed_page": 15, "bbox_pixels": [ 447, 3152, 2124, 391 ], "crop_image": "assets/I.03-062.png" }, { "pdf_page": 48, "source_image": "source-pages/bnf-048.png", "printed_page": 16, "bbox_pixels": [ 456, 368, 2120, 682 ], "crop_image": "assets/I.03-063.png" } ] }, { "id": "I.03-064", "type": "heading", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 446, "original": "DÉMONSTRATION.", "english": "DEMONSTRATION.", "sources": [ { "pdf_page": 48, "source_image": "source-pages/bnf-048.png", "printed_page": 16, "bbox_pixels": [ 905, 1028, 1245, 99 ], "crop_image": "assets/I.03-064.png" } ] }, { "id": "I.03-065", "type": "heading", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 447, "original": "Du rapport des Consonances dans les longueurs prises à gauche.", "english": "On the Relations of Consonances in the Lengths Taken Toward the Left.", "sources": [ { "pdf_page": 48, "source_image": "source-pages/bnf-048.png", "printed_page": 16, "bbox_pixels": [ 602, 1148, 1830, 97 ], "crop_image": "assets/I.03-065.png" } ] }, { "id": "I.03-066", "type": "image", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 448, "original": "Points de la corde, de gauche à droite :\n2 3 4 5 6 1\nAu-dessus :\n3–1 Quinte ; 5–1 Tierce majeure ; 6–1 Tierce min.\nAu-dessous :\n2–3 Quarte ; 2–5 Sixte min. ; 2–6 Sixte maj.", "english": "Points on the string, left to right:\n2 3 4 5 6 1\nAbove:\n3–1 Fifth; 5–1 Major third; 6–1 Minor third.\nBelow:\n2–3 Fourth; 2–5 Minor sixth; 2–6 Major sixth.", "sources": [ { "pdf_page": 48, "source_image": "source-pages/bnf-048.png", "printed_page": 16, "bbox_pixels": [ 428, 1305, 2163, 578 ], "crop_image": "assets/I.03-066.png" } ], "original_title": "Rapport des Consonances dans les longueurs prises à gauche.", "english_title": "Relations of Consonances in the Lengths Taken Toward the Left.", "format": "preformatted", "asset_refs": [ "I.03-066" ] }, { "id": "I.03-067", "type": "paragraph", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 449, "original": "Nous expliquerons au Chap. XI. la maniere de trouver les raisons de ces Consonances ainsi comparées.", "english": "In Chapter XI, we shall explain how to find the ratios of consonances compared in this way.", "sources": [ { "pdf_page": 48, "source_image": "source-pages/bnf-048.png", "printed_page": 16, "bbox_pixels": [ 462, 1926, 2131, 161 ], "crop_image": "assets/I.03-067.png" } ] }, { "id": "I.03-068", "type": "paragraph", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 450, "original": "Ce renversement que nous venons de remarquer entre les Consonances, n’a été consideré de la plûpart des Theoriciens que comme la simple difference qu’il y a d’un intervale à un autre ; cependant la difference d’une Consonance à l’Octave doit être distinguée de celle de deux Consonances, en ce que l’Octave representant le principe ; rien ne peut s’accorder avec l’un de ses termes (comme dit Descartes *) qu’il ne s’accorde aussi avec l’autre ; mais dans la difference de deux Consonances, nous n’avons plus égard qu’au Son principal de cette Octave, le Son aigu y étant pour rien ; aussi nous remarquerons que les Consonances premieres, & celles qui proviennent de leur renversement peuvent se prendre toûjours dans nôtre corde en tirant à droite, qui est le côté le plus naturel, parce que leur difference ne provient que de celle des deux termes de l’Octave ; mais que la difference de deux Consonances consecutives ne peut se prendre qu’en tirant à gauche, (comme nous le verrons au Chapitre V.) parce qu’elles n’ont été engendrées que du Son principal, auquel il faut retourner pour connoître cette difference, puisqu’il en est l’origine.", "english": "Most theorists have considered the inversion we have just observed between consonances merely as the simple difference between one interval and another. Yet the difference between a consonance and the octave must be distinguished from the difference between two consonances. Since the octave represents the principle, nothing can agree with one of its terms without also agreeing with the other, as Descartes says.* In finding the difference between two consonances, however, we consider only the principal sound of that octave; the high sound counts for nothing. Accordingly, we shall observe that primary consonances and those arising from their inversion can always be taken on our string toward the right, the more natural side, because their difference comes only from the difference between the octave’s two terms. The difference between two successive consonances, however, can be taken only toward the left, as we shall see in Chapter V. This is because they were generated only from the principal sound, to which we must return to discover their difference, since it is their origin.", "sources": [ { "pdf_page": 48, "source_image": "source-pages/bnf-048.png", "printed_page": 16, "bbox_pixels": [ 460, 2090, 2143, 1363 ], "crop_image": "assets/I.03-068.png" } ] }, { "id": "I.03-069", "type": "footnote", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 451, "original": "* Descartes, pag. 64.", "english": "* Descartes, p. 64.", "sources": [ { "pdf_page": 48, "source_image": "source-pages/bnf-048.png", "printed_page": 16, "bbox_pixels": [ 544, 3455, 639, 77 ], "crop_image": "assets/I.03-069.png" } ] }, { "id": "I.03-070", "type": "paragraph", "section": "I.03", "lesson": 7, "exercise": 7, "reading_order": 452, "original": "Si nous faisons réflexion sur la maniere de trouver les raisons des intervales engendrez de la transposition des deux Sons de l’Octave, ou de ceux qui proviennent de la distance qu’il y a d’un intervale à un autre, sans y comprendre l’Octave ; nous verrons que pour avoir un intervale renversé, il n’y a qu’à doubler le plus petit terme d’une raison donnée, ou en diviser le plus grand par la moitié, (ce qui est la même chose ;) comme par exemple, la Tierce mineure 5. 6. nous donne la Sixte majeure, en doublant 5, ou en divisant 6 ; mais pour avoir l’intervale qui fait la difference de deux autres, il faut avoir recours à une regle de soustraction ; & pour preuve encore de la grande perfection de l’Octave, nous voyons qu’elle peut se former de l’Unisson par la division ou par la multiplication de l’un des termes de cet Unisson, dont la raison est comme 2. à 2. ainsi que l’on divise, ou que l’on double l’un de ces termes, nous en aurons l’Octave, qui subsiste toûjours comme telle, soit dans le grave, soit dans l’aigu.", "english": "If we consider how to find the ratios of intervals generated by transposing the octave’s two sounds, or of intervals arising from the distance between one interval and another without including the octave, we shall see that an inverted interval is obtained simply by doubling the smaller term of a given ratio or halving the larger, which amounts to the same thing. For example, the minor third 5, 6 gives the major sixth by doubling 5 or halving 6. To obtain the interval that forms the difference between two others, however, we must resort to a rule of subtraction. As further proof of the octave’s great perfection, we see that it can be formed from a unison by dividing or multiplying one term of that unison, whose ratio is 2 to 2. Divide or double either term and we obtain the octave, which remains an octave whether on the low side or the high side.", "sources": [ { "pdf_page": 49, "source_image": "source-pages/bnf-049.png", "printed_page": 17, "bbox_pixels": [ 434, 368, 2126, 1230 ], "crop_image": "assets/I.03-070.png" } ] }, { "id": "I.04-001", "type": "heading", "section": "I.04", "lesson": 8, "exercise": 8, "reading_order": 453, "original": "CHAPITRE QUATRIEME.", "english": "CHAPTER FOUR.", "sources": [ { "pdf_page": 49, "source_image": "source-pages/bnf-049.png", "printed_page": 17, "bbox_pixels": [ 419, 1689, 2171, 105 ], "crop_image": "assets/I.04-001.png" } ], "correction_refs": [ "supplement-008", "supplement-009", "supplement-010" ] }, { "id": "I.04-002", "type": "heading", "section": "I.04", "lesson": 8, "exercise": 8, "reading_order": 454, "original": "Remarques sur la proprieté des proportions Harmoniques, & Arithmetiques.", "english": "Observations on the Properties of Harmonic and Arithmetic Proportions.", "sources": [ { "pdf_page": 49, "source_image": "source-pages/bnf-049.png", "printed_page": 17, "bbox_pixels": [ 419, 1822, 2171, 204 ], "crop_image": "assets/I.04-002.png" } ] }, { "id": "I.04-003", "type": "paragraph", "section": "I.04", "lesson": 8, "exercise": 8, "reading_order": 455, "original": "DEscartes propose la division d’une corde en parties égales, pour preuve de l’origine des Consonances que nous n’avons pas rapportées ici, parce que l’on ne peut tirer cette preuve que sur le renversement de la progression naturelle des nombres, qui marquent pour lors la multiplication des longueurs qui resultent de cette division : ce qui dérange entierement l’ordre de l’Harmonie, en ce que l’Octave qui doit être divisée naturellement par la Quinte au grave, s’y trouve divisée au contraire par la Quarte au grave : C’est aussi ce qui a donné lieu à ceux qui se sont attachez à ce renversement de progression, d’inventer une nouvelle proportion qu’ils ont appelée Harmonique, pour rendre aux accords leur forme naturelle. En effet si l’on connoît la nature de cette proportion, l’on ne peut disconvenir qu’elle ne nous rende de point en point celle de l’Arithmetique, étant déja probable que si l’on renverse la progression des nombres, l’on ne peut se dispenser d’en renverser aussi la proportion, pour imiter en tout dans ce renversement les perfections attachées à la progression naturelle de ces nombres ; & la preuve de l’uniformité de ces deux proportions est si évidente, lorsque l’objet de l’une ne differe de celuy de l’autre que par un renversement, qu’il est inutile de s’y arrêter d’avantage. De-là vient, que la plûpart des Arithmeticiens & Geometres qui ne se sont point appliquez à la Musique, se sont contentez de citer cette proportion Harmonique, sans en définir les proprietez, parce qu’apparemment ils ne luy en connoissoient aucune, comme ces mots du R. P. Pardie le prouvent ; * Tout ce que l’on a dit jusqu’à present de cette progression, ou proportion n’est pas de grand usage, & je ne veux pas m’engager à dire icy des choses extraordinaires. * Et Desermes qui s’est fort étendu sur cette matiere, dit précisément que, les mouvements de l’air qui produisent les Consonances, & divisent tellement l’Octave que la Quinte se trouve au grave, & la Quarte à l’aigu, ne gardent pas la proportion Harmonique, mais l’Arithmetique ; ce qui se voit en ces nombres 2. 3. 4. &c. & plus loin, donc il faut appeller proportion ou progression Arithmetique, ce qu’on nomme proportion Harmonique : ce qui a peut-être été cause que les Grecs ne se sont point amusez à cette derniere proportion ; mais sans examiner si les Grecs se sont amusez ou non, à cette proportion Harmonique, voyons à present, si Zarlin a eu grande raison de s’y arrêter : car nous devons nous attacher principalement à cet Auteur, qui a servi de modele à sa posterité, auquel on nous renvoye toûjours à l’égard de la pratique, qui est encore l’Oracle de quelques Musiciens, & que Monsieur de Brossard même appelle le Prince des Musiciens modernes.", "english": "Descartes proposes dividing a string into equal parts as evidence of the origin of consonances, which we have not set out here, because this proof can be drawn only by reversing the natural progression of numbers. The numbers then express the multiplication of the lengths resulting from that division. This entirely disturbs the order of harmony: the octave, which ought naturally to be divided with the fifth below, is instead divided with the fourth below. This also led those who followed that reversed progression to invent a new proportion, which they called harmonic, to restore chords to their natural form. Indeed, anyone who understands this proportion’s nature cannot deny that it reproduces arithmetic proportion point for point. It is already probable that, if the progression of numbers is reversed, its proportion must also be reversed, so that the reversal may imitate in every respect the perfections belonging to the natural progression. The uniformity of these two proportions is so evident when their objects differ only by inversion that further discussion is unnecessary. Hence most arithmeticians and geometers who have not studied music have been content to mention harmonic proportion without defining its properties, apparently because they knew none belonging to it. The Reverend Father Pardie’s words prove this:* “Everything said until now about this progression or proportion is of little use, and I do not wish to undertake to say extraordinary things here.” * Desermes, who discussed the matter extensively, says explicitly that the movements of air producing consonances and dividing the octave so that the fifth lies below and the fourth above follow not harmonic proportion, but arithmetic proportion, as in the numbers 2, 3, 4, and so forth. Further on, he says that what is called harmonic proportion must therefore be called arithmetic proportion or progression. This may have been why the Greeks did not occupy themselves with the former. Without examining whether the Greeks concerned themselves with harmonic proportion, let us now see whether Zarlino had good reason to dwell upon it. We must chiefly attend to this author: he served as a model for those who followed him; we are always referred to him concerning practice; he is still the oracle of some musicians; and Monsieur de Brossard himself calls him the prince of modern musicians.", "sources": [ { "pdf_page": 49, "source_image": "source-pages/bnf-049.png", "printed_page": 17, "bbox_pixels": [ 419, 2075, 2171, 1437 ], "crop_image": "assets/I.04-003.png" }, { "pdf_page": 50, "source_image": "source-pages/bnf-050.png", "printed_page": 18, "bbox_pixels": [ 419, 400, 2171, 1644 ], "crop_image": "assets/I.04-004.png" } ] }, { "id": "I.04-005", "type": "paragraph", "section": "I.04", "lesson": 8, "exercise": 8, "reading_order": 456, "original": "* Zarlin après avoir remarqué que la Musique est subordonnée à l’Arithmetique, que l’unité qui est le principe des nombres, nous represente le corps Sonore, dont on tire la preuve du rapport des Sons, & que l’Unisson est le principe des Consonances ; Zarlin, dis-je, oublie tout cela dans ses Démonstrations & dans ses Regles ; loin d’y suivre le principe qu’il vient de declarer, plus il pénétre, plus il s’en éloigne ; & s’il ne peut s’empescher de nous le laisser appercevoir dans une corde entiere dont il propose la division, & qui est ce corps Sonore dont nous venons de parler, il efface cet objet de nôtre idée par une nouvelle comparaison qu’il fait en particulier de chaque longueur qui resulte de cette division, en y confondant pour lors la corde entiere, qui bien loin d’y servir de principe, devient au contraire dépendante de ce qui en dépendoit auparavant. Comme s’il étoit principalement question de fabriquer quelques Instrumens, il veut que l’on mesure des longueurs qui ont été déja déterminées par les mêmes nombres qui ont déterminé la division de la corde en parties égales, sans prévoir que le rapport que ces nombres ont entr’eux suffit pour nous donner l’intelligence la plus parfaite que l’on puisse souhaiter de l’Harmonie ; & qu’il ne s’agit, pour en venir à la preuve, que d’attacher une nouvelle idée à ces nombres ; en disant que, puisque la Musique est subordonnée à l’Arithmetique, & si la progression Harmonique doit aller en diminuant, au lieu que celle de l’Arithmetique doit aller en augmentant, il n’y a qu’à s’imaginer que les nombres qui marquent la multiplication de l’unité dans l’Arithmetique, marquent au contraire dans l’Harmonie la division de cette unité en autant de parties égales qu’ils contiennent d’unitez ; de sorte que tel qui ne s’attache qu’à la proprieté des nombres, ne trouve rien ici que de simple & de naturel dans la Musique, & il en fait la preuve aussi facilement de cette façon que de l’autre ; mais pour n’avoir pas voulu hazarder cette supposition, Zarlin aime mieux fatiguer nôtre esprit par une seconde operation, où il renverse non seulement la progression naturelle des nombres, mais encore tout ce bel ordre d’Harmonie qui s’étoit offert d’abord dans la division de la corde, comme cela paroîtra évident à tous ceux qui voudront en faire la preuve, & où l’on appercevra de plus, que cet Auteur est tombé en quelque façon, dans le défaut qu’il vouloit éviter par-là : Car eû égard à la mesure commune qui doit servir à chaque longueur que les nombres déterminent pour lors par la quantité d’unitez qu’ils contiennent, il faut appliquer cette mesure, & augmenter par consequent la corde autant de fois que le nombre contient d’unitez ; donc les nombres marquent, en ce cas, la multiplication de la corde proposée, qui est ce corps Sonore que nous represente l’unité, & non pas sa division ; il est bien vrai que le plus grand nombre pouvant marquer icy la corde entiere, les plus petits nombres en marqueront pour lors la division ; mais en même tems ce plus grand nombre ne peut servir de principe par tout ; il change de quantitez à mesure que l’on divise la corde en plus ou moins de parties ; & à mesure que l’on augmente les divisions de cette corde, le principe qu’elle doit representer s’éloigne de plus en plus, & se perd à la fin de vûë ; comme cela se voit dans ces nombres 6. 5. 4. 3. 2. 1. : car si l’on y regarde 6. comme le principe, il n’y a qu’à entendre l’effet de tous les Sons qui nous seront rendus par chaque longueur que ces nombres déterminent, pour en être désabusé d’abord ; il en sera de même encore, si en retranchant 6. l’on prend 5. pour principe, ou si en retranchant 5. l’on prend 4. &c. Enfin il y a autant d’imperfections dans cet ordre de nombres, qu’il se trouve de perfections dans celuy qui luy est opposé, eu égard aux proprietez que nous supposons devoir être attachées à l’un & à l’autre ordre. C’est aussi pour remedier au défaut de cette seconde operation que Zarlin a été obligé d’en venir à une troisiéme ; si bien que pour retrouver ce qu’il avoit perdu par-là, il a eu recours à une certaine multiplication de ces nombres (selon l’explication que nous en donnons au Chap. XI.) dont il a formé une nouvelle progression, que luy, ou d’autres ont appellée proportion Harmonique, laquelle ne nous rend que ce que la proportion Arithmetique nous avoit offert d’abord dans les premieres divisions ; mais avec cette difference, que toute la simplicité de cette derniere proportion se tourne en obscurité dans la premiere ; il n’y est plus question de ces nombres radicaux, ny de ces longueurs qu’ils y avoient déterminées, il faut recommencer par de nouvelles operations, où il semble que tout ce que nous avions trouvé jusques-là devienne inutile, bien qu’elles ne servent qu’à nous remettre dans le chemin que nous avions perdu ; mais pour s’être trop égaré, le principe s’est perdu de vûë, & on a peine à le reconnoître icy. * Le R. P. Mersenne nous fait bien sentir toutes ces veritez, lorsqu’il s’attache à prouver que le nombre Harmonique n’est autre que celuy des mouvemens de l’air agité par les Vibrations de la corde, & que ce nombre rend la division Arithmetique plus douce, plus agréable, plus facile & plus familiere que l’Harmonique.", "english": "* Zarlino observes that music is subordinate to arithmetic, that unity, the principle of numbers, represents the sounding body from which proof of the relations of sounds is drawn, and that unison is the principle of consonances. Yet he forgets all this in his demonstrations and rules. Far from following the principle he has just declared, the deeper he goes, the further he departs from it. He cannot help revealing it in a whole string that he proposes to divide, the sounding body just mentioned. But he effaces this object from our thought by making a new, separate comparison of every length resulting from the division. In this comparison the whole string is no longer distinguished: far from serving as the principle, it becomes dependent on what formerly depended on it. As though the main business were constructing instruments, he requires us to measure lengths already determined by the same numbers that determined the string’s division into equal parts. He does not foresee that the relations among those numbers suffice to give us the most perfect understanding of harmony we could desire. To obtain the proof, we need only attach a new idea to the numbers. Since music is subordinate to arithmetic, and harmonic progression must decrease whereas arithmetic progression must increase, imagine that numbers expressing the multiplication of unity in arithmetic express, in harmony, the division of that unity into as many equal parts as they contain units. Anyone concerned only with the properties of numbers then finds music simple and natural, and proves it just as easily this way as the other. But rather than risk this supposition, Zarlino prefers to weary our minds with a second operation. He reverses not only the natural progression of numbers but also the beautiful order of harmony first offered by the string’s division. This will be evident to anyone who tests it. The test will also show that he has, in a sense, fallen into the very fault he sought to avoid. Consider the common measure applied to each length, which the numbers then determine through their quantities of units. That measure must be applied—and the string consequently lengthened—as many times as the number contains units. Thus the numbers here express multiplication, not division, of the given string, the sounding body represented by unity. It is true that, if the largest number represents the whole string, smaller numbers will represent its divisions. But that largest number cannot serve as the principle everywhere. It changes in quantity as the string is divided into more or fewer parts. As its divisions increase, the principle it should represent recedes further and further until it is lost from view. Consider the numbers 6, 5, 4, 3, 2, 1. If 6 is regarded as the principle, one need only hear the effect of all the sounds produced by the lengths these numbers determine to be disabused at once. The same holds if 6 is removed and 5 taken as the principle, or if 5 is then removed and 4 taken, and so on. In short, this numerical order contains as many imperfections as the opposite order contains perfections, considering the properties we suppose to belong to each. To remedy the defect of his second operation, Zarlino was compelled to undertake a third. To recover what he had lost, he resorted to a certain multiplication of the numbers, explained in our Chapter XI. From it he formed a new progression, which he or others called harmonic proportion. It gives us only what arithmetic proportion offered at the very first divisions, but with this difference: all the simplicity of arithmetic proportion becomes obscurity in harmonic proportion. The original root numbers and the lengths they determined no longer concern us. We must begin again with new operations, as though everything found so far had become useless, although those operations merely return us to the path we had lost. Having strayed too far, however, we have lost sight of the principle and can scarcely recognize it here. * The Reverend Father Mersenne makes all these truths clear when he sets out to prove that the harmonic number is simply the number of movements of the air stirred by the string’s vibrations, and that this number makes arithmetic division sweeter, more agreeable, easier, and more familiar than harmonic division.", "sources": [ { "pdf_page": 50, "source_image": "source-pages/bnf-050.png", "printed_page": 18, "bbox_pixels": [ 419, 2047, 2171, 1360 ], "crop_image": "assets/I.04-005.png" }, { "pdf_page": 51, "source_image": "source-pages/bnf-051.png", "printed_page": 19, "bbox_pixels": [ 419, 354, 2171, 3141 ], "crop_image": "assets/I.04-009.png" }, { "pdf_page": 52, "source_image": "source-pages/bnf-052.png", "printed_page": 20, "bbox_pixels": [ 419, 387, 2171, 1504 ], "crop_image": "assets/I.04-010.png" } ] }, { "id": "I.04-006", "type": "footnote", "section": "I.04", "lesson": 8, "exercise": 8, "reading_order": 457, "original": "* Le R. P. Pardie, Liv. VIII. p. 100. ]", "english": "* The Reverend Father Pardie, Book VIII, p. 100. ]", "sources": [ { "pdf_page": 50, "source_image": "source-pages/bnf-050.png", "printed_page": 18, "bbox_pixels": [ 494, 3416, 860, 60 ], "crop_image": "assets/I.04-006.png" } ] }, { "id": "I.04-007", "type": "footnote", "section": "I.04", "lesson": 8, "exercise": 8, "reading_order": 458, "original": "[ * Desermes, Liv. I. de la Musique Theor. 28. p. 237.", "english": "[ * Desermes, Book I on Music, Theorem 28, p. 237.", "sources": [ { "pdf_page": 50, "source_image": "source-pages/bnf-050.png", "printed_page": 18, "bbox_pixels": [ 1380, 3416, 1200, 60 ], "crop_image": "assets/I.04-007.png" } ] }, { "id": "I.04-008", "type": "footnote", "section": "I.04", "lesson": 8, "exercise": 8, "reading_order": 459, "original": "* Zarlino, prima parte, cap. 20. fol. 37. cap. 40. fol. 61. Terza parte, cap. 11. fol. 183. ]", "english": "* Zarlino, Prima parte, chapter 20, fol. 37; chapter 40, fol. 61. Terza parte, chapter 11, fol. 183. ]", "sources": [ { "pdf_page": 50, "source_image": "source-pages/bnf-050.png", "printed_page": 18, "bbox_pixels": [ 419, 3476, 2171, 64 ], "crop_image": "assets/I.04-008.png" } ] }, { "id": "I.04-011", "type": "paragraph", "section": "I.04", "lesson": 8, "exercise": 8, "reading_order": 460, "original": "* Toutes ces difficultez que Zarlin fait naître dans ses operations Harmoniques ne seroient rien encore, s’il y rappelloit ce principe qu’il nous avoit d’abord proposé ; mais bien loin de nous le faire remarquer par tout, il l’abandonne sur le champ : s’il le rappelle dans l’Octave, ce n’est plus qu’en passant ; s’il dit que cette Octave est l’origine de tous les intervales, il oublie qu’elle l’est aussi du renversement de ces intervales, dont il parle dans ses démonstrations Harmoniques ; s’il convient de ce renversement, il oublie celuy des accords qui n’en est qu’une suite ; s’il donne l’accord parfait pour principe, comme étant le seul qui se presente dans les raisons Harmoniques, il n’y fait plus mention du principe de cet accord, ou du moins ses applications n’y ont aucun rapport, s’il parle des proprietez de la Basse, qui est le lieu où ce principe doit toûjours résider (ce qu’il donne assez à connoître par la comparaison qu’il en fait avec la terre) il en use tout autrement dans ses regles & dans ses exemples ; s’il parle de la cadence parfaite, & de la progression de la Basse en ce cas, il n’en fait aucune allusion valable avec ses Modes, bien qu’on ne puisse finir une piece de Musique que par une cadence parfaite dans un Mode quelconque ; enfin s’il parle des Dissonances, c’est sans aucun fondement, & le principe se trouve confondu par tout dans ses Démonstrations, dans ses Regles & dans ses Exemples ; c’est dequoy nous traiterons plus particulierement dans le second Livre.", "english": "* All the difficulties Zarlino creates in his harmonic operations would still be of little account if he recalled the principle he first proposed. Far from keeping it before us everywhere, he immediately abandons it. If he recalls it in the octave, he does so only in passing. If he says the octave is the origin of all intervals, he forgets that it is also the origin of their inversion, discussed in his Harmonic Demonstrations. If he acknowledges that inversion, he forgets the inversion of chords, which is merely its consequence. If he gives the perfect chord as the principle, since it is the only chord presented by harmonic ratios, he no longer mentions the principle of that chord—or at least his applications have no relation to it. If he discusses the properties of the bass, the position where this principle must always reside, as his comparison of the bass with the earth makes sufficiently clear, he treats it quite differently in his rules and examples. If he discusses the perfect cadence and the bass’s progression in it, he makes no valid connection with his modes, although a piece can end only with a perfect cadence in some mode. Finally, he discusses dissonances without any foundation, and the principle is obscured everywhere in his demonstrations, rules, and examples. We shall treat this more particularly in the second book.", "sources": [ { "pdf_page": 52, "source_image": "source-pages/bnf-052.png", "printed_page": 20, "bbox_pixels": [ 419, 1895, 2171, 1500 ], "crop_image": "assets/I.04-011.png" }, { "pdf_page": 53, "source_image": "source-pages/bnf-053.png", "printed_page": 21, "bbox_pixels": [ 419, 333, 2171, 232 ], "crop_image": "assets/I.04-014.png" } ] }, { "id": "I.04-012", "type": "footnote", "section": "I.04", "lesson": 8, "exercise": 8, "reading_order": 461, "original": "* Le R P Mersenne, Harm. lib. 1. de numº pondere & mensura Art. I. Propositio VI.", "english": "* The Reverend Father Mersenne, Harm., book 1, De numero, pondere et mensura, article I, proposition VI.", "sources": [ { "pdf_page": 52, "source_image": "source-pages/bnf-052.png", "printed_page": 20, "bbox_pixels": [ 419, 3425, 2171, 60 ], "crop_image": "assets/I.04-012.png" } ] }, { "id": "I.04-013", "type": "footnote", "section": "I.04", "lesson": 8, "exercise": 8, "reading_order": 462, "original": "* Zarlino, Dem. Harm. pag. 2. déf. x. fol. 83. & 84.", "english": "* Zarlino, Dem. Harm., p. 2, definition x, fols. 83 and 84.", "sources": [ { "pdf_page": 52, "source_image": "source-pages/bnf-052.png", "printed_page": 20, "bbox_pixels": [ 419, 3485, 2171, 64 ], "crop_image": "assets/I.04-013.png" } ] }, { "id": "I.04-015", "type": "paragraph", "section": "I.04", "lesson": 8, "exercise": 8, "reading_order": 463, "original": "Voilà les grands fruits que Zarlin a tiré de cette proportion Harmonique, au lieu qu’en attachant aux nombres l’idée que nous avons dit ; tout y est simple, familier, précis, juste & correct ; Rien de plus simple ny de plus familier que la progression naturelle des nombres, & les operations Arithmetiques qui suffisent seules icy pour la preuve ; rien de plus précis que toutes les proprietez de l’Harmonie qui se trouvent renfermées dans le nombre senaire ; & rien de plus juste ny de plus correct que de trouver par tout le principe dans l’unité, comme nous allons l’expliquer.", "english": "These are the great fruits Zarlino has gathered from this harmonic proportion. By attaching to numbers the meaning we have described, however, everything is simple, familiar, precise, just, and correct. Nothing is simpler or more familiar than the natural progression of numbers and the arithmetic operations that alone suffice here for the proof; nothing is more precise than all the properties of harmony contained within the number six; and nothing is juster or more correct than finding the principle everywhere in unity, as we shall explain.", "sources": [ { "pdf_page": 53, "source_image": "source-pages/bnf-053.png", "printed_page": 21, "bbox_pixels": [ 419, 567, 2171, 675 ], "crop_image": "assets/I.04-015.png" } ] }, { "id": "I.04-016", "type": "paragraph", "section": "I.04", "lesson": 8, "exercise": 8, "reading_order": 464, "original": "1°. Si nous trouvons des accords où l’unité ne paroisse point, il faut la chercher dans l’un de ses multiples Geometriques, ou plûtôt dans l’un de ceux du nombre 2. qui la représente ; en remarquant que si ce multiple n’est point à la tête de l’accord, il en sera au moins partie ; de sorte qu’il n’y aura qu’à le reduire pour lors à sa moitié, pour luy donner la place qui luy convient, & pour connoître en même temps le veritable accord dont il sera question, étant certain que les accords reduits de cette façon seront toûjours les fondamentaux de ceux, où les multiples de l’unité ne seront pas les premiers : Par exemple, si l’on trouve 5. 6. 8, ou 6. 8. 10. il n’y a qu’à diviser 8. par sa moitié, & l’on aura de tous côtez 4. 5. 6. dont se forme l’accord parfait, qui provient de la division de la Quinte, ayant aussi reduit 10. à sa moitié, ce qui ne change point la substance de l’accord.", "english": "1. If we find chords in which unity does not appear, we must seek it in one of its geometric multiples, or rather in one of those of the number 2, which represents it. Observe that, if this multiple does not stand at the head of the chord, it will at least form part of it. We need then only halve it to give it its proper place and, at the same time, to recognize the true chord in question. Chords reduced in this way will certainly always be the fundamental forms of those in which the multiples of unity do not come first. For example, if we find 5, 6, 8, or 6, 8, 10, we need only halve 8, and in either case we shall have 4, 5, 6, which forms the perfect chord arising from the division of the fifth; we have also halved 10, which does not change the substance of the chord.", "sources": [ { "pdf_page": 53, "source_image": "source-pages/bnf-053.png", "printed_page": 21, "bbox_pixels": [ 419, 1242, 2171, 1036 ], "crop_image": "assets/I.04-016.png" } ] }, { "id": "I.04-017", "type": "paragraph", "section": "I.04", "lesson": 8, "exercise": 8, "reading_order": 465, "original": "2°. Le nombre 5. où ses multiples Geometriques pouvant nous representer quelquefois l’unité, bien entendu que l’unité ny ses multiples ne paroîtront pas pour lors ; il faudra faire à l’égard des multiples de ce nombre 5. ce que nous avons fait à l’égard de ceux de l’unité ; ainsi l’origine de cet accord 12. 15. 20. se trouvera en divisant 20. à 10. &c.", "english": "2. Since the number 5 or its geometric multiples may sometimes represent unity—provided, of course, that neither unity nor its multiples then appears—we must treat the multiples of this number 5 as we have treated those of unity. Thus the origin of the chord 12, 15, 20 will be found by reducing 20 to 10, and so forth.", "sources": [ { "pdf_page": 53, "source_image": "source-pages/bnf-053.png", "printed_page": 21, "bbox_pixels": [ 419, 2277, 2171, 449 ], "crop_image": "assets/I.04-017.png" } ] }, { "id": "I.04-018", "type": "paragraph", "section": "I.04", "lesson": 8, "exercise": 8, "reading_order": 466, "original": "3°. Lorsque la Quinte & la Tierce majeure occupent le grave, l’unité prise dans l’un de ses multiples est toûjours la premiere, & lorsque la Tierce mineure occupe le grave avec cette Quinte, l’unité prise dans les multiples du nombre 5. y est toûjours la premiere, ce qui ne se fait, comme nous l’avons dit, * que pour éviter les fractions ; mais si la Quinte ne se trouve point au grave, les nombres qui doivent representer l’unité ne sont plus les premiers ; de-là vient que le nombre 3. ny ses multiples où s’engendre la Quarte, ne peuvent nous representer l’unité, ny par consequent se trouver à la tête des accords, sans en renverser l’ordre naturel ; le nombre 3. est un milieu Harmonique qui doit subsister par tout comme tel ; lorsque l’unité est representée par l’un de ses multiples. 3 y est également representé par l’un de ses multiples ; & lorsque l’unité est representée par l’un des multiples de 5. 3 y est multiplié par 5. ou par l’un des multiples de 5. de sorte que 3, ny ses multiples ne peuvent occuper le grave, sans détruire en quelque façon le fondement ; car si le fondement ne pouvoit y être sous-entendu, il est certain qu’il seroit entierement détruit ; aussi n’est-ce que de cette consequence que nous pouvons tirer la preuve de la perfection des accords renversez, en ce qu’ils tiennent cette perfection d’un accord veritablement parfait, dont ils dérivent ; les regles que nous établissons là-dessus acheveront de nous en convaincre.", "english": "3. When the fifth and major third occupy the lower position, unity, taken in one of its multiples, always comes first; and when the minor third occupies the lower position with this fifth, unity, taken in the multiples of 5, always comes first. As we have said,* this is done only to avoid fractions. But if the fifth is not in the lower position, the numbers that should represent unity no longer come first. Hence neither 3 nor its multiples, in which the fourth is generated, can represent unity or consequently stand at the head of chords without reversing their natural order. The number 3 is a harmonic mean and must everywhere remain such. When unity is represented by one of its multiples, 3 is likewise represented by one of its multiples; and when unity is represented by a multiple of 5, 3 is multiplied by 5 or by a multiple of 5. Thus neither 3 nor its multiples can occupy the lower position without in some way destroying the foundation; for if the foundation could not be understood as implied there, it would certainly be destroyed altogether. It is only from this consequence that we can prove the perfection of inverted chords: they derive this perfection from a truly perfect chord from which they originate. The rules we establish on this subject will complete our conviction.", "sources": [ { "pdf_page": 53, "source_image": "source-pages/bnf-053.png", "printed_page": 21, "bbox_pixels": [ 419, 2726, 2171, 683 ], "crop_image": "assets/I.04-018.png" }, { "pdf_page": 54, "source_image": "source-pages/bnf-054.png", "printed_page": 22, "bbox_pixels": [ 419, 269, 2171, 982 ], "crop_image": "assets/I.04-021.png" } ] }, { "id": "I.04-019", "type": "footnote", "section": "I.04", "lesson": 8, "exercise": 8, "reading_order": 467, "original": "* Chap. III. Art. V. pag. 13.", "english": "* Chapter III, Article V, p. 13.", "sources": [ { "pdf_page": 53, "source_image": "source-pages/bnf-053.png", "printed_page": 21, "bbox_pixels": [ 419, 3410, 2171, 67 ], "crop_image": "assets/I.04-019.png" } ] }, { "id": "I.04-020", "type": "annotation", "section": "I.04", "lesson": 8, "exercise": 8, "reading_order": 468, "original": "voyez les demonstrations du chap. 6.", "english": "See the demonstrations in chapter 6.", "sources": [ { "pdf_page": 53, "source_image": "source-pages/bnf-053.png", "printed_page": 21, "bbox_pixels": [ 615, 3476, 1279, 107 ], "crop_image": "assets/I.04-020.png" } ] }, { "id": "I.04-022", "type": "paragraph", "section": "I.04", "lesson": 8, "exercise": 8, "reading_order": 469, "original": "Tout cecy ne souffre qu’une tres-petite exception, qui se trouve dans deux accords, où la fausse-Quinte occupe le grave, selon les démonstrations du Chap. VII. Art. VI. & VII. l’unité y étant pour lors representée par le quarré, ou par le Cube du nombre 5.", "english": "All this admits only a very slight exception, found in two chords in which the diminished fifth occupies the lower position, according to the demonstrations in Chapter VII, Articles VI and VII. Unity is then represented by the square or the cube of the number 5.", "sources": [ { "pdf_page": 54, "source_image": "source-pages/bnf-054.png", "printed_page": 22, "bbox_pixels": [ 419, 1250, 2171, 305 ], "crop_image": "assets/I.04-022.png" } ] }, { "id": "I.04-023", "type": "paragraph", "section": "I.04", "lesson": 8, "exercise": 8, "reading_order": 470, "original": "Lorsque l’on est parvenu ainsi à une connoissance parfaite de toutes les proprietez de l’Harmonie, par les operations qui y ont le plus de rapport, l’on peut en donner l’idée sous d’autres operations, conformément au sujet auquel on veut les approprier ; mais comme il ne s’agit icy que de l’Harmonie, nous nous en tiendrons à nôtre premier systême ; cependant l’on peut voir au dernier Chapitre le grand rapport qui se trouve entre les nombres qui nous marquent les divisions, ou les multiplications de la corde, le tout ne consistant que dans un simple renversement.", "english": "Once we have thus attained a perfect knowledge of all the properties of harmony through the operations most closely related to it, we may convey the same idea through other operations, according to the subject to which we wish to apply them. But since harmony alone concerns us here, we shall retain our first system. Nevertheless, the last chapter shows the close relationship between the numbers that mark the divisions or the multiplications of the string: the whole difference consists in a simple inversion.", "sources": [ { "pdf_page": 54, "source_image": "source-pages/bnf-054.png", "printed_page": 22, "bbox_pixels": [ 419, 1555, 2171, 670 ], "crop_image": "assets/I.04-023.png" } ] }, { "id": "I.05-001", "type": "heading", "section": "I.05", "lesson": 9, "exercise": 9, "reading_order": 471, "original": "CHAPITRE CINQUIEME.", "english": "CHAPTER FIVE.", "sources": [ { "pdf_page": 54, "source_image": "source-pages/bnf-054.png", "printed_page": 22, "bbox_pixels": [ 419, 2303, 2171, 103 ], "crop_image": "assets/I.05-001.png" } ], "correction_refs": [ "supplement-010", "supplement-012", "supplement-013", "supplement-014", "supplement-015" ] }, { "id": "I.05-002", "type": "heading", "section": "I.05", "lesson": 9, "exercise": 9, "reading_order": 472, "original": "De l’origine des Dissonances & de leur rapport.", "english": "On the Origin of Dissonances and Their Relationships.", "sources": [ { "pdf_page": 54, "source_image": "source-pages/bnf-054.png", "printed_page": 22, "bbox_pixels": [ 419, 2426, 2171, 86 ], "crop_image": "assets/I.05-002.png" } ] }, { "id": "I.05-003", "type": "paragraph", "section": "I.05", "lesson": 9, "exercise": 9, "reading_order": 473, "original": "L’On peut tirer les Dissonances * des mêmes divisions de la corde, qui nous ont donné les Consonances, en comparant ensemble les longueurs prises à gauche, qui restent depuis chaque nombre ; ce qui nous fera connoître en même temps la difference qu’il y a entre deux Consonances consecutives ; par exemple, les longueurs prises à gauche depuis les nombres 3. & 4. nous donneront le Ton, qui fait la difference de la Quinte à la Quarte, celles des nombres 4. & 5. nous donneront le Semi-Ton majeur, qui fait la difference de la Quarte à la Tierce majeure, & celles des nombres 5. & 6. nous donneront le Semi-Ton mineur, qui fait la difference de la Tierce majeure à la mineure ; ce sont ces Tons & Semi-Tons qui forment les degrez successifs de la voix naturelle, dont la Melodie tire son origine ; de sorte que cecy commence à nous faire appercevoir que la Melodie n’est qu’une suite de l’Harmonie.", "english": "Dissonances* can be derived from the same divisions of the string that gave us consonances, by comparing the lengths remaining to the left of each number. This will also reveal the difference between two consecutive consonances. For example, the lengths taken to the left of 3 and 4 give the whole tone, which is the difference between the fifth and the fourth; those of 4 and 5 give the major semitone, which is the difference between the fourth and the major third; and those of 5 and 6 give the minor semitone, which is the difference between the major and minor thirds. These whole tones and semitones form the successive steps of the natural voice, from which melody originates. Thus we begin to see that melody is merely a consequence of harmony.", "sources": [ { "pdf_page": 54, "source_image": "source-pages/bnf-054.png", "printed_page": 22, "bbox_pixels": [ 419, 2537, 2171, 238 ], "crop_image": "assets/I.05-003.png" }, { "pdf_page": 55, "source_image": "source-pages/bnf-055.png", "printed_page": 23, "bbox_pixels": [ 419, 397, 2171, 823 ], "crop_image": "assets/I.05-007.png" } ] }, { "id": "I.05-004", "type": "image", "section": "I.05", "lesson": 9, "exercise": 9, "reading_order": 474, "original": "Ton ; Semi-Ton majeur ; Semi-Ton mineur. Corde divisée, repères de gauche à droite : 2. 3. 4. 5. 6. 1.", "english": "Whole tone; major semitone; minor semitone. Divided string, marks from left to right: 2. 3. 4. 5. 6. 1.", "sources": [ { "pdf_page": 54, "source_image": "source-pages/bnf-054.png", "printed_page": 22, "bbox_pixels": [ 419, 2784, 2171, 550 ], "crop_image": "assets/I.05-004.png" } ], "original_title": "Division de la corde et différences des consonances", "english_title": "Division of the String and Differences between Consonances", "asset_refs": [ "I.05-004" ] }, { "id": "I.05-005", "type": "footnote", "section": "I.05", "lesson": 9, "exercise": 9, "reading_order": 475, "original": "* Voyez la Table Alphabetique.", "english": "* See the Alphabetical Table.", "sources": [ { "pdf_page": 54, "source_image": "source-pages/bnf-054.png", "printed_page": 22, "bbox_pixels": [ 1784, 3334, 806, 77 ], "crop_image": "assets/I.05-005.png" } ] }, { "id": "I.05-006", "type": "image", "section": "I.05", "lesson": 9, "exercise": 9, "reading_order": 476, "original": "Ton ; Semi-Ton majeur ; Semi-Ton mineur. Repères : 2. 3. 4. 5. 6. 1.", "english": "Whole tone; major semitone; minor semitone. Marks: 2. 3. 4. 5. 6. 1.", "sources": [ { "pdf_page": 54, "source_image": "source-pages/bnf-054.png", "printed_page": 22, "bbox_pixels": [ 419, 3326, 2171, 348 ], "crop_image": "assets/I.05-006.png" } ], "original_title": "Diagramme manuscrit ajouté sous la figure imprimée", "english_title": "Handwritten Diagram Added beneath the Printed Figure", "asset_refs": [ "I.05-006" ] }, { "id": "I.05-008", "type": "paragraph", "section": "I.05", "lesson": 9, "exercise": 9, "reading_order": 477, "original": "L’on peut s’instruire des raisons de ces Dissonances par une regle de soustraction, en mettant l’une au dessus de l’autre, les raisons de deux Consonances consecutives, dont on voudra connoître la difference, ainsi", "english": "The ratios of these dissonances can be learned through a rule of subtraction: place one above the other the ratios of two consecutive consonances whose difference is sought, thus:", "sources": [ { "pdf_page": 55, "source_image": "source-pages/bnf-055.png", "printed_page": 23, "bbox_pixels": [ 419, 1229, 2171, 292 ], "crop_image": "assets/I.05-008.png" } ] }, { "id": "I.05-009", "type": "image", "section": "I.05", "lesson": 9, "exercise": 9, "reading_order": 478, "original": "Raisons de la Quinte : 2. 3. & de la Quarte : 3. 4. Produit : 8. 9. [Multiplication croisée.]", "english": "Ratio of the fifth: 2. 3. And of the fourth: 3. 4. Product: 8. 9. [Cross-multiplication.]", "sources": [ { "pdf_page": 55, "source_image": "source-pages/bnf-055.png", "printed_page": 23, "bbox_pixels": [ 1131, 1521, 972, 410 ], "crop_image": "assets/I.05-009.png" } ], "original_title": "Soustraction de la Quarte de la Quinte", "english_title": "Subtraction of the Fourth from the Fifth", "asset_refs": [ "I.05-009" ] }, { "id": "I.05-010", "type": "paragraph", "section": "I.05", "lesson": 9, "exercise": 9, "reading_order": 479, "original": "cette croix X signifie qu’il faut multiplier l’antecedant d’une raison par le consequent de l’autre ; donc 2. par 4. donne 8. & 3. par 3. donne 9. ce produit 8. 9. nous donnant la raison du Ton ; L’on peut en faire autant de la Quarte avec la Tierce majeure, &c. & si l’on cherche la difference de la Quinte à la Sixte majeure ; on trouvera qu’elle est d’un Ton, dont la raison est de 9. à 10. ce qui nous oblige à distinguer deux sortes de Tons ; en appellant majeur le premier, & celuy-cy mineur.", "english": "This cross X means that the antecedent of one ratio must be multiplied by the consequent of the other. Thus 2 times 4 gives 8, and 3 times 3 gives 9; the product 8, 9 gives us the ratio of the whole tone. We can do the same with the fourth and major third, and so forth. If we seek the difference between the fifth and the major sixth, we find that it is a whole tone whose ratio is 9 to 10. This obliges us to distinguish two kinds of whole tone, calling the first major and this one minor.", "sources": [ { "pdf_page": 55, "source_image": "source-pages/bnf-055.png", "printed_page": 23, "bbox_pixels": [ 419, 1968, 2171, 608 ], "crop_image": "assets/I.05-010.png" } ] }, { "id": "I.05-011", "type": "paragraph", "section": "I.05", "lesson": 9, "exercise": 9, "reading_order": 480, "original": "C’est sur ces observations que l’on a établi le systême suivant.", "english": "The following system has been established on these observations.", "sources": [ { "pdf_page": 55, "source_image": "source-pages/bnf-055.png", "printed_page": 23, "bbox_pixels": [ 419, 2576, 2171, 142 ], "crop_image": "assets/I.05-011.png" } ] }, { "id": "I.05-012", "type": "heading", "section": "I.05", "lesson": 9, "exercise": 9, "reading_order": 481, "original": "SYSTÊME DIATONIQUE PARFAIT.", "english": "PERFECT DIATONIC SYSTEM.", "sources": [ { "pdf_page": 55, "source_image": "source-pages/bnf-055.png", "printed_page": 23, "bbox_pixels": [ 419, 2763, 2171, 105 ], "crop_image": "assets/I.05-012.png" } ] }, { "id": "I.05-013", "type": "image", "section": "I.05", "lesson": 9, "exercise": 9, "reading_order": 482, "original": "Il y a :\nD’Ut à Re... un Ton min. comme 9. à 10.\nDe Re à Mi... un Ton maj. comme 8. à 9.\nDe Mi à Fa... un Semi-Ton maj. comme 15. à 16.\nDe Fa à Sol... un Ton maj. comme 8. à 9.\nDe Sol à La un Ton Min. comme 9. à 10.\nDe La à Si... un Ton maj. comme 8. à 9.\nDe Si à Ut... un Semi-Ton maj. comme 15. à 16.", "english": "There is:\nFrom C to D... a minor whole tone, as 9 to 10.\nFrom D to E... a major whole tone, as 8 to 9.\nFrom E to F... a major semitone, as 15 to 16.\nFrom F to G... a major whole tone, as 8 to 9.\nFrom G to A... a minor whole tone, as 9 to 10.\nFrom A to B... a major whole tone, as 8 to 9.\nFrom B to C... a major semitone, as 15 to 16.", "sources": [ { "pdf_page": 55, "source_image": "source-pages/bnf-055.png", "printed_page": 23, "bbox_pixels": [ 419, 2900, 2171, 655 ], "crop_image": "assets/I.05-013.png" } ], "original_title": "Systême diatonique parfait", "english_title": "Perfect Diatonic System", "format": "preformatted", "asset_refs": [ "I.05-013" ] }, { "id": "I.05-014", "type": "paragraph", "section": "I.05", "lesson": 9, "exercise": 9, "reading_order": 483, "original": "L’on pourroit tirer une partie des Dissonances Harmoniques du systême précédent ; mais leur veritable origine doit se puiser plûtôt dans les quarrez d’une Consonance premiere, ou dans l’addition de deux Consonances premieres, comme nous le prouve la démonstration suivante.", "english": "Some harmonic dissonances could be derived from the preceding system; but their true origin should rather be drawn from squaring a primary consonance, or from adding two primary consonances, as the following demonstration proves.", "sources": [ { "pdf_page": 56, "source_image": "source-pages/bnf-056.png", "printed_page": 24, "bbox_pixels": [ 419, 344, 2171, 380 ], "crop_image": "assets/I.05-014.png" } ] }, { "id": "I.05-015", "type": "heading", "section": "I.05", "lesson": 9, "exercise": 9, "reading_order": 484, "original": "DÉMONSTRATION DE L’ORIGINE des Dissonances.", "english": "DEMONSTRATION OF THE ORIGIN of Dissonances.", "sources": [ { "pdf_page": 56, "source_image": "source-pages/bnf-056.png", "printed_page": 24, "bbox_pixels": [ 419, 752, 2171, 176 ], "crop_image": "assets/I.05-015.png" } ] }, { "id": "I.05-016", "type": "image", "section": "I.05", "lesson": 9, "exercise": 9, "reading_order": 485, "original": "Addition de la raison de la Tierce min. 5. 6. à celle de la Quinte 2. 3. Produit qui donne la raison de la septiéme 10. 18.\nQuarrez de la raison de la Quarte : 3. 4. / 3. 4. Produit qui donne la raison de la même septiéme : 9. 16.\nAddition de la raison de la Tierce maj. 4. 5. à celle de la Quinte 2. 3. Produit qui donne la raison de la septiéme superfluë : 8. 15.\nQuarrez de la raison de la Tierce min. 5. 6. / 5. 6. Produit qui donne raison de la fausse Quinte : 25. 36.\nQuarrez de la raison de la Tierce maj. 4. 5. / 4. 5. Produit qui donne la raison de la Quinte superfluë : 16. 25.\nQuarrez de la Quinte 2. 3. / 2. 3. Produit qui donne la raison de la neuviéme : 4. 9.\nAddition de la raison de la Sixte min. 5. 8. à celle de la maj. 3. 5. Produit qui donne la raison de la onziéme : 15. 40.\nLes Cubes de la raison de la Tierce min. nous donnent la septiéme diminuée entre 125. & 218.", "english": "Addition of the minor-third ratio 5. 6. to the fifth ratio 2. 3. Product giving the seventh ratio: 10. 18.\nSquare of the fourth ratio: 3. 4. / 3. 4. Product giving the same seventh ratio: 9. 16.\nAddition of the major-third ratio 4. 5. to the fifth ratio 2. 3. Product giving the augmented-seventh ratio: 8. 15.\nSquare of the minor-third ratio: 5. 6. / 5. 6. Product giving the diminished-fifth ratio: 25. 36.\nSquare of the major-third ratio: 4. 5. / 4. 5. Product giving the augmented-fifth ratio: 16. 25.\nSquare of the fifth: 2. 3. / 2. 3. Product giving the ninth ratio: 4. 9.\nAddition of the minor-sixth ratio 5. 8. to the major-sixth ratio 3. 5. Product giving the eleventh ratio: 15. 40.\nCubes of the minor-third ratio give the diminished seventh between 125 and 218.", "sources": [ { "pdf_page": 56, "source_image": "source-pages/bnf-056.png", "printed_page": 24, "bbox_pixels": [ 419, 956, 2171, 1338 ], "crop_image": "assets/I.05-016.png" } ], "original_title": "Démonstration de l’origine des Dissonances", "english_title": "Demonstration of the Origin of Dissonances", "format": "preformatted", "asset_refs": [ "I.05-016" ] }, { "id": "I.05-017", "type": "paragraph", "section": "I.05", "lesson": 9, "exercise": 9, "reading_order": 486, "original": "Les autres Dissonances proviennent du renversement de celles-cy ; par exemple, la seconde provient de la septiéme, le Triton de la fausse-Quinte, & la seconde superfluë de la septiéme diminuée ; les Dissonan- qui proviennent des superfluës n’ont point lieu dans l’Harmonie, comme sont la seconde diminuée & la Quarte diminuée, parce que les Dissonances superfluës n’y sont admises que par supposition, en ce qu’elles ne peuvent se rencontrer qu’avec la neuviéme ou la onziéme, dont les intervales excedent l’Octave, & ne peuvent par consequent se renverser, ce qui est expliqué plus au long au second Livre, Chap. X. & XI.", "english": "The other dissonances arise by inversion of these: for example, the second arises from the seventh, the tritone from the diminished fifth, and the augmented second from the diminished seventh. The dissonances that arise from augmented ones, such as the diminished second and diminished fourth, have no place in harmony, because augmented dissonances are admitted only by supposition. They can occur only with the ninth or eleventh, whose intervals exceed the octave and consequently cannot be inverted. This is explained more fully in Book II, Chapters X and XI.", "sources": [ { "pdf_page": 56, "source_image": "source-pages/bnf-056.png", "printed_page": 24, "bbox_pixels": [ 419, 2355, 2171, 756 ], "crop_image": "assets/I.05-017.png" } ] }, { "id": "I.05-018", "type": "paragraph", "section": "I.05", "lesson": 9, "exercise": 9, "reading_order": 487, "original": "Quoique nous ayons dit que les dissonnances Harmoniques ne pouvoient être formées que des Consonances premieres, nous en avons cependant formé de la Quarte & des Sixtes ; mais la onziéme que nous donne les Sixtes n’a pas aussi le privilege des autres, qui est de nous fournir un nouvel intervale par son renversement, & d’ailleurs elle peut être prise pour une Quarte doublée : Pour ce qui est de la septiéme que nous donnent les quarrez de la Quarte, elle pouvoit être retranchée, puisqu’elle est la même que celle que nous donne l’addition d’une Tierce mineure à la Quinte ; mais nous avons jugé à propos de la mettre au rang des autres, pour faire remarquer les deux differentes raisons de cette même septiéme ; car ce qui arrive à cette septiéme peut arriver à tous les intervales, excepté à l’Octave & à la septiéme superfluë, ce qui provient de la difference du Ton majeur au mineur, qui sont dispersez dans le systême diatonique, cette difference étant d’un comma dont la raison est de 80. à 81. Quoique l’oreille soit insensible à cette difference, sur tout dans les intervales convenables à l’Harmonie & à la Melodie ; il est neanmoins à propos de l’expliquer, par rapport aux differentes nottes du systême, dont on peut se servir pour en former un intervale quelconque : Par exemple, si nous prenons la Quarte d’Ut à Fa, ou de Ré à Sol, nous y trouverons deux differentes raisons, qui ne proviennent que de ce qu’il se trouve deux Tons majeurs d’un côté, & qu’il ne s’en trouve qu’un majeur & un mineur de l’autre.", "english": "Although we said that harmonic dissonances could be formed only from primary consonances, we have nevertheless formed some from the fourth and the sixths. But the eleventh given by the sixths does not have the privilege of the others, namely, of furnishing a new interval by inversion; moreover, it can be regarded as a doubled fourth. As for the seventh given by squaring the fourth, it could have been omitted, since it is the same as that given by adding a minor third to the fifth. We nevertheless thought it appropriate to include it among the others to draw attention to the two different ratios of this same seventh. What happens to this seventh can happen to every interval except the octave and the augmented seventh. This arises from the difference between the major and minor whole tones dispersed through the diatonic system, a difference of one comma, whose ratio is 80 to 81. Although the ear is insensitive to this difference, especially in intervals suited to harmony and melody, it is nevertheless appropriate to explain it with regard to the different notes of the system that can be used to form any given interval. For example, if we take the fourth from C to F or from D to G, we find two different ratios. These arise solely because one contains two major whole tones, while the other contains only one major and one minor whole tone.", "sources": [ { "pdf_page": 56, "source_image": "source-pages/bnf-056.png", "printed_page": 24, "bbox_pixels": [ 419, 3113, 2171, 378 ], "crop_image": "assets/I.05-018.png" }, { "pdf_page": 57, "source_image": "source-pages/bnf-057.png", "printed_page": 25, "bbox_pixels": [ 419, 372, 2171, 1414 ], "crop_image": "assets/I.05-019.png" } ] }, { "id": "I.05-020", "type": "image", "section": "I.05", "lesson": 9, "exercise": 9, "reading_order": 488, "original": "Quarte d’Ut à Fa.\nD’Ut à Re. Ton min. 9. 10.\nDe Re à Mi Ton maj. 8. 9.\nProduit 72. 90.\nDe Mi à Fa Semi-Ton maj. 15. 16.\nProduit 1080. 1440.\nNombres premiers du produit 3. 4.\n\nQuarte de Re à Sol.\nDe Re à Mi... Ton maj. 8. 9.\nDe Mi à Fa... Semi-Ton maj. 15. 16.\nProduit 120. 144.\nDe Fa à Sol... Ton maj. 8. 9.\nProduit 960. 1296.\nNombres premiers du produit 20. 27.", "english": "Fourth from C to F.\nC to D. Minor whole tone 9. 10.\nD to E. Major whole tone 8. 9.\nProduct 72. 90.\nE to F. Major semitone 15. 16.\nProduct 1080. 1440.\nLowest terms of the product 3. 4.\n\nFourth from D to G.\nD to E... Major whole tone 8. 9.\nE to F... Major semitone 15. 16.\nProduct 120. 144.\nF to G... Major whole tone 8. 9.\nProduct 960. 1296.\nLowest terms of the product 20. 27.", "sources": [ { "pdf_page": 57, "source_image": "source-pages/bnf-057.png", "printed_page": 25, "bbox_pixels": [ 419, 2024, 2171, 668 ], "crop_image": "assets/I.05-020.png" } ], "original_title": "Deux raisons de la Quarte", "english_title": "Two Ratios of the Fourth", "format": "preformatted", "asset_refs": [ "I.05-020" ] }, { "id": "I.05-021", "type": "paragraph", "section": "I.05", "lesson": 9, "exercise": 9, "reading_order": 489, "original": "Pour éviter le calcul des deux differentes raisons de tous les intervales, nous allons en donner un Catalogue.", "english": "To spare the calculation of the two different ratios of every interval, we shall give a catalogue of them.", "sources": [ { "pdf_page": 57, "source_image": "source-pages/bnf-057.png", "printed_page": 25, "bbox_pixels": [ 419, 2701, 2171, 193 ], "crop_image": "assets/I.05-021.png" } ] }, { "id": "I.05-022", "type": "heading", "section": "I.05", "lesson": 9, "exercise": 9, "reading_order": 490, "original": "RAISONS NATURELLES ET ALTERÉES de tous les Intervales.", "english": "NATURAL AND ALTERED RATIOS of All Intervals.", "sources": [ { "pdf_page": 58, "source_image": "source-pages/bnf-058.png", "printed_page": 26, "bbox_pixels": [ 419, 483, 2171, 172 ], "crop_image": "assets/I.05-022.png" } ] }, { "id": "I.05-023", "type": "image", "section": "I.05", "lesson": 9, "exercise": 9, "reading_order": 491, "original": "Noms des Intervales engendrez les premiers. | Raisons naturelles selon les divisions. | Raisons alterées d’un Comma. | Noms des Intervales renversez des premiers | Raisons naturelles des Intervales renversez. | Raisons alterées d’un Comma des Intervales renversez.\nComma diminué. | 2025. 2048. | | | | \nComma. | 80. 81. | | | | \nDieze mineur ou en harmonique. | 125. 128. | | | | \nDieze majeur. | 243. 250. | | | | \nSemi-t. moindre. | 625. 648. | | | | \nSemi-Ton min. selon la Theorie ou Unisson superflu selon la pratique. | 24. 25. | Semi-ton moyen qui excede d’un Comma le Semi-ton mineur. 128. 135. | Octave diminuée. | 25. 48. | 135. 256. dimin. d’un Comma.\nSemi-Ton maj. selon la Theorie ou seconde mineure. selon la pratique. | 15. 16. | Semi-ton maxime qui excede d’un Comma le Semi-ton maj. 25. 27. | Septiéme superfluë ou majeure. | 8. 15. | \nTon maj. selon la Theorie, ou seconde selon la pratique. | 8. 9. | Ton min. qui a un Comma de moins que le ton majeur. 9. 10. | Septiéme. | 9. 16. | 5. 9. excedant d’un Comma\nTon superflu, ou Tierce diminuée | 225. 256. | 125. 144. excedant. | Sixte superfluë. | 128. 225. | 72. 125. diminuée.\nSeconde superfluë. | 64. 75. | 108. 125. diminuée. | Septiéme diminuée. | 75. 128. | 125. 216. excedant.\nTierce mineure. | 5. 6. | 27. 32. diminuée. | Sixte majeure. | 3. 5. | 16. 27. excedant.\nTierce majeure. | 4. 5. | 81. 100. diminuée. | Sixte mineure. | 5. 8. | 50. 81. excedant.\nQuinte. | 2. 3. | 27. 40. diminuée. | Quarte. | 3. 4. | 20. 27. excedant.\nQuinte superfluë. | 16. 25. | 81. 125. diminuée. | Quarte diminuée. | 25. 32. | 125. 162. excedant.\nFausse-Quinte. | 25. 36. | 45. 64. excedant. | Triton ou Quarte superfluë. | 18. 25. | 32. 64. diminuée.\nCes cinq premiers Intervales n’ont qu’une raison, & ne se renversent point ; c’est de leur addition que les autres sont composez.", "english": "Names of the intervals generated first. | Natural ratios according to the divisions. | Ratios altered by a comma. | Names of intervals inverted from the first. | Natural ratios of inverted intervals. | Ratios of inverted intervals altered by a comma.\nDiminished comma. | 2025. 2048. | | | | \nComma. | 80. 81. | | | | \nMinor or enharmonic diesis. | 125. 128. | | | | \nMajor diesis. | 243. 250. | | | | \nLesser semitone. | 625. 648. | | | | \nMinor semitone in theory, or augmented unison in practice. | 24. 25. | Medium semitone, exceeding the minor semitone by a comma. 128. 135. | Diminished octave. | 25. 48. | 135. 256. diminished by a comma.\nMajor semitone in theory, or minor second in practice. | 15. 16. | Maximum semitone, exceeding the major semitone by a comma. 25. 27. | Augmented or major seventh. | 8. 15. | \nMajor whole tone in theory, or second in practice. | 8. 9. | Minor whole tone, one comma smaller than the major whole tone. 9. 10. | Seventh. | 9. 16. | 5. 9. exceeding by a comma.\nAugmented whole tone, or diminished third. | 225. 256. | 125. 144. exceeding. | Augmented sixth. | 128. 225. | 72. 125. diminished.\nAugmented second. | 64. 75. | 108. 125. diminished. | Diminished seventh. | 75. 128. | 125. 216. exceeding.\nMinor third. | 5. 6. | 27. 32. diminished. | Major sixth. | 3. 5. | 16. 27. exceeding.\nMajor third. | 4. 5. | 81. 100. diminished. | Minor sixth. | 5. 8. | 50. 81. exceeding.\nFifth. | 2. 3. | 27. 40. diminished. | Fourth. | 3. 4. | 20. 27. exceeding.\nAugmented fifth. | 16. 25. | 81. 125. diminished. | Diminished fourth. | 25. 32. | 125. 162. exceeding.\nDiminished fifth. | 25. 36. | 45. 64. exceeding. | Tritone or augmented fourth. | 18. 25. | 32. 64. diminished.\nThese first five intervals have only one ratio and cannot be inverted; the others are composed by adding them.", "sources": [ { "pdf_page": 58, "source_image": "source-pages/bnf-058.png", "printed_page": 26, "bbox_pixels": [ 258, 735, 2479, 2879 ], "crop_image": "assets/I.05-023.png" } ], "original_title": "Raisons naturelles et alterées de tous les Intervales", "english_title": "Natural and Altered Ratios of All Intervals", "format": "preformatted", "asset_refs": [ "I.05-023" ] }, { "id": "I.05-024", "type": "paragraph", "section": "I.05", "lesson": 9, "exercise": 9, "reading_order": 492, "original": "Toutes ces raisons peuvent nous servir à trouver de nous mêmes celles de quelque intervale que ce soit ; les plus grands se formant par la multiplication des plus petits, & ceux-cy par la soustraction des plus grands ; par exemple.", "english": "All these ratios can help us find for ourselves those of any interval whatsoever. Larger intervals are formed by multiplying the smaller ones, and smaller ones by subtracting the larger. For example:", "sources": [ { "pdf_page": 59, "source_image": "source-pages/bnf-059.png", "printed_page": 27, "bbox_pixels": [ 316, 346, 2128, 305 ], "crop_image": "assets/I.05-024.png" } ] }, { "id": "I.05-025", "type": "paragraph", "section": "I.05", "lesson": 9, "exercise": 9, "reading_order": 493, "original": "Le Dieze mineur se forme de la multiplication des raisons des deux comma.", "english": "The minor diesis is formed by multiplying the ratios of the two commas.", "sources": [ { "pdf_page": 59, "source_image": "source-pages/bnf-059.png", "printed_page": 27, "bbox_pixels": [ 316, 655, 2128, 148 ], "crop_image": "assets/I.05-025.png" } ] }, { "id": "I.05-026", "type": "paragraph", "section": "I.05", "lesson": 9, "exercise": 9, "reading_order": 494, "original": "Le Dieze majeur de celle du Dieze mineur avec celle de 15552. à 15625. cette derniere raison ne nous donnant qu’une tres-petite partie du comma.", "english": "The major diesis is formed by multiplying the ratio of the minor diesis by that of 15552 to 15625; the latter ratio gives us only a very small part of a comma.", "sources": [ { "pdf_page": 59, "source_image": "source-pages/bnf-059.png", "printed_page": 27, "bbox_pixels": [ 316, 812, 2128, 217 ], "crop_image": "assets/I.05-026.png" } ] }, { "id": "I.05-027", "type": "paragraph", "section": "I.05", "lesson": 9, "exercise": 9, "reading_order": 495, "original": "Le Semi-Ton moindre, de celles du Dieze mineur & du comma.\nLe Semi-Ton mineur, de celles du Dieze majeur & du comma.\nLe Semi-Ton moyen, de celles du Semi-Ton mineur & du comma.\nLe Semi-Ton majeur, de celles du Semi-Ton mineur & du Dieze min.\nLe Semi-Ton maxime, de celles du Semi-Ton majeur & du comma.\nLe Ton mineur, de celles des Semi-Tons majeurs & mineurs.\nLe Ton majeur, de celles du Ton mineur & du comma.", "english": "Lesser semitone: from the ratios of the minor diesis and comma.\nMinor semitone: from the ratios of the major diesis and comma.\nMedium semitone: from the ratios of the minor semitone and comma.\nMajor semitone: from the ratios of the minor semitone and minor diesis.\nMaximum semitone: from the ratios of the major semitone and comma.\nMinor whole tone: from the ratios of the major and minor semitones.\nMajor whole tone: from the ratios of the minor whole tone and comma.", "sources": [ { "pdf_page": 59, "source_image": "source-pages/bnf-059.png", "printed_page": 27, "bbox_pixels": [ 316, 1031, 2128, 518 ], "crop_image": "assets/I.05-027.png" } ], "format": "preformatted" }, { "id": "I.05-028", "type": "paragraph", "section": "I.05", "lesson": 9, "exercise": 9, "reading_order": 496, "original": "Pouvant s’instruire par ce moyen de la quantité des comma qui composent le Ton ; L’on peut pousser cette multiplication jusqu’à l’Octave.", "english": "This method allows us to learn how many commas compose the whole tone. We can carry this multiplication as far as the octave.", "sources": [ { "pdf_page": 59, "source_image": "source-pages/bnf-059.png", "printed_page": 27, "bbox_pixels": [ 316, 1551, 2128, 206 ], "crop_image": "assets/I.05-028.png" } ] }, { "id": "I.05-029", "type": "paragraph", "section": "I.05", "lesson": 9, "exercise": 9, "reading_order": 497, "original": "D’un autre côté, le comma est formé de la difference du Ton majeur au Ton mineur.", "english": "Conversely, the comma is formed by the difference between the major and minor whole tones.", "sources": [ { "pdf_page": 59, "source_image": "source-pages/bnf-059.png", "printed_page": 27, "bbox_pixels": [ 316, 1768, 2128, 146 ], "crop_image": "assets/I.05-029.png" } ] }, { "id": "I.05-030", "type": "paragraph", "section": "I.05", "lesson": 9, "exercise": 9, "reading_order": 498, "original": "Le Semi-Ton mineur se forme de la difference de tous les intervales, qui se distinguent en majeur & en mineur, justes, superflus & diminuez.", "english": "The minor semitone is formed by the difference between all intervals distinguished as major and minor, perfect, augmented, and diminished.", "sources": [ { "pdf_page": 59, "source_image": "source-pages/bnf-059.png", "printed_page": 27, "bbox_pixels": [ 316, 1916, 2128, 219 ], "crop_image": "assets/I.05-030.png" } ] }, { "id": "I.05-031", "type": "heading", "section": "I.05", "lesson": 9, "exercise": 9, "reading_order": 499, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 59, "source_image": "source-pages/bnf-059.png", "printed_page": 27, "bbox_pixels": [ 993, 2191, 802, 92 ], "crop_image": "assets/I.05-031.png" } ] }, { "id": "I.05-032", "type": "image", "section": "I.05", "lesson": 9, "exercise": 9, "reading_order": 500, "original": "Tierce maj. 4. 5. / Tierce min. 5. 6. → Semi-ton min. 24. 25.\nQuinte 2. 3. / Fausse-Quinte 25. 36. → Semi-ton min. 72. 75.\nQuinte 2. 3. / Quinte superfluë 16. 25. → Semi-ton min. 48. 50.\nSeptiéme 9. 16. / Septiéme diminuée 75. 128. → Semi-ton min. 1152. 1200.\nSeptiéme 5. 9. / Septiéme superfluë 8. 15. → Semi-ton min. 72. 75.", "english": "Major third 4. 5. / Minor third 5. 6. → Minor semitone 24. 25.\nFifth 2. 3. / Diminished fifth 25. 36. → Minor semitone 72. 75.\nFifth 2. 3. / Augmented fifth 16. 25. → Minor semitone 48. 50.\nSeventh 9. 16. / Diminished seventh 75. 128. → Minor semitone 1152. 1200.\nSeventh 5. 9. / Augmented seventh 8. 15. → Minor semitone 72. 75.", "sources": [ { "pdf_page": 59, "source_image": "source-pages/bnf-059.png", "printed_page": 27, "bbox_pixels": [ 312, 2329, 2122, 696 ], "crop_image": "assets/I.05-032.png" } ], "original_title": "Exemples de différences produisant le Semi-ton mineur", "english_title": "Examples of Differences Producing the Minor Semitone", "format": "preformatted", "asset_refs": [ "I.05-032" ] }, { "id": "I.05-033", "type": "paragraph", "section": "I.05", "lesson": 9, "exercise": 9, "reading_order": 501, "original": "Le Semi-Ton moyen, ou le Dieze majeur peuvent encore faire la difference de ces intervales, selon les raisons dont on sert.", "english": "The medium semitone or the major diesis can also constitute the difference between these intervals, according to the ratios employed.", "sources": [ { "pdf_page": 59, "source_image": "source-pages/bnf-059.png", "printed_page": 27, "bbox_pixels": [ 316, 3083, 2128, 170 ], "crop_image": "assets/I.05-033.png" } ] }, { "id": "I.05-034", "type": "paragraph", "section": "I.05", "lesson": 9, "exercise": 9, "reading_order": 502, "original": "Comme la plûpart de ces Semi-Tons sont absolument necessaires dans la partition des Orgues, & autres instrumens de cette nature, cela a donné lieu à l’établissement du Systême chromatique suivant.", "english": "Since most of these semitones are absolutely necessary in tuning organs and other instruments of this kind, they have led to the establishment of the following chromatic system.", "sources": [ { "pdf_page": 59, "source_image": "source-pages/bnf-059.png", "printed_page": 27, "bbox_pixels": [ 316, 3253, 2363, 223 ], "crop_image": "assets/I.05-034.png" }, { "pdf_page": 60, "source_image": "source-pages/bnf-060.png", "printed_page": 28, "bbox_pixels": [ 1827, 449, 712, 95 ], "crop_image": "assets/I.05-035.png" } ] }, { "id": "I.05-036", "type": "heading", "section": "I.05", "lesson": 9, "exercise": 9, "reading_order": 503, "original": "Systême chromatique ]", "english": "Chromatic system ]", "sources": [ { "pdf_page": 60, "source_image": "source-pages/bnf-060.png", "printed_page": 28, "bbox_pixels": [ 836, 449, 744, 97 ], "crop_image": "assets/I.05-036.png" } ] }, { "id": "I.05-037", "type": "image", "section": "I.05", "lesson": 9, "exercise": 9, "reading_order": 504, "original": "Il y a :\nD’Ut à Ut ♯ | un Semi-Ton min. | 24. à 25.\nD’Ut ♯ à Re | un Semi-Ton maj. | 15. à 16.\nDe Re à Mi ♭ | un Semi-Ton maxime. | 25. à 27.\nDe Mi ♭ à Mi | un Semi-Ton min. | 24. à 25.\nDe Mi à Fa | un Semi-Ton maj. | 15. à 16.\nDe Fa à Fa ♯ | un Semi-Ton min. | 24. à 25.\nDe Fa ♯ à Sol | un Semi-Ton maxime. | 25. à 27.\nDe Sol à Sol ♯ | un Semi-Ton min. | 24. à 25.\nDe Sol ♯ à La | un Semi-Ton maj. | 15. à 16.\nDe La à Si ♭ | un Semi-Ton maxime. | 25. à 27.\nDe Si ♭ à Si | un Semi-Ton min. | 24. à 25.\nDe Si à Ut | un Semi-Ton maj. | 15. à 16.\nComme.", "english": "There is:\nC to C♯ | a minor semitone. | 24 to 25.\nC♯ to D | a major semitone. | 15 to 16.\nD to E♭ | a maximum semitone. | 25 to 27.\nE♭ to E | a minor semitone. | 24 to 25.\nE to F | a major semitone. | 15 to 16.\nF to F♯ | a minor semitone. | 24 to 25.\nF♯ to G | a maximum semitone. | 25 to 27.\nG to G♯ | a minor semitone. | 24 to 25.\nG♯ to A | a major semitone. | 15 to 16.\nA to B♭ | a maximum semitone. | 25 to 27.\nB♭ to B | a minor semitone. | 24 to 25.\nB to C | a major semitone. | 15 to 16.\nAs.", "sources": [ { "pdf_page": 60, "source_image": "source-pages/bnf-060.png", "printed_page": 28, "bbox_pixels": [ 572, 580, 2030, 1010 ], "crop_image": "assets/I.05-037.png" } ], "original_title": "Systême chromatique", "english_title": "Chromatic System", "format": "preformatted", "asset_refs": [ "I.05-037" ] }, { "id": "I.05-038", "type": "paragraph", "section": "I.05", "lesson": 9, "exercise": 9, "reading_order": 505, "original": "Il sera facile de trouver dans le Systême les deux differentes raisons de chaque intervale pris sur differentes nottes ; d’où l’on pourra juger de la liberté que l’on a de se servir indifferemment de l’une de ces raisons, selon les nottes desquelles on veut former un intervale.", "english": "It will be easy to find in the system the two different ratios of each interval taken on different notes. From this we can judge the freedom we have to use either ratio indifferently, according to the notes from which we wish to form an interval.", "sources": [ { "pdf_page": 60, "source_image": "source-pages/bnf-060.png", "printed_page": 28, "bbox_pixels": [ 510, 1674, 2154, 314 ], "crop_image": "assets/I.05-038.png" } ] }, { "id": "I.05-039", "type": "paragraph", "section": "I.05", "lesson": 9, "exercise": 9, "reading_order": 506, "original": "L’explication que nous venons de donner de la formation de chaque intervale, peut servir à connoître le rapport exacte de ce Systême avec le Diatonique précédent.", "english": "The explanation we have just given of the formation of each interval can reveal the exact relationship between this system and the preceding diatonic one.", "sources": [ { "pdf_page": 60, "source_image": "source-pages/bnf-060.png", "printed_page": 28, "bbox_pixels": [ 510, 1987, 2154, 228 ], "crop_image": "assets/I.05-039.png" } ] }, { "id": "I.06-001", "type": "heading", "section": "I.06", "lesson": 10, "exercise": 10, "reading_order": 507, "original": "CHAPITRE SIXIÉME.", "english": "CHAPTER SIX.", "sources": [ { "pdf_page": 60, "source_image": "source-pages/bnf-060.png", "printed_page": 28, "bbox_pixels": [ 914, 2325, 1376, 107 ], "crop_image": "assets/I.06-001.png" } ], "correction_refs": [ "supplement-015" ] }, { "id": "I.06-002", "type": "heading", "section": "I.06", "lesson": 10, "exercise": 10, "reading_order": 508, "original": "Des Intervales doublez, & sur tout de la neuviéme & de la onziéme.", "english": "On Compound Intervals, Especially the Ninth and Eleventh.", "sources": [ { "pdf_page": 60, "source_image": "source-pages/bnf-060.png", "printed_page": 28, "bbox_pixels": [ 580, 2469, 2017, 185 ], "crop_image": "assets/I.06-002.png" } ] }, { "id": "I.06-003", "type": "paragraph", "section": "I.06", "lesson": 10, "exercise": 10, "reading_order": 509, "original": "NOus avons déja remarqué au Chap. III. Art. III pag. 7. que dans la pratique, les Intervales doublez étoient toûjours regardez comme leur simple ; cependant nous devons en excepter la neuviéme & la onziéme, que l’Harmonie ne reçoit que sous ces noms, parce que leur progression & la construction de leurs accords, sont tout-à-fait differentes de celles de la seconde & de la Quarte, dont on peut dire qu’elles sont doublées. Si la neuviéme & la onziéme peuvent representer la seconde & la Quarte, de même que celles-cy peuvent representer les autres, en ce que l’Octave ne causant aucune varieté dans l’Harmonie, il est libre de transposer un Son plus haut ou plus bas d’une ou de plusieurs Octaves, pourvû qu’il se trouve toûjours au dessus du Son grave de l’Intervale dont il s’agit précisément ; on ne peut neanmoins se dispenser de distinguer sous des noms differents, des accords differents, en donnant sur-tout à un accord premier dans son espece, le nom de l’Intervale qui renferme en luy tous les Sons dont cet accord est composé. Quoique la Quinte soit le premier objet de tous les accords, nous donnons neanmoins le nom de septiéme à l’accord, où cet Intervale renferme les autres dans son étenduë, on est dans la même habitude à l’égard de la neuviéme, & cela pour la même raison, ne donnant que le nom de seconde & de Quarte aux seuls accords renversez ; par consequent l’accord de onziéme qui est premier dans son espece, de même que ceux de la septiéme & de la neuviéme renfermant aussi dans son étenduë tous les Intervales compris dans son accord, doit être distingué d’un accord renversé, par le nom de l’Intervale qu’il forme naturellement ; nous en verrons la preuve au Chap. suivant. Articles III. & IV. où les raisons de la seconde & de la Quarte se trouvent par tout dans les accords qui doivent être formez de ces Intervales, au lieu que lorsque la neuviéme & la onziéme doivent s’y faire entendre, il n’est plus question des premieres raisons, mais de celles de ces derniers Intervales : Il sera encore plus facile d’en juger, lorsque nous connoîtrons l’origine des accords ; mais il étoit à propos de preparer le Lecteur sur des noms qui l’auroient peut-être surpris : Nous en parlerons plus amplement au second Livre, Chap. X. & XI.", "english": "We have already observed in Chapter III, Article III, p. 7, that in practice compound intervals are always regarded as their simple forms. We must, however, except the ninth and eleventh, which harmony admits only under these names, because their progression and the construction of their chords differ entirely from those of the second and fourth, of which they may be called compound forms. The ninth and eleventh may represent the second and fourth, just as these may represent the others: since the octave introduces no variety into harmony, a sound may freely be transposed one or more octaves higher or lower, provided it always remains above the lower sound of the particular interval in question. Nevertheless, we cannot avoid distinguishing different chords by different names, above all by giving a chord that is primary in its kind the name of the interval that contains all the sounds composing it. Although the fifth is the primary object of all chords, we nevertheless call a chord a seventh chord when that interval contains the others within its compass. The same custom applies to the ninth for the same reason, while the names second and fourth are given only to inverted chords. Consequently the eleventh chord, which is primary in its kind like the seventh and ninth chords, and likewise contains within its compass every interval in its chord, must be distinguished from an inverted chord by the name of the interval it naturally forms. We shall see the proof in the following chapter, Articles III and IV: the ratios of the second and fourth occur throughout the chords that must be formed from these intervals, whereas when the ninth and eleventh must sound in them, the former ratios are no longer involved, but those of the latter intervals. This will be still easier to judge once we know the origin of chords; but it was appropriate to prepare the reader for names that might otherwise have caused surprise. We shall discuss them more fully in Book II, Chapters X and XI.", "sources": [ { "pdf_page": 60, "source_image": "source-pages/bnf-060.png", "printed_page": 28, "bbox_pixels": [ 505, 2701, 2161, 857 ], "crop_image": "assets/I.06-003.png" }, { "pdf_page": 61, "source_image": "source-pages/bnf-061.png", "printed_page": 29, "bbox_pixels": [ 451, 380, 2150, 1807 ], "crop_image": "assets/I.06-004.png" } ] }, { "id": "I.07-001", "type": "heading", "section": "I.07", "lesson": 11, "exercise": 11, "reading_order": 510, "original": "CHAPITRE SEPTIÉME.", "english": "CHAPTER SEVEN.", "sources": [ { "pdf_page": 61, "source_image": "source-pages/bnf-061.png", "printed_page": 29, "bbox_pixels": [ 419, 2295, 2171, 86 ], "crop_image": "assets/I.07-001.png" } ], "correction_refs": [ "supplement-016" ] }, { "id": "I.07-002", "type": "heading", "section": "I.07", "lesson": 11, "exercise": 11, "reading_order": 511, "original": "De la Division Harmonique ou de l’Origine des accords.", "english": "On Harmonic Division, or the Origin of Chords.", "sources": [ { "pdf_page": 61, "source_image": "source-pages/bnf-061.png", "printed_page": 29, "bbox_pixels": [ 419, 2423, 2171, 99 ], "crop_image": "assets/I.07-002.png" } ] }, { "id": "I.07-003", "type": "paragraph", "section": "I.07", "lesson": 11, "exercise": 11, "reading_order": 512, "original": "LA division Harmonique, qui selon nôtre Systême n’est autre que la division Arithmetique ne nous donne pour tout milieu Harmonique que la Quinte & les deux Tierces ; car si la Quarte, & d’autres Intervales s’y rencontrent, ce n’est que par le moyen de l’Octave ; toute la difference que l’on y apperçoit ne provenant que de la differente disposition des Sons qui composent cette Quinte & ces Tierces ; de sorte que ce mélange arbitraire des Sons auquel l’Harmonie nous invite pour nous faire sentir avec plus de force la perfection de son tout par cette diversité, ne doit pas pour cela, nous faire perdre de vûë un principe qui y subsiste toûjours. Or la Quinte & les Tierces ne divisent pas seulement tous les accords principaux, mais elles les composent encore ; soit par leurs quarrez, soit par leur addition : Si nous voulons donc nous servir des regles de multiplication & de soustraction, pour les appliquer à ces derniers Intervales, nous en tirerons tous les accords Harmonieux. Par exemple, de la multiplication des deux Tierces, nous aurons la Quinte ; & de leur soustraction, nous aurons les deux milieux Harmoniques de cette Quinte.", "english": "Harmonic division, which in our system is nothing other than arithmetic division, gives us no harmonic means except the fifth and the two thirds. If the fourth and other intervals occur in it, they do so only through the octave; every difference we perceive arises solely from the different disposition of the sounds composing this fifth and these thirds. Harmony invites us to this free mixture of sounds so that their diversity may make us feel more strongly the perfection of the whole; but this must not make us lose sight of a principle that always remains present. Now the fifth and thirds not only divide all the principal chords, but also compose them, whether by their squares or by their addition. If, therefore, we apply the rules of multiplication and subtraction to these intervals, we shall derive all harmonious chords from them. For example, multiplying the two thirds gives the fifth, and subtracting them gives the two harmonic means of this fifth.", "sources": [ { "pdf_page": 61, "source_image": "source-pages/bnf-061.png", "printed_page": 29, "bbox_pixels": [ 419, 2548, 2171, 1010 ], "crop_image": "assets/I.07-003.png" }, { "pdf_page": 62, "source_image": "source-pages/bnf-062.png", "printed_page": 30, "bbox_pixels": [ 419, 378, 2171, 389 ], "crop_image": "assets/I.07-004.png" } ] }, { "id": "I.07-005", "type": "image", "section": "I.07", "lesson": 11, "exercise": 11, "reading_order": 513, "original": "Tierce maj. 4. 5.\nTierce min. 5. 6.\nProduit de la Multiplication. 20. 30.\nProduit de la Soustraction. 24. / 25.\nAccords parfaits. 20. 25. 30. ou 20. 24. 30.", "english": "Major third 4. 5.\nMinor third 5. 6.\nProduct of multiplication 20. 30.\nResult of subtraction 24. / 25.\nPerfect chords 20. 25. 30. or 20. 24. 30.", "sources": [ { "pdf_page": 62, "source_image": "source-pages/bnf-062.png", "printed_page": 30, "bbox_pixels": [ 907, 804, 1236, 763 ], "crop_image": "assets/I.07-005.png" } ], "original_title": "Formation et division des accords parfaits", "english_title": "Formation and Division of Perfect Chords", "format": "preformatted", "asset_refs": [ "I.07-005" ] }, { "id": "I.07-006", "type": "paragraph", "section": "I.07", "lesson": 11, "exercise": 11, "reading_order": 514, "original": "20. & 30. divisez à 25. nous donnent l’accord parfait qu’on appelle majeur, en ce que la Quinte y est divisée par la Tierce majeure au grave ; & ces mêmes nombres divisez à 24 nous donnent l’accord parfait qu’on appelle mineur, en ce que la Quinte y est divisée par la Tierce mineure au grave. De plus, ces nombres 24. 25 donnent la raison du Semi-Ton mineur qui fait la difference de la Tierce majeure à la Tierce mineure.", "english": "The interval between 20 and 30, divided at 25, gives the perfect chord called major, because the fifth is divided with the major third below; the same numbers, divided at 24, give the perfect chord called minor, because the fifth is divided with the minor third below. Moreover, the numbers 24, 25 give the ratio of the minor semitone, which is the difference between the major and minor thirds.", "sources": [ { "pdf_page": 62, "source_image": "source-pages/bnf-062.png", "printed_page": 30, "bbox_pixels": [ 419, 1594, 2171, 522 ], "crop_image": "assets/I.07-006.png" } ] }, { "id": "I.07-007", "type": "paragraph", "section": "I.07", "lesson": 11, "exercise": 11, "reading_order": 515, "original": "Les quarrez de la Tierce majeure donnent la Quinte superfluë, & ceux de la Tierce mineure donnent la fausse-Quinte ; la soustraction de chaque quarrez divisant Harmoniquement chacun de ces Intervales.", "english": "Squaring the major third gives the augmented fifth, and squaring the minor third gives the diminished fifth; subtraction in each square divides the resulting interval harmonically.", "sources": [ { "pdf_page": 62, "source_image": "source-pages/bnf-062.png", "printed_page": 30, "bbox_pixels": [ 419, 2125, 2171, 303 ], "crop_image": "assets/I.07-007.png" } ] }, { "id": "I.07-008", "type": "image", "section": "I.07", "lesson": 11, "exercise": 11, "reading_order": 516, "original": "Tierce maj. 4. 5. / 4. 5.\nProduit de la Multiplication. 16. 25.\nProduit de la Soustraction. 20.\n\nTierce min. 5. 6. / 5. 6.\nProduit de la Multiplication. 25. 36.\nProduit de la Soustraction. 30.", "english": "Major third 4. 5. / 4. 5.\nProduct of multiplication 16. 25.\nResult of subtraction 20.\n\nMinor third 5. 6. / 5. 6.\nProduct of multiplication 25. 36.\nResult of subtraction 30.", "sources": [ { "pdf_page": 62, "source_image": "source-pages/bnf-062.png", "printed_page": 30, "bbox_pixels": [ 613, 2454, 1763, 595 ], "crop_image": "assets/I.07-008.png" } ], "original_title": "Division harmonique des Quintes superfluë et fausse", "english_title": "Harmonic Division of Augmented and Diminished Fifths", "format": "preformatted", "asset_refs": [ "I.07-008" ] }, { "id": "I.07-009", "type": "paragraph", "section": "I.07", "lesson": 11, "exercise": 11, "reading_order": 517, "original": "Il faut remarquer à présent qu’il n’y a point d’accord complet sans la Quinte, ny par consequent sans l’union des deux Tierces qui la composent, parce que c’est de l’accord parfait qui se forme de leur union, que tous les accords doivent tirer leur origine ; de sorte que si la Quinte ne se fait point entendre dans un accord, le fondement en est pour lors renversé, supposé ou emprunté ; ou bien l’accord ne sera pas complet, sinon il ne vaudra rien ; aussi n’avons-nous pas donné le nom d’accord à ces Quintes-fausses & superfluës divisées Harmoniquement, parce que l’accord qui en provient n’est pas complet : de-là vient que Zarlin a établi celuy de la fausse-Quinte sans fondement, comme nous le verrons ailleurs.", "english": "We must now observe that no chord is complete without the fifth, and consequently without the union of the two thirds composing it, because every chord must originate in the perfect chord formed by their union. Thus, if the fifth does not sound in a chord, its foundation is then inverted, supplied by supposition, or borrowed; otherwise the chord will be incomplete, or else worthless. Accordingly, we have not given the name chord to these diminished and augmented fifths divided harmonically, because the chord arising from them is incomplete. This is why Zarlino established the diminished-fifth chord without a foundation, as we shall see elsewhere.", "sources": [ { "pdf_page": 62, "source_image": "source-pages/bnf-062.png", "printed_page": 30, "bbox_pixels": [ 419, 3079, 2171, 466 ], "crop_image": "assets/I.07-009.png" }, { "pdf_page": 63, "source_image": "source-pages/bnf-063.png", "printed_page": 31, "bbox_pixels": [ 419, 370, 2171, 389 ], "crop_image": "assets/I.07-010.png" } ] }, { "id": "I.07-011", "type": "paragraph", "section": "I.07", "lesson": 11, "exercise": 11, "reading_order": 518, "original": "S’il y a des accords Harmonieux autres que les parfaits précedents, il faut qu’ils puissent être formez d’un parfait & de l’une de ses parties, qui est l’une des Tierces : Par exemple, l’addition d’une Tierce à la Quinte nous donnera l’intervale de la septiéme, & leur soustraction nous en donnera l’accord complet.", "english": "If there are harmonious chords other than the preceding perfect chords, they must be capable of being formed from a perfect chord and one of its parts, namely one of the thirds. For example, adding a third to a fifth gives the interval of a seventh, and their subtraction gives its complete chord.", "sources": [ { "pdf_page": 63, "source_image": "source-pages/bnf-063.png", "printed_page": 31, "bbox_pixels": [ 419, 756, 2171, 376 ], "crop_image": "assets/I.07-011.png" } ] }, { "id": "I.07-012", "type": "image", "section": "I.07", "lesson": 11, "exercise": 11, "reading_order": 519, "original": "Tierce min. 5. 6.\nQuinte. 2. 3.\nProduit de la Multiplication. 10. 18.\nProduit de la Soustraction. 12. 15.\nAccord de septiéme. 10. 12. 15. 18.\n\nTierce maj. 4. 5.\nQuinte. 2. 3.\nProduit de la Multiplication. 8. 15.\nProduit de la Soustraction. 10. 12.\nAccord de septiéme. 8. 10. 12. 15.", "english": "Minor third 5. 6.\nFifth 2. 3.\nProduct of multiplication 10. 18.\nResult of subtraction 12. 15.\nSeventh chord 10. 12. 15. 18.\n\nMajor third 4. 5.\nFifth 2. 3.\nProduct of multiplication 8. 15.\nResult of subtraction 10. 12.\nSeventh chord 8. 10. 12. 15.", "sources": [ { "pdf_page": 63, "source_image": "source-pages/bnf-063.png", "printed_page": 31, "bbox_pixels": [ 419, 1149, 2171, 584 ], "crop_image": "assets/I.07-012.png" } ], "original_title": "Accords de septiéme par addition et soustraction", "english_title": "Seventh Chords through Addition and Subtraction", "format": "preformatted", "asset_refs": [ "I.07-012" ] }, { "id": "I.07-013", "type": "paragraph", "section": "I.07", "lesson": 11, "exercise": 11, "reading_order": 520, "original": "Nous aurons deux autres accords de septiéme par la seule multiplication des raisons de chaque accord parfait avec la Tierce mineure.", "english": "We obtain two other seventh chords simply by multiplying the ratios of each perfect chord by that of the minor third.", "sources": [ { "pdf_page": 63, "source_image": "source-pages/bnf-063.png", "printed_page": 31, "bbox_pixels": [ 419, 1753, 2171, 185 ], "crop_image": "assets/I.07-013.png" } ] }, { "id": "I.07-014", "type": "image", "section": "I.07", "lesson": 11, "exercise": 11, "reading_order": 521, "original": "Accord parfait maj. 4. 5. 6.\nTierce min. 5. 6.\nProduit de la Multiplication des deux raisons perpendiculaires. 20. 30.\nProduit de la Multiplication de la raison inferieure avec les deux derniers nombres de la raison superieure. 25. 36.\nAccord de septiéme. 20. 25. 30. 36.\n\nAccord parfait min. 10. 12. 15.\nTierce min. 5. 6.\nProduit de la Multiplication des deux raisons perpendiculaires. 50. 72.\nProduit de la Multiplication de la raison inferieure avec les deux derniers nombres de la raison superieure. 60. 90.\nAccord de septiéme. 25. 30. 36. 45.", "english": "Major perfect chord 4. 5. 6.\nMinor third 5. 6.\nProduct of multiplying the two vertical ratios 20. 30.\nProduct of multiplying the lower ratio by the last two numbers of the upper ratio 25. 36.\nSeventh chord 20. 25. 30. 36.\n\nMinor perfect chord 10. 12. 15.\nMinor third 5. 6.\nProduct of multiplying the two vertical ratios 50. 72.\nProduct of multiplying the lower ratio by the last two numbers of the upper ratio 60. 90.\nSeventh chord 25. 30. 36. 45.", "sources": [ { "pdf_page": 63, "source_image": "source-pages/bnf-063.png", "printed_page": 31, "bbox_pixels": [ 419, 1955, 2171, 834 ], "crop_image": "assets/I.07-014.png" } ], "original_title": "Deux autres accords de septiéme", "english_title": "Two Further Seventh Chords", "format": "preformatted", "asset_refs": [ "I.07-014" ] }, { "id": "I.07-015", "type": "paragraph", "section": "I.07", "lesson": 11, "exercise": 11, "reading_order": 522, "original": "Si la Quarte peut nous donner une septiéme par ses quarrez, elle ne peut la diviser Harmoniquement.", "english": "Although the fourth can give us a seventh by being squared, it cannot divide that seventh harmonically.", "sources": [ { "pdf_page": 63, "source_image": "source-pages/bnf-063.png", "printed_page": 31, "bbox_pixels": [ 419, 2827, 2171, 157 ], "crop_image": "assets/I.07-015.png" } ] }, { "id": "I.07-016", "type": "paragraph", "section": "I.07", "lesson": 11, "exercise": 11, "reading_order": 523, "original": "Nous voyons que la Quinte regne dans tous les accords de septiéme ; dans les deux premiers, on la trouve entre 8. 12. 10. 15. & 12. 18. dans le troisiéme, elle occupe le grave entre 20. 30. & dans le quatriéme, elle est à l’aigu entre 30. 45. Nous voyons de plus que tous ces accords sont renfermez dans l’étenduë de l’Octave du Son le plus grave, qui en est le principe, étant convaincus d’ailleurs que cela ne peut être autrement, puisque si l’Octave n’est que la replique d’un Son, il n’y a point de doute que tous les intervales qui excederont cette Octave, ne soient également les repliques de ceux qui sont contenus dans son étenduë, comme nous l’avons déja remarqué. Cependant, la Quinte a le privilege de nous donner par son quarré un accord que l’Harmonie reçoit, quoiqu’il excede les bornes de l’Octave ; & cet accord s’appelle neuviéme, parce que l’intervale engendré des quarrez de cette Quinte est contenu dans cet espace, bien que l’intervale pris à part pût n’être regardé que comme la replique de la seconde.", "english": "We see that the fifth prevails in every seventh chord. In the first two, it occurs between 8 and 12, 10 and 15, and 12 and 18; in the third, it occupies the lower position between 20 and 30; and in the fourth, the upper position between 30 and 45. We also see that all these chords lie within the octave of the lowest sound, which is their principle. We are convinced, moreover, that it cannot be otherwise: if the octave is merely the replication of a sound, then all intervals exceeding that octave must likewise be replications of those contained within it, as we have already observed. The fifth, however, has the privilege of giving us, through its square, a chord that harmony accepts even though it exceeds the bounds of the octave. This chord is called the ninth, because the interval generated by squaring the fifth spans that distance, although the interval considered by itself could be regarded merely as a replication of the second.", "sources": [ { "pdf_page": 63, "source_image": "source-pages/bnf-063.png", "printed_page": 31, "bbox_pixels": [ 419, 2980, 2171, 544 ], "crop_image": "assets/I.07-016.png" }, { "pdf_page": 64, "source_image": "source-pages/bnf-064.png", "printed_page": 32, "bbox_pixels": [ 419, 365, 2171, 681 ], "crop_image": "assets/I.07-017.png" } ] }, { "id": "I.07-018", "type": "image", "section": "I.07", "lesson": 11, "exercise": 11, "reading_order": 524, "original": "Quinte. 2. 3. / 2. 3.\nProduit de la Multiplication. 4. 9.\nProduit de la Soustraction. 6.\n4. 6. 9.", "english": "Fifth 2. 3. / 2. 3.\nProduct of multiplication 4. 9.\nResult of subtraction 6.\n4. 6. 9.", "sources": [ { "pdf_page": 64, "source_image": "source-pages/bnf-064.png", "printed_page": 32, "bbox_pixels": [ 1000, 1046, 1112, 531 ], "crop_image": "assets/I.07-018.png" } ], "original_title": "Accord de neuviéme issu du quarré de la Quinte", "english_title": "Ninth Chord from Squaring the Fifth", "format": "preformatted", "asset_refs": [ "I.07-018" ] }, { "id": "I.07-019", "type": "paragraph", "section": "I.07", "lesson": 11, "exercise": 11, "reading_order": 525, "original": "Il est facile de comprendre l’Harmonie de cet accord qui est divisé de chaque côté par la Quinte, puisque pour le former, il n’y a qu’à diviser ensuite chaque Quinte par la Tierce majeure, ou par la mineure, comme cela se doit naturellement ; la onziéme pourroit se trouver encore, en ajoûtant une Tierce mineure au dessus de cette neuviéme, sans diviser pour lors la Quinte qui est au grave, parce que l’Harmonie parfaite qui ne reçoit naturellement que quatre Sons differens dans la construction de ses accords, peut bien en souffrir un de plus par rapport à la Quinte qui en est l’unique objet, mais non pas davantage.", "english": "The harmony of this chord, divided on either side by the fifth, is easy to understand: to form it, we need only divide each fifth in turn by the major or minor third, as nature requires. The eleventh could also be obtained by adding a minor third above this ninth, without then dividing the lower fifth. Perfect harmony, which naturally admits only four different sounds in the construction of its chords, can tolerate one more on account of the fifth, its sole object, but no more than that.", "sources": [ { "pdf_page": 64, "source_image": "source-pages/bnf-064.png", "printed_page": 32, "bbox_pixels": [ 419, 1613, 2171, 756 ], "crop_image": "assets/I.07-019.png" } ] }, { "id": "I.07-020", "type": "paragraph", "section": "I.07", "lesson": 11, "exercise": 11, "reading_order": 526, "original": "Pour que l’on soit d’abord convaincu de l’étenduë & de la composition des accords, il n’y a qu’à se souvenir que l’Octave a été principalement engendrée pour leur servir de borne, puisque les accords ne sont composez que des intervales compris dans l’étenduë de cette Octave ; ensuite, que le Son fondamental a choisi la Quinte pour en former tous les accords, & qu’il s’est uni indifferemment à l’une des Tierces pour déterminer la construction de tous ces accords ; de sorte que sans abandonner les principaux objets de l’Harmonie, il n’y a plus qu’à s’attacher à quelques autres proprietez qui leur sont naturelles, & au renversement dont nous avons parlé pour pouvoir seconder de la raison toutes les nouvelles découvertes que l’experience peut nous procurer. Si par exemple, l’experience nous prouve qu’il y a des accords qui excedent l’étenduë de l’Octave, la raison qui nous dit que le fondement ne peut subsister que dans l’étenduë de cette Octave, nous porte à juger que pour que ce fondement ne soit point détruit, il faut qu’il soit pour lors supposé a par un nouveau Son ajoûté au dessous de luy, à la distance d’une Quinte ou d’une Tierce ; lequel Son doit être regardé en ce cas comme surnumeraire, b bien que l’intervale qu’il forme avec ce Son fondamental soit toûjours l’un de ceux que ce dernier Son a choisi pour la construction des accords ; si l’experience nous prouve encore que la fausse-Quinte occupe souvent la place de la Quinte dans les accords, la raison nous persuade que cela provient de la force des Tierces, dont l’union ne peut former que des accords plus ou moins agréables ; & que si la fausse-Quinte y est plûtôt reçûë que la Quinte superfluë, cela vient de l’ordre naturel qui a été prescrit d’abord à ces Tierces où la majeure se trouve au grave, au lieu que l’aigu étant principalement affecté à la mineure, celle-cy peut toûjours y regner, bien que le Son fondamental se l’adopte en même tems ; car il semble qu’elle soit ainsi placée, pour nous marquer la preference que nous devons luy donner, lorsqu’il s’agit d’ajoûter la dissonance à l’accord parfait ; & si l’experience nous prouve enfin que les accords ne sont pas toûjours divisez par Tierces, la raison nous prouve en même tems que cela ne provient que du renversement des intervales dont ces accords sont formez. c", "english": "To be convinced at once of the compass and composition of chords, we need only recall, first, that the octave was principally generated to serve as their boundary, since chords consist only of intervals contained within that octave; and, next, that the fundamental sound chose the fifth to form every chord, and joined itself indifferently to either third to determine their construction. Without abandoning the principal objects of harmony, we therefore need only attend to some further properties natural to them, and to the inversion already discussed, in order to support by reason every new discovery experience may afford us. If, for example, experience proves that some chords exceed the compass of the octave, reason—which tells us that the foundation can exist only within that octave—leads us to judge that, to avoid destroying it, the foundation must then have a new sound placed beneath it by supposition,a at the distance of a fifth or third. This sound must in that case be regarded as supernumerary,b even though the interval it forms with the fundamental sound is always one of those that the latter chose for constructing chords. If experience further proves that the diminished fifth often takes the fifth's place in chords, reason persuades us that this arises from the power of the thirds, whose union can form only chords more or less pleasing. The diminished fifth is accepted rather than the augmented fifth because of the natural order first prescribed for these thirds: the major third lies below, while the upper position belongs principally to the minor. The minor third can always prevail above, even when the fundamental sound adopts it at the same time. It seems to have been placed there to indicate the preference we should give it when adding dissonance to the perfect chord. Finally, if experience proves that chords are not always divided by thirds, reason simultaneously proves that this arises solely from inversion of the intervals composing those chords.c", "sources": [ { "pdf_page": 64, "source_image": "source-pages/bnf-064.png", "printed_page": 32, "bbox_pixels": [ 419, 2370, 2171, 1147 ], "crop_image": "assets/I.07-020.png" }, { "pdf_page": 65, "source_image": "source-pages/bnf-065.png", "printed_page": 33, "bbox_pixels": [ 419, 359, 2171, 1500 ], "crop_image": "assets/I.07-021.png" } ] }, { "id": "I.07-022", "type": "paragraph", "section": "I.07", "lesson": 11, "exercise": 11, "reading_order": 527, "original": "Pour se rendre les choses plus familieres, l’on peut regarder à present les Tierces comme l’unique objet de tous les accords : En effet, pour former l’accord parfait, il faut ajoûter une Tierce à l’autre, & pour former tous les accords dissonans, il faut ajoûter trois ou quatre Tierces les unes aux autres ; la difference de ces accords dissonans ne provenant que de la differente situation de ces Tierces ; c’est pourquoy nous devons leur attribuer toute la force de l’Harmonie, en la reduisant à ses premiers degrez ; l’on peut en faire la preuve dans une quatriéme proportionnelle ajoûtée à chaque accord parfait, d’où naîtront deux accords de septiéme ; & dans une cinquiéme proportionnelle ajoûtée à l’un de ces deux accords de septiéme d’où naîtra un accord de neuviéme, qui renfermera dans sa construction les quatre accords précedents ; il est vray que les deux derniers accords de septiéme de la démonstration précedente, où la fausse-Quinte a lieu, ne pourront se trouver par ce moyen, en ce que la proportion du premier terme au troisiéme, & du second au quatriéme y est pour-lors interrompuë ; mais un certain renversement de la disposition des Tierces, que l’on doit avoir remarqué dans les premieres operations, ne pourroit-il pas nous porter à chercher par de nouveaux moyens ce que nous ne pouvons trouver de cette maniere : Nous en sommes-nous tenus à la seule division Arithmetique, pour en former un accord parfait ? Et dès que la Quinte a été divisée par la Tierce majeure au grave, l’Octave ne nous a-t-elle pas fait sentir en même tems, que cette Quinte pouvoit être également divisée par la Tierce mineure au grave ? Ainsi ce que nous perdons d’un côté, nous le trouverons de l’autre ; par exemple, si nous n’avons pas trouvé l’accord de la septiéme diminuée dans les premieres operations, il faut le chercher dans ces dernieres, & nous le trouverons justement entre les nombres 125. 150. 180. 216. en ajoûtant une quatriéme proportionnelle aux raisons de la fausse-Quinte divisée Harmoniquement. Voyez Chap. VIII. Art. VII.", "english": "To make matters more familiar, we may now regard the thirds as the sole object of all chords. Indeed, forming the perfect chord requires adding one third to the other, and forming every dissonant chord requires adding three or four thirds to one another. The differences between these dissonant chords arise solely from the different positions of their thirds. We must therefore attribute all the power of harmony to the thirds when reducing harmony to its first elements. This can be demonstrated by adding a fourth proportional to each perfect chord, producing two seventh chords, and a fifth proportional to one of those seventh chords, producing a ninth chord that contains within its construction the four preceding chords. Admittedly, the last two seventh chords in the preceding demonstration, in which the diminished fifth occurs, cannot be obtained in this way, because the proportion between the first and third terms and between the second and fourth is then interrupted. But could not a certain reversal of the disposition of the thirds, which should have been noticed in the first operations, lead us to seek by new means what we cannot find in this manner? Did we confine ourselves to arithmetic division alone in forming a perfect chord? As soon as the fifth was divided with the major third below, did not the octave also make us perceive that this fifth could equally be divided with the minor third below? Thus what we lose on one side we shall find on the other. For example, if we did not find the diminished-seventh chord in the first operations, we must seek it in these latter ones. We shall find it precisely in the numbers 125, 150, 180, 216, by adding a fourth proportional to the ratios of the harmonically divided diminished fifth. See Chapter VIII, Article VII.", "sources": [ { "pdf_page": 65, "source_image": "source-pages/bnf-065.png", "printed_page": 33, "bbox_pixels": [ 419, 1856, 2171, 1429 ], "crop_image": "assets/I.07-022.png" }, { "pdf_page": 66, "source_image": "source-pages/bnf-066.png", "printed_page": 34, "bbox_pixels": [ 458, 374, 2163, 896 ], "crop_image": "assets/I.07-026.png" } ] }, { "id": "I.07-023", "type": "footnote", "section": "I.07", "lesson": 11, "exercise": 11, "reading_order": 528, "original": "a Voyez Supposer dans la Table Alphabetique.", "english": "a See “Supposer” (“To supply by supposition”) in the Alphabetical Table.", "sources": [ { "pdf_page": 65, "source_image": "source-pages/bnf-065.png", "printed_page": 33, "bbox_pixels": [ 419, 3287, 2171, 56 ], "crop_image": "assets/I.07-023.png" } ] }, { "id": "I.07-024", "type": "footnote", "section": "I.07", "lesson": 11, "exercise": 11, "reading_order": 529, "original": "b Voyez les quarrez du Chap. suivant, Art. III. où les Sons surnumeraires ne peuvent avoir lieu.", "english": "b See the squares in the following chapter, Article III, in which supernumerary sounds cannot occur.", "sources": [ { "pdf_page": 65, "source_image": "source-pages/bnf-065.png", "printed_page": 33, "bbox_pixels": [ 419, 3343, 2171, 103 ], "crop_image": "assets/I.07-024.png" } ] }, { "id": "I.07-025", "type": "footnote", "section": "I.07", "lesson": 11, "exercise": 11, "reading_order": 530, "original": "c Voyez les triangles & les quarrez du Chap. suivant, Art. I. & III.", "english": "c See the triangles and squares in the following chapter, Articles I and III.", "sources": [ { "pdf_page": 65, "source_image": "source-pages/bnf-065.png", "printed_page": 33, "bbox_pixels": [ 419, 3446, 2171, 69 ], "crop_image": "assets/I.07-025.png" } ] }, { "id": "I.07-027", "type": "paragraph", "section": "I.07", "lesson": 11, "exercise": 11, "reading_order": 531, "original": "Remarquez que les accords dissonans qui se forment d’une Tierce mineure ajoûtée à l’un des deux accords parfaits, sont bien plus supportables que lors qu’on y ajoûte une Tierce majeure ; la resonnance de celle-cy étouffant en quelque façon la douceur de la Quinte qui doit dominer dans tous les accords ; c’est pourquoy les accords diminuez sont moins durs que les superflus ; d’où vient qu’on ne peut trouver un accord Harmonieux dans l’addition de trois Tierces majeures, & que même la Quinte superfluë qui n’est composée que de deux Tierces majeures, ne peut se souffrir que dans un mélange de cinq Sons differents, dont l’accord excede pour lors les bornes de l’Octave ; comme nous l’apprendrons par la suite.", "english": "Observe that dissonant chords formed by adding a minor third to either perfect chord are far more tolerable than those formed by adding a major third. The resonance of the major third in some way stifles the sweetness of the fifth, which should dominate every chord. Diminished chords are therefore less harsh than augmented ones. This is why adding three major thirds cannot produce a harmonious chord, and why even the augmented fifth, composed of only two major thirds, is tolerable only in a mixture of five different sounds, whose chord then exceeds the bounds of the octave, as we shall learn later.", "sources": [ { "pdf_page": 66, "source_image": "source-pages/bnf-066.png", "printed_page": 34, "bbox_pixels": [ 458, 1270, 2163, 838 ], "crop_image": "assets/I.07-027.png" } ] }, { "id": "I.08-001", "type": "heading", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 532, "original": "CHAPITRE HUITIÉME.", "english": "CHAPTER EIGHT.", "sources": [ { "pdf_page": 66, "source_image": "source-pages/bnf-066.png", "printed_page": 34, "bbox_pixels": [ 419, 2228, 2171, 95 ], "crop_image": "assets/I.08-001.png" } ], "correction_refs": [ "supplement-016", "supplement-017", "supplement-018", "supplement-019" ] }, { "id": "I.08-002", "type": "heading", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 533, "original": "Du renversement des Accords.", "english": "On the Inversion of Chords.", "sources": [ { "pdf_page": 66, "source_image": "source-pages/bnf-066.png", "printed_page": 34, "bbox_pixels": [ 419, 2374, 2171, 103 ], "crop_image": "assets/I.08-002.png" } ] }, { "id": "I.08-003", "type": "paragraph", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 534, "original": "S’Il n’y a que trois nombres accordans (comme dit Descartes,) on a bien pû remarquer qu’il n’y avoit aussi que trois consonances principales, qui sont la Quinte & les deux Tierces, d’où proviennent la Quarte & les deux Sixtes ; ne s’agissant plus que de voir comment on a fait la distinction de toutes ces consonances dans les accords.", "english": "If there are only three concordant numbers, as Descartes says, we have also been able to observe that there were only three principal consonances: the fifth and the two thirds, from which the fourth and the two sixths arise. It remains only to see how all these consonances have been distinguished in chords.", "sources": [ { "pdf_page": 66, "source_image": "source-pages/bnf-066.png", "printed_page": 34, "bbox_pixels": [ 458, 2527, 2163, 455 ], "crop_image": "assets/I.08-003.png" } ] }, { "id": "I.08-004", "type": "heading", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 535, "original": "ARTICLE PREMIER.", "english": "ARTICLE ONE.", "sources": [ { "pdf_page": 66, "source_image": "source-pages/bnf-066.png", "printed_page": 34, "bbox_pixels": [ 419, 2986, 2171, 101 ], "crop_image": "assets/I.08-004.png" } ] }, { "id": "I.08-005", "type": "heading", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 536, "original": "De l’Accord parfait majeur & de ses dérivez.", "english": "The Major Perfect Chord and Its Derivatives.", "sources": [ { "pdf_page": 66, "source_image": "source-pages/bnf-066.png", "printed_page": 34, "bbox_pixels": [ 419, 3126, 2171, 105 ], "crop_image": "assets/I.08-005.png" } ] }, { "id": "I.08-006", "type": "paragraph", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 537, "original": "De ces trois nombres premiers 2. 3. & 5. prenons les composez 4. & 6. afin que la Quinte s’y trouve divisée en deux Tierces, comme cela se doit ; ainsi l’accord parfait majeur étant formé de ces trois nombres 4. 5. 6, si nous portons 4. à son Octave, nous aurons 5. 6. 8, dont sera formé l’accord qu’on appelle, accord de Sixte en ce que la Sixte s’y fait entendre entre les deux Sons extrêmes ; si nous portons ensuite 5. à son Octave, nous aurons 6. 8. 10, dont sera formé un autre accord qu’on appelle accord de Sixte Quarte, en ce que la Sixte & la Quarte s’y font entendre entre les deux Sons aigus, & le grave, auquel tous les intervales d’un accord doivent être comparez ; si nous portions encore 6. à son Octave, nous aurions 8. 10. 12. qui sont en même proportion que 4. 5. 6 : c’est pourquoy nous ne pouvons pousser plus loin cette transposition du Son grave à son Octave, puisque l’accord parfait qui n’est composé que de trois Sons differents, ne peut par consequent produire de cette maniere que trois accords differents, dont il est le premier & le fondamental.", "english": "From the three prime numbers 2, 3, and 5, let us take the composite numbers 4 and 6, so that the fifth is divided into two thirds, as it should be. The major perfect chord thus consists of 4, 5, 6. If we raise 4 to its octave, we obtain 5, 6, 8, forming what is called a sixth chord, because a sixth sounds between its two outer sounds. If we then raise 5 to its octave, we obtain 6, 8, 10, forming another chord called the sixth–fourth chord, because the sixth and fourth sound between its two upper sounds and the lowest, to which every interval in a chord must be referred. If we were also to raise 6 to its octave, we should obtain 8, 10, 12, in the same proportion as 4, 5, 6. We therefore cannot carry this transposition of the lowest sound to its octave any further: the perfect chord consists of only three different sounds, and can consequently produce in this way only three different chords, of which it is the first and fundamental.", "sources": [ { "pdf_page": 66, "source_image": "source-pages/bnf-066.png", "printed_page": 34, "bbox_pixels": [ 458, 3294, 2163, 238 ], "crop_image": "assets/I.08-006.png" }, { "pdf_page": 67, "source_image": "source-pages/bnf-067.png", "printed_page": 35, "bbox_pixels": [ 419, 352, 2171, 1059 ], "crop_image": "assets/I.08-007.png" } ] }, { "id": "I.08-008", "type": "paragraph", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 538, "original": "Quoique les deux accords qui dérivent du parfait, soient consonans, on les appelle imparfaits ; non seulement pour les distinguer de celuy qui en est le principe, mais encore parce que leur proprieté en est differente.", "english": "Although the two chords derived from the perfect chord are consonant, they are called imperfect, not only to distinguish them from the chord that is their principle, but also because their properties differ from its own.", "sources": [ { "pdf_page": 67, "source_image": "source-pages/bnf-067.png", "printed_page": 35, "bbox_pixels": [ 419, 1412, 2171, 301 ], "crop_image": "assets/I.08-008.png" } ] }, { "id": "I.08-009", "type": "paragraph", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 539, "original": "Nous pouvons remarquer en passant, la grande puissance du nombre 3, puisque la Quinte qui est l’origine de tous les accords prend sa forme à 3, & que la quantité des nombres accordans, des consonances premieres, & des accords consonans subsiste dans ce seul nombre.", "english": "We may note in passing the great power of the number 3: the fifth, which is the origin of all chords, takes shape at 3, and this single number also gives the number of concordant numbers, primary consonances, and consonant chords.", "sources": [ { "pdf_page": 67, "source_image": "source-pages/bnf-067.png", "printed_page": 35, "bbox_pixels": [ 419, 1712, 2171, 365 ], "crop_image": "assets/I.08-009.png" } ] }, { "id": "I.08-010", "type": "paragraph", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 540, "original": "Pour donner l’intelligence de cet accord parfait & de ses dérivez, nous en insererons les raisons dans trois triangles, avec le nom des Nottes dont on marque ces accords. Le plus grand triangle contiendra l’accord parfait, comme le principe & la racine des autres accords, qui seront contenus dans les deux plus petits triangles : en examinant encore les nombres, & les Nottes par chaque coin du grand triangle, l’on remarquera que quelque coin que l’on prenne pour baze, on y trouvera toûjours un accord consonant ; l’on trouvera Ut, Mi, Sol, dans chaque accord, dont la difference ne consiste que dans la differente situation de ces trois Nottes ou sons ; ce qui est conforme au renversement des nombres, puisque 8. qui est le double de 4. donne toûjours un Ut, de même que 5. & 10. donnent toûjours un Mi.", "english": "To make this perfect chord and its derivatives intelligible, we shall place their ratios in three triangles, together with the note names used to designate the chords. The largest triangle will contain the perfect chord, as the principle and root of the other chords, which will occupy the two smaller triangles. Examining the numbers and notes at each corner of the large triangle, we shall see that whichever corner we take as the base, we always find a consonant chord. Each chord contains C, E, G; their difference consists only in the different placement of these three notes or sounds. This agrees with the inversion of the numbers, since 8, the double of 4, still gives C, just as 5 and 10 both give E.", "sources": [ { "pdf_page": 67, "source_image": "source-pages/bnf-067.png", "printed_page": 35, "bbox_pixels": [ 419, 2078, 2171, 967 ], "crop_image": "assets/I.08-010.png" } ] }, { "id": "I.08-011", "type": "heading", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 541, "original": "DÉMONSTRATION", "english": "DEMONSTRATION", "sources": [ { "pdf_page": 68, "source_image": "source-pages/bnf-068.png", "printed_page": 36, "bbox_pixels": [ 419, 436, 2171, 90 ], "crop_image": "assets/I.08-011.png" } ] }, { "id": "I.08-012", "type": "heading", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 542, "original": "De l’Accord parfait majeur, & de ses dérivez.", "english": "The Major Perfect Chord and Its Derivatives.", "sources": [ { "pdf_page": 68, "source_image": "source-pages/bnf-068.png", "printed_page": 36, "bbox_pixels": [ 419, 574, 2171, 97 ], "crop_image": "assets/I.08-012.png" } ] }, { "id": "I.08-013", "type": "image", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 543, "original": "Accord parfait. Ut 4. Mi 5. Sol 6.\nAccord de Sixte. Mi 5. Sol 6. Ut 8.\nAccord de Sixte-Quarte. Sol 6. Ut 8. Mi 10.", "english": "Perfect chord. C 4. E 5. G 6.\nSixth chord. E 5. G 6. C 8.\nSixth–fourth chord. G 6. C 8. E 10.", "sources": [ { "pdf_page": 68, "source_image": "source-pages/bnf-068.png", "printed_page": 36, "bbox_pixels": [ 645, 698, 1763, 1231 ], "crop_image": "assets/I.08-013.png" } ], "original_title": "Trois triangles des accords parfait et renversez", "english_title": "Three Triangles of the Perfect and Inverted Chords", "format": "preformatted", "asset_refs": [ "I.08-013" ] }, { "id": "I.08-014", "type": "heading", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 544, "original": "ARTICLE SECOND.", "english": "ARTICLE TWO.", "sources": [ { "pdf_page": 68, "source_image": "source-pages/bnf-068.png", "printed_page": 36, "bbox_pixels": [ 419, 1955, 2171, 107 ], "crop_image": "assets/I.08-014.png" } ] }, { "id": "I.08-015", "type": "heading", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 545, "original": "De l’Accord parfait mineur, & de ses dérivez.", "english": "The Minor Perfect Chord and Its Derivatives.", "sources": [ { "pdf_page": 68, "source_image": "source-pages/bnf-068.png", "printed_page": 36, "bbox_pixels": [ 419, 2095, 2171, 103 ], "crop_image": "assets/I.08-015.png" } ] }, { "id": "I.08-016", "type": "paragraph", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 546, "original": "L’accord parfait mineur pourroit être démontré comme majeur, puisqu’il est composé de même, & qu’il donne par son renversement les mêmes accords que le majeur nous a donné, n’y ayant de difference que dans la disposition des Tierces dont la Quinte est formée ; la Tierce qui a été majeure d’un côté étant mineure de l’autre, ainsi des Sixtes qui en proviennent ; mais le fond de l’Harmonie n’en souffre point, c’est au contraire ce qui en fait toute la beauté, la Tierce majeure & la mineure y étant également agréables. Nous disposerons donc ce dernier accord & ses dérivez, d’une maniere plus simple, que l’on pourra toûjours rapporter aux triangles, si l’on veut", "english": "The minor perfect chord could be demonstrated like the major, since it is composed in the same way and its inversion gives the same chords as the major did. The only difference lies in the disposition of the thirds composing the fifth: the third that was major on one side is minor on the other, and likewise with the sixths arising from them. The substance of harmony does not suffer; on the contrary, this gives it all its beauty, since major and minor thirds are equally pleasing in it. We shall therefore arrange this latter chord and its derivatives in a simpler manner, which may always be referred back to the triangles if desired.", "sources": [ { "pdf_page": 68, "source_image": "source-pages/bnf-068.png", "printed_page": 36, "bbox_pixels": [ 419, 2234, 2171, 844 ], "crop_image": "assets/I.08-016.png" } ] }, { "id": "I.08-017", "type": "heading", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 547, "original": "DÉMONSTRATION.", "english": "DEMONSTRATION.", "sources": [ { "pdf_page": 68, "source_image": "source-pages/bnf-068.png", "printed_page": 36, "bbox_pixels": [ 419, 3102, 2171, 92 ], "crop_image": "assets/I.08-017.png" } ] }, { "id": "I.08-018", "type": "image", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 548, "original": "10. 12. 15. | La, Ut, Mi. | Accord parfait fondamental.\n12. 15. 20. | Ut, Mi, La. | Accord de Sixte renversé du parfait.\n15. 20. 24. | Mi, La, Ut. | Accord de Sixte-Quarte renversé du parfait.\nTous les autres Accords parfaits & leur dérivez que l’on peut prendre sur d’autres Nottes, ne different en rien de ces deux premiers ;", "english": "10. 12. 15. | A, C, E. | Fundamental perfect chord.\n12. 15. 20. | C, E, A. | Sixth chord, inverted from the perfect chord.\n15. 20. 24. | E, A, C. | Sixth–fourth chord, inverted from the perfect chord.\nAll other perfect chords and their derivatives taken on other notes differ in no respect from these first two;", "sources": [ { "pdf_page": 68, "source_image": "source-pages/bnf-068.png", "printed_page": 36, "bbox_pixels": [ 419, 3229, 2171, 335 ], "crop_image": "assets/I.08-018.png" } ], "original_title": "Accord parfait mineur et ses dérivez", "english_title": "Minor Perfect Chord and Its Derivatives", "format": "preformatted", "asset_refs": [ "I.08-018" ] }, { "id": "I.08-019", "type": "heading", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 549, "original": "ARTICLE TROISIÉME.", "english": "ARTICLE THREE.", "sources": [ { "pdf_page": 69, "source_image": "source-pages/bnf-069.png", "printed_page": 37, "bbox_pixels": [ 419, 395, 2171, 97 ], "crop_image": "assets/I.08-019.png" } ] }, { "id": "I.08-020", "type": "heading", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 550, "original": "De l’Accord de la septiéme, composé d’une Tierce mineure ajoûtée à l’Accord parfait majeur, & de ses dérivez.", "english": "The Seventh Chord Formed by Adding a Minor Third to the Major Perfect Chord, and Its Derivatives.", "sources": [ { "pdf_page": 69, "source_image": "source-pages/bnf-069.png", "printed_page": 37, "bbox_pixels": [ 419, 526, 2171, 187 ], "crop_image": "assets/I.08-020.png" } ] }, { "id": "I.08-021", "type": "paragraph", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 551, "original": "Nous ne suivrons point icy l’ordre que nous avons tenu dans le Chap. précedent ; parce qu’il est bon de mettre d’abord sous les yeux l’accord le plus parfait de tous les dissonans, quoique la fausse-Quinte y regne dans l’aigu : il semble être fait pour rendre encore plus grande la perfection des accords consonans, parce qu’il les précede toûjours, ou plûtôt, parce que le parfait ou ses dérivez, doivent toûjours le suivre ; cette proprieté étant également affectée à ses dérivez.", "english": "We shall not follow the order used in the preceding chapter, because it is useful to present first the most perfect of all dissonant chords, although the diminished fifth prevails in its upper part. It seems designed to heighten still further the perfection of consonant chords, because it always precedes them—or rather, because the perfect chord or its derivatives must always follow it. This property belongs equally to its derivatives.", "sources": [ { "pdf_page": 69, "source_image": "source-pages/bnf-069.png", "printed_page": 37, "bbox_pixels": [ 419, 763, 2171, 610 ], "crop_image": "assets/I.08-021.png" } ] }, { "id": "I.08-022", "type": "paragraph", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 552, "original": "Nous allons démontrer cet accord & ses dérivez dans quatre quarrez, puisqu’il contient quatre sons differens ; il produit non-seulement des accords par son renversement, tels sont ceux que contiennent les trois plus petits quarrez, mais il en produit encore d’autres qui le supposent, & qui par consequent ne peuvent se renverser, (comme il est expliqué au second Livre, Chap. X.) ce qui fait que le son grave de ces derniers accords n’est point contenu dans ces quarrez.", "english": "We shall demonstrate this chord and its derivatives in four squares, since it contains four different sounds. It produces not only chords by inversion, such as those contained in the three smaller squares, but also others formed by supposition beneath it, which consequently cannot be inverted, as explained in Book II, Chapter X. Hence the lowest sound of these latter chords is not contained in the squares.", "sources": [ { "pdf_page": 69, "source_image": "source-pages/bnf-069.png", "printed_page": 37, "bbox_pixels": [ 419, 1371, 2171, 604 ], "crop_image": "assets/I.08-022.png" } ] }, { "id": "I.08-023", "type": "heading", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 553, "original": "DÉMONSTRATION.", "english": "DEMONSTRATION.", "sources": [ { "pdf_page": 70, "source_image": "source-pages/bnf-070.png", "printed_page": 38, "bbox_pixels": [ 419, 563, 2171, 99 ], "crop_image": "assets/I.08-023.png" } ] }, { "id": "I.08-024", "type": "image", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 554, "original": "Accord fondamental de la septiéme : La 20. Ut ♯ 25. Mi 30. Sol 36.\nAccord de fausse-Quinte : Ut ♯ 25. Mi 30. Sol 36. La 40.\nAccord de petite Sixte : Mi 30. Sol 36. La 40. Ut ♯ 50.\nAccord du Triton : Sol 36. La 40. Ut ♯ 50. Mi 60.\nFa 16. Son grave de l’Accord de la Quinte-superfluë.\nPour trouver les raisons de l’Accord de la Septiéme-superfluë, il faut tripler les nombres de celle-cy, où 40. donnera le Son grave de ce dernier Accord ainsi :\n40. 60. 75. 90. 108.\nRe, La, Ut ♯, Mi, Sol.", "english": "Fundamental seventh chord: A 20. C♯ 25. E 30. G 36.\nDiminished-fifth chord: C♯ 25. E 30. G 36. A 40.\nSmall-sixth chord: E 30. G 36. A 40. C♯ 50.\nTritone chord: G 36. A 40. C♯ 50. E 60.\nF 16. Lowest sound of the augmented-fifth chord.\nTo find the ratios of the augmented-seventh chord, triple these numbers; 40 will supply the lowest sound of that chord, thus:\n40. 60. 75. 90. 108.\nD, A, C♯, E, G.", "sources": [ { "pdf_page": 70, "source_image": "source-pages/bnf-070.png", "printed_page": 38, "bbox_pixels": [ 451, 720, 2171, 2438 ], "crop_image": "assets/I.08-024.png" } ], "original_title": "Quatre quarrez de l’accord de septiéme et accords par supposition", "english_title": "Four Squares of the Seventh Chord and Chords by Supposition", "format": "preformatted", "asset_refs": [ "I.08-024" ] }, { "id": "I.08-025", "type": "heading", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 555, "original": "ARTICLE QUATRIÉME.", "english": "ARTICLE FOUR.", "sources": [ { "pdf_page": 71, "source_image": "source-pages/bnf-071.png", "printed_page": 39, "bbox_pixels": [ 419, 445, 2171, 120 ], "crop_image": "assets/I.08-025.png" } ] }, { "id": "I.08-026", "type": "heading", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 556, "original": "De l’Accord de la septiéme, composé de l’addition d’une Tierce Mineure, à l’Accord parfait mineur, & de ses dérivez.", "english": "The Seventh Chord Formed by Adding a Minor Third to the Minor Perfect Chord, and Its Derivatives.", "sources": [ { "pdf_page": 71, "source_image": "source-pages/bnf-071.png", "printed_page": 39, "bbox_pixels": [ 419, 602, 2171, 196 ], "crop_image": "assets/I.08-026.png" } ] }, { "id": "I.08-027", "type": "paragraph", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 557, "original": "Remarquez que dans le précedent accord l’on auroit pû se servir des Nottes Ut, Mi, Sol, Si ♭, de même que des Nottes La, Ut ♯, Mi, Sol, où l’on trouve également la Tierce mineure ajoûtée à l’aigu de l’accord parfait majeur : or si l’on transpose la situation de cette Tierce, en l’ajoûtant au grave du même accord parfait ; ou bien si l’on ajoûte cette Tierce à l’aigu d’un accord parfait mineur, nous aurons un nouvel accord de septiéme, qui ne differera du précedent, (comme l’on voit) que dans la differente situation des Tierces.", "english": "Observe that the preceding chord could have used the notes C, E, G, B♭ just as well as A, C♯, E, G: both place an added minor third above a major perfect chord. Now, if we shift this third's position by adding it below the same perfect chord, or if we add it above a minor perfect chord, we obtain a new seventh chord. As can be seen, it differs from the preceding one only in the different arrangement of its thirds.", "sources": [ { "pdf_page": 71, "source_image": "source-pages/bnf-071.png", "printed_page": 39, "bbox_pixels": [ 419, 849, 2171, 623 ], "crop_image": "assets/I.08-027.png" } ] }, { "id": "I.08-028", "type": "heading", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 558, "original": "DÉMONSTRATION", "english": "DEMONSTRATION", "sources": [ { "pdf_page": 71, "source_image": "source-pages/bnf-071.png", "printed_page": 39, "bbox_pixels": [ 419, 1502, 2171, 105 ], "crop_image": "assets/I.08-028.png" } ] }, { "id": "I.08-029", "type": "heading", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 559, "original": "Que l’on peut rapporter aux quarrez.", "english": "Which May Be Related to the Squares.", "sources": [ { "pdf_page": 71, "source_image": "source-pages/bnf-071.png", "printed_page": 39, "bbox_pixels": [ 419, 1648, 2171, 107 ], "crop_image": "assets/I.08-029.png" } ] }, { "id": "I.08-030", "type": "image", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 560, "original": "10. 12. 15. 18. | La, Ut, Mi, Sol. | Accord fondamental de la Septiéme.\n12. 15. 18. 20. | Ut, Mi, Sol, La. | Accord de la grande Sixte, renversé de celuy de la septiéme.\n15. 18. 20. 24. | Mi, Sol, La, Ut. | Accord de la petite Sixte, renversé de celuy de la septiéme.\n18. 20. 24. 30. | Sol, La, Ut, Mi. | Accord de la Seconde, renversé de celuy de la septiéme.\n8. Fa. Son grave de l’Accord de la neuviéme.", "english": "10. 12. 15. 18. | A, C, E, G. | Fundamental seventh chord.\n12. 15. 18. 20. | C, E, G, A. | Great-sixth chord, inverted from the seventh chord.\n15. 18. 20. 24. | E, G, A, C. | Small-sixth chord, inverted from the seventh chord.\n18. 20. 24. 30. | G, A, C, E. | Second chord, inverted from the seventh chord.\n8. F. Lowest sound of the ninth chord.", "sources": [ { "pdf_page": 71, "source_image": "source-pages/bnf-071.png", "printed_page": 39, "bbox_pixels": [ 419, 1800, 2171, 492 ], "crop_image": "assets/I.08-030.png" } ], "original_title": "Septiéme sur l’accord parfait mineur et ses dérivez", "english_title": "Seventh on the Minor Perfect Chord and Its Derivatives", "format": "preformatted", "asset_refs": [ "I.08-030" ] }, { "id": "I.08-031", "type": "paragraph", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 561, "original": "Pour avoir les raisons de l’accord de la onziéme, il faut tripler les nombres de celles-cy, où 20. donnera le son grave de ce dernier accord, ainsi", "english": "To obtain the ratios of the eleventh chord, we must triple these numbers; 20 will give the lowest sound of that chord, thus:", "sources": [ { "pdf_page": 71, "source_image": "source-pages/bnf-071.png", "printed_page": 39, "bbox_pixels": [ 419, 2335, 2171, 243 ], "crop_image": "assets/I.08-031.png" } ] }, { "id": "I.08-032", "type": "image", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 562, "original": "20. 30. 36. 45. 54.\nRé, La, Ut, Mi, Sol.", "english": "20. 30. 36. 45. 54.\nD, A, C, E, G.", "sources": [ { "pdf_page": 71, "source_image": "source-pages/bnf-071.png", "printed_page": 39, "bbox_pixels": [ 918, 2499, 838, 163 ], "crop_image": "assets/I.08-032.png" } ], "original_title": "Raisons de l’accord de la onziéme", "english_title": "Ratios of the Eleventh Chord", "format": "preformatted", "asset_refs": [ "I.08-032" ] }, { "id": "I.08-033", "type": "paragraph", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 563, "original": "Remarquez icy que dans l’accord de la seconde, la raison de cette seconde se trouve entre 18. & 20. au lieu que dans l’accord de la neuviéme, on trouve la raison de ce dernier intervale entre 8. & 18. & non pas celle de la seconde entre 8. & 9. de même que dans les accords de seconde, & de petite Sixte, l’on trouve la raison de la Quarte entre 15. & 20. au lieu que dans l’accord de la onziéme, on trouve la raison de ce dernier intervale entre 20. & 54. & non pas celle de la Quarte entre 20. & 27. pouvant faire encore les mêmes remarques dans les accords de la petite Sixte du Triton, de la Quinte-superfluë, & de la septiéme-superfluë de l’Art. III. pourvû que l’on se souvienne que les raisons de 8. à 9. ou de 9. à 10. nous donnent également une seconde, de même que celles de 3. à 4. ou de 20. à 27. nous donnent également une Quarte ; qu’ainsi la raison de la neuviéme doit se trouver entre 4. & 9. ou entre 8. & 18. & celle de la onziéme entre 3. & 8. ou entre 10. & 27. car 8. 18 & 20. 54. sont en même raison que 4. 9. & 10. 27.", "english": "Observe here that in the second chord the ratio of the second lies between 18 and 20, whereas in the ninth chord the ratio of that latter interval lies between 8 and 18, not that of the second between 8 and 9. Likewise, in the second and small-sixth chords the fourth's ratio lies between 15 and 20, whereas in the eleventh chord the ratio of that latter interval lies between 20 and 54, not that of the fourth between 20 and 27. The same observations can be made concerning the small-sixth, tritone, augmented-fifth, and augmented-seventh chords of Article III. Remember that the ratios 8 to 9 and 9 to 10 both give a second, just as 3 to 4 and 20 to 27 both give a fourth. Thus the ninth's ratio must lie between 4 and 9 or 8 and 18, and the eleventh's between 3 and 8 or 10 and 27; for 8, 18 and 20, 54 are in the same ratios as 4, 9 and 10, 27.", "sources": [ { "pdf_page": 71, "source_image": "source-pages/bnf-071.png", "printed_page": 39, "bbox_pixels": [ 419, 2651, 2171, 904 ], "crop_image": "assets/I.08-033.png" }, { "pdf_page": 72, "source_image": "source-pages/bnf-072.png", "printed_page": 40, "bbox_pixels": [ 419, 346, 2171, 316 ], "crop_image": "assets/I.08-034.png" } ] }, { "id": "I.08-035", "type": "heading", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 564, "original": "ARTICLE CINQUIÉME.", "english": "ARTICLE FIVE.", "sources": [ { "pdf_page": 72, "source_image": "source-pages/bnf-072.png", "printed_page": 40, "bbox_pixels": [ 419, 703, 2171, 105 ], "crop_image": "assets/I.08-035.png" } ] }, { "id": "I.08-036", "type": "heading", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 565, "original": "De l’Accord de la septiéme, composé de l’addition d’une Tierce-majeure à l’Accord parfait majeure & de ses dérivez.", "english": "The Seventh Chord Formed by Adding a Major Third to the Major Perfect Chord, and Its Derivatives.", "sources": [ { "pdf_page": 72, "source_image": "source-pages/bnf-072.png", "printed_page": 40, "bbox_pixels": [ 419, 849, 2171, 187 ], "crop_image": "assets/I.08-036.png" } ] }, { "id": "I.08-037", "type": "paragraph", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 566, "original": "Cet accord est accidentel, & tire son origine de la Modulation ; l’on remarque même que la neuviéme y est presque toûjours sous-entenduë ; car celle qu’on y ajoûte à l’aigu, est bien moins dure que lorsque pour la former, on ajoûte icy un son grave au dessous du son fondamental de cet accord de septiéme, comme cela se doit naturellement, selon l’explication que nous en donnons au deuxiéme Livre ; ce qui suit de ce que nous avons remarqué au Chap. précedent, que la Tierce majeure ajoûtée à l’aigu d’un accord parfait, ne rendoit pas un effet aussi bon, que lorsqu’on y ajoûte la Tierce mineure : cependant cet accord de septiéme doit être reçû au nombre des fondamentaux, par rapport à la Modulation, les accords qui proviennent de son renversement portant le même nom de ceux qui sont dans l’Art. précedent.", "english": "This chord is incidental and originates in modulation. We even observe that the ninth is almost always implied in it: the ninth added above is far less harsh than when, to form it, a low sound is added beneath the fundamental sound of this seventh chord, as should naturally be done according to our explanation in Book II. This follows from our observation in the preceding chapter that a major third added above a perfect chord does not produce as good an effect as an added minor third. Nevertheless, this seventh chord must be admitted among the fundamental chords on account of modulation; the chords arising from its inversion bear the same names as those in the preceding article.", "sources": [ { "pdf_page": 72, "source_image": "source-pages/bnf-072.png", "printed_page": 40, "bbox_pixels": [ 419, 1100, 2171, 999 ], "crop_image": "assets/I.08-037.png" } ] }, { "id": "I.08-038", "type": "heading", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 567, "original": "DÉMONSTRATION.", "english": "DEMONSTRATION.", "sources": [ { "pdf_page": 72, "source_image": "source-pages/bnf-072.png", "printed_page": 40, "bbox_pixels": [ 419, 2144, 2171, 95 ], "crop_image": "assets/I.08-038.png" } ] }, { "id": "I.08-039", "type": "image", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 568, "original": "18. Ré. Son aigu de l’Accord de la neuviéme.\n8. 10. 12. 15. | Ut, Mi, Sol, Si. | Accord fondamental de la Septiéme.\n10. 12. 15. 16. | Mi, Sol, Si, Ut. | Accord de la grande Sixte.\n12. 15. 16. 20. | Sol, Si, Ut, Mi. | Accord de la petite Sixte.\n15. 16. 20. 24. | Si, Ut, Mi, Sol. | Accord de la Seconde.", "english": "18. D. Highest sound of the ninth chord.\n8. 10. 12. 15. | C, E, G, B. | Fundamental seventh chord.\n10. 12. 15. 16. | E, G, B, C. | Great-sixth chord.\n12. 15. 16. 20. | G, B, C, E. | Small-sixth chord.\n15. 16. 20. 24. | B, C, E, G. | Second chord.", "sources": [ { "pdf_page": 72, "source_image": "source-pages/bnf-072.png", "printed_page": 40, "bbox_pixels": [ 419, 2252, 2171, 458 ], "crop_image": "assets/I.08-039.png" } ], "original_title": "Septiéme avec Tierce majeure ajoutée et ses dérivez", "english_title": "Seventh with an Added Major Third and Its Derivatives", "format": "preformatted", "asset_refs": [ "I.08-039" ] }, { "id": "I.08-040", "type": "paragraph", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 569, "original": "L’on peut trouver encore le son grave de la neuviéme à 20. en triplant ces raisons, ainsi", "english": "The lowest sound of the ninth can also be found at 20 by tripling these ratios, thus:", "sources": [ { "pdf_page": 72, "source_image": "source-pages/bnf-072.png", "printed_page": 40, "bbox_pixels": [ 419, 2761, 2171, 176 ], "crop_image": "assets/I.08-040.png" } ] }, { "id": "I.08-041", "type": "image", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 570, "original": "20. 24. 30. 36. 45.\nLa, Ut, Mi, Sol, Si.", "english": "20. 24. 30. 36. 45.\nA, C, E, G, B.", "sources": [ { "pdf_page": 72, "source_image": "source-pages/bnf-072.png", "printed_page": 40, "bbox_pixels": [ 1333, 2853, 869, 153 ], "crop_image": "assets/I.08-041.png" } ], "original_title": "Neuviéme par addition du son grave", "english_title": "Ninth through Addition of the Lowest Sound", "format": "preformatted", "asset_refs": [ "I.08-041" ] }, { "id": "I.08-042", "type": "paragraph", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 571, "original": "mais l’on sent assez que cet accord est bien moins supportable de cette façon, que lorsqu’on ajoûte la Tierce mineure à l’aigu ; & cette derniere addition contre nature, doit nous convaincre de l’imperfection de cet accord de septiéme : car de la maniere dont il est disposé en y ajoûtant le son aigu de la neuviéme, le grave devient pour lors surnumeraire, comme cela paroît par les quarrez de l’Art. III. où les sons qu’ils contiennent peuvent se renverser entr’eux, pendant que le grave de la neuviéme, ou de la Quinte-superfluë, ne peut profiter de ce renversement : aussi l’on peut s’apperçevoir que ces nottes", "english": "But we can readily hear that this chord is far less tolerable in this form than when the minor third is added above. This latter, unnatural addition must convince us of the imperfection of the seventh chord: arranged with the upper sound of the ninth added, its lowest sound becomes supernumerary. This is apparent from the squares in Article III, whose sounds may be inverted among themselves, while the lowest sound of the ninth or augmented fifth cannot participate in that inversion. Thus we can see that these notes", "sources": [ { "pdf_page": 72, "source_image": "source-pages/bnf-072.png", "printed_page": 40, "bbox_pixels": [ 419, 2857, 2171, 675 ], "crop_image": "assets/I.08-042.png" }, { "pdf_page": 73, "source_image": "source-pages/bnf-073.png", "printed_page": 41, "bbox_pixels": [ 419, 372, 2171, 161 ], "crop_image": "assets/I.08-043.png" } ] }, { "id": "I.08-044", "type": "image", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 572, "original": "8. 10. 12. 15. 18.\nUt, Mi, Sol, Si, Ré,", "english": "8. 10. 12. 15. 18.\nC, E, G, B, D,", "sources": [ { "pdf_page": 73, "source_image": "source-pages/bnf-073.png", "printed_page": 41, "bbox_pixels": [ 456, 533, 707, 127 ], "crop_image": "assets/I.08-044.png" } ], "original_title": "Notte et raison dans l’accord de neuviéme", "english_title": "Notes and Ratios in the Ninth Chord", "format": "preformatted", "asset_refs": [ "I.08-044" ] }, { "id": "I.08-045", "type": "paragraph", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 573, "original": "nous représentent l’accord de la neuviéme de l’Art. précedent, puisque", "english": "represent the ninth chord of the preceding article, since", "sources": [ { "pdf_page": 73, "source_image": "source-pages/bnf-073.png", "printed_page": 41, "bbox_pixels": [ 419, 589, 2171, 196 ], "crop_image": "assets/I.08-045.png" } ] }, { "id": "I.08-046", "type": "image", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 574, "original": "8. 10. 12. 15. 18. | 8. 10. 12. 15. 18.\nUt, Mi, Sol, Si, Ré ; ou Fa, La, Ut, Mi, Sol,", "english": "8. 10. 12. 15. 18. | 8. 10. 12. 15. 18.\nC, E, G, B, D; or F, A, C, E, G,", "sources": [ { "pdf_page": 73, "source_image": "source-pages/bnf-073.png", "printed_page": 41, "bbox_pixels": [ 1204, 651, 1387, 142 ], "crop_image": "assets/I.08-046.png" } ], "original_title": "Deux dispositions du même accord", "english_title": "Two Dispositions of the Same Chord", "format": "preformatted", "asset_refs": [ "I.08-046" ] }, { "id": "I.08-047", "type": "paragraph", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 575, "original": "ne composent qu’un même accord : de plus, la onziéme ne peut se trouver ici qu’en octuplant les raisons de ce dernier accord de Septiéme, (seconde preuve de son imperfection) où 45. donnera le Son grave, ainsi", "english": "constitute one and the same chord. Moreover, the eleventh can be found here only by multiplying the ratios of this latter seventh chord by eight—a second proof of its imperfection—with 45 supplying the lowest sound, thus:", "sources": [ { "pdf_page": 73, "source_image": "source-pages/bnf-073.png", "printed_page": 41, "bbox_pixels": [ 419, 786, 2171, 335 ], "crop_image": "assets/I.08-047.png" } ] }, { "id": "I.08-048", "type": "image", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 576, "original": "45. 64. 80. 96. 120.\nSi, Fa, La, Ut, Mi.", "english": "45. 64. 80. 96. 120.\nB, F, A, C, E.", "sources": [ { "pdf_page": 73, "source_image": "source-pages/bnf-073.png", "printed_page": 41, "bbox_pixels": [ 617, 1014, 697, 118 ], "crop_image": "assets/I.08-048.png" } ], "original_title": "Onziéme par octuplement des raisons", "english_title": "Eleventh through Eightfold Multiplication of Ratios", "format": "preformatted", "asset_refs": [ "I.08-048" ] }, { "id": "I.08-049", "type": "heading", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 577, "original": "ARTICLE SIXIÉME.", "english": "ARTICLE SIX.", "sources": [ { "pdf_page": 73, "source_image": "source-pages/bnf-073.png", "printed_page": 41, "bbox_pixels": [ 419, 1182, 2171, 105 ], "crop_image": "assets/I.08-049.png" } ] }, { "id": "I.08-050", "type": "heading", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 578, "original": "De l’Accord de la Septiéme, composé de l’addition d’une Tierce-mineure au dessous de l’Accord parfait mineur, & de ses dérivez.", "english": "The Seventh Chord Formed by Adding a Minor Third below the Minor Perfect Chord, and Its Derivatives.", "sources": [ { "pdf_page": 73, "source_image": "source-pages/bnf-073.png", "printed_page": 41, "bbox_pixels": [ 419, 1330, 2171, 191 ], "crop_image": "assets/I.08-050.png" } ] }, { "id": "I.08-051", "type": "paragraph", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 579, "original": "La difference de cet Accord à celuy de l’Art. III. ne consiste que dans la transposition d’une Tierce majeure du grave à l’aigu, & les Tierces mineures qui y dominent, le rendent plus supportable que le précedent ; cependant nous n’en distinguons pas les dérivez par des noms differens, parce qu’il naît encore de la Modulation.", "english": "This chord differs from that of Article III only by the transfer of a major third from the lower to the upper position. The minor thirds prevailing in it make it more tolerable than the preceding chord. We do not, however, distinguish its derivatives by different names, because it too arises from modulation.", "sources": [ { "pdf_page": 73, "source_image": "source-pages/bnf-073.png", "printed_page": 41, "bbox_pixels": [ 419, 1575, 2171, 380 ], "crop_image": "assets/I.08-051.png" } ] }, { "id": "I.08-052", "type": "heading", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 580, "original": "DÉMONSTRATION.", "english": "DEMONSTRATION.", "sources": [ { "pdf_page": 73, "source_image": "source-pages/bnf-073.png", "printed_page": 41, "bbox_pixels": [ 419, 2004, 2171, 101 ], "crop_image": "assets/I.08-052.png" } ] }, { "id": "I.08-053", "type": "image", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 581, "original": "25. 30. 36. 45. | Mi, Sol, Si ♭, Ré. | Accord fondamental de la septiéme.\n30. 36. 45. 50. | Sol, Si ♭, Ré, Mi. | Accord de grande Sixte.\n36. 45. 50. 60. | Si ♭, Ré, Mi, Sol. | Accord de petite Sixte.\n45. 50. 60. 72. | Ré, Mi, Sol, Si ♭. | Accord de Seconde.\n20. Ut. Son grave de l’Accord de la Neuviéme.\nNous trouverons le Son grave de la onziéme à 50, en triplant ces raisons, ainsi :\n50. 75. 90. 108. 135.\nLa, Mi, Sol, Si ♭, Ré.", "english": "25. 30. 36. 45. | E, G, B♭, D. | Fundamental seventh chord.\n30. 36. 45. 50. | G, B♭, D, E. | Great-sixth chord.\n36. 45. 50. 60. | B♭, D, E, G. | Small-sixth chord.\n45. 50. 60. 72. | D, E, G, B♭. | Second chord.\n20. C. Lowest sound of the ninth chord.\nWe find the lowest sound of the eleventh at 50 by tripling these ratios, thus:\n50. 75. 90. 108. 135.\nA, E, G, B♭, D.", "sources": [ { "pdf_page": 73, "source_image": "source-pages/bnf-073.png", "printed_page": 41, "bbox_pixels": [ 419, 2133, 2171, 541 ], "crop_image": "assets/I.08-053.png" } ], "original_title": "Septiéme avec Tierce mineure au dessous et ses dérivez", "english_title": "Seventh with a Minor Third below and Its Derivatives", "format": "preformatted", "asset_refs": [ "I.08-053" ] }, { "id": "I.08-054", "type": "heading", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 582, "original": "ARTICLE SEPTIÉME.", "english": "ARTICLE SEVEN.", "sources": [ { "pdf_page": 73, "source_image": "source-pages/bnf-073.png", "printed_page": 41, "bbox_pixels": [ 419, 2681, 2171, 103 ], "crop_image": "assets/I.08-054.png" } ] }, { "id": "I.08-055", "type": "heading", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 583, "original": "De l’Accord de la Septiéme-diminuée, composé de l’addition d’une Tierce mineure à la fausse-Quinte divisée harmoniquement, & de ses dérivez.", "english": "The Diminished-Seventh Chord Formed by Adding a Minor Third to the Harmonically Divided Diminished Fifth, and Its Derivatives.", "sources": [ { "pdf_page": 73, "source_image": "source-pages/bnf-073.png", "printed_page": 41, "bbox_pixels": [ 419, 2797, 2171, 277 ], "crop_image": "assets/I.08-055.png" } ] }, { "id": "I.08-056", "type": "paragraph", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 584, "original": "Quoique cet accord se forme d’une Quatriéme proportionelle ajoûtée à la fausse-Quinte divisée harmoniquement (comme nous l’avons remarqué au Chap. précedent) nous ne pouvons pas tirer un accord d’un autre qui n’est ny parfait ny complet ; & nous en devons chercher le principe ailleurs.", "english": "Although this chord is formed by adding a fourth proportional to the harmonically divided diminished fifth, as we observed in the preceding chapter, we cannot derive a chord from another that is neither perfect nor complete; we must seek its principle elsewhere.", "sources": [ { "pdf_page": 73, "source_image": "source-pages/bnf-073.png", "printed_page": 41, "bbox_pixels": [ 419, 3098, 2171, 397 ], "crop_image": "assets/I.08-056.png" } ] }, { "id": "I.08-057", "type": "paragraph", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 585, "original": "La Quinte que nous tenons des premieres divisions de la corde, est l’origine de tous les accords ; celuy qui en est formé le premier, conserve également sa perfection, soit que l’on divise cette Quinte par la Tierce majeure au grave, soit qu’on la divise par la Tierce mineure au grave : les accords de Septiéme qui en proviennent, sont également fondamentaux, quoique la fausse-Quinte regne dans l’un à l’aigu, & dans l’autre au grave ; leur division par Tierces suffisant pour nous prevenir en leur faveur, ceux, même qui sont composez de l’addition d’une Tierce mineure, sont plus agreables que ceux qui sont composez de l’addition d’une Tierce majeure ; d’où vient que la fausse-Quinte ne détruit pas le fondement, au lieu que la Quinte-superfluë ne peut être employée qu’en le supposant ; l’Harmonie ne recevant le son grave de cet intervale que comme un son surnumeraire, que l’oreille tolere en faveur du principe qui subsiste dans le reste de l’accord. Or ces observations doivent nous engager à pousser plus loin l’addition de ces Tierces mineures : car après avoir trouvé l’Accord parfait, nous luy avons ajoûté une Quatriéme, & même une Cinquiéme proportionelle, jusqu’à ce que nous ayons senti que l’on ne pouvoit exceder ces additions, sans offenser l’oreille ; si elle souffre donc encore l’union de trois Tierces mineures, quoique la Quinte, qui est le principe de tous les accords, n’y subsiste plus, nous devons chercher la raison qui rend cet accord tolerable, malgré son imperfection.", "english": "The fifth obtained from the first divisions of the string is the origin of every chord. The first chord formed from it retains its perfection equally whether the fifth is divided with the major third below or with the minor third below. The seventh chords arising from it are equally fundamental, although the diminished fifth prevails above in one and below in the other. Their division into thirds suffices to predispose us in their favor; indeed, those formed by adding a minor third are more pleasing than those formed by adding a major third. Hence the diminished fifth does not destroy the foundation, whereas the augmented fifth can be used only through supposition: harmony admits its lowest sound only as a supernumerary sound, tolerated by the ear for the sake of the principle remaining in the rest of the chord. These observations should encourage us to carry the addition of minor thirds further. After finding the perfect chord, we added a fourth and even a fifth proportional, until we felt that further additions would offend the ear. If the ear still tolerates the union of three minor thirds, although the fifth, the principle of every chord, no longer remains, we must seek the reason why this chord is tolerable despite its imperfection.", "sources": [ { "pdf_page": 74, "source_image": "source-pages/bnf-074.png", "printed_page": 42, "bbox_pixels": [ 419, 374, 2171, 1717 ], "crop_image": "assets/I.08-057.png" } ] }, { "id": "I.08-058", "type": "paragraph", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 586, "original": "1°. Cet accord est toûjours divisé par Tierces, de quelque façon que l’on dispose les Sons, dont il est composé, à l’exception d’un nouvel intervale introduit par le renversement, qui est celuy de la Seconde-superfluë, quoiqu’il ne differe de la Tierce mineure que d’un dieze mineur, ou d’un Semi-ton moindre, & qu’il excede la Tierce diminuée de la raison de 15552. à 15625 : ce qui prouve que l’oreille peut n’en être point offensée, en ce qu’il approche beaucoup de la Tierce.", "english": "1. This chord is always divided into thirds, however its sounds are arranged, except for a new interval introduced by inversion: the augmented second. This differs from the minor third by only a minor diesis or a lesser semitone, and exceeds the diminished third by the ratio 15552 to 15625. This proves that the ear need not be offended by it, since it comes very close to a third.", "sources": [ { "pdf_page": 74, "source_image": "source-pages/bnf-074.png", "printed_page": 42, "bbox_pixels": [ 419, 2090, 2171, 595 ], "crop_image": "assets/I.08-058.png" } ] }, { "id": "I.08-059", "type": "paragraph", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 587, "original": "2°. Cet accord est renfermé dans l’étenduë de l’Octave, & peut par consequent se renverser.", "english": "2. This chord lies within the compass of the octave and can consequently be inverted.", "sources": [ { "pdf_page": 74, "source_image": "source-pages/bnf-074.png", "printed_page": 42, "bbox_pixels": [ 419, 2686, 2171, 159 ], "crop_image": "assets/I.08-059.png" } ] }, { "id": "I.08-060", "type": "paragraph", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 588, "original": "3°. Si nous prenons l’accord de la Septiéme de l’Art. III. & que nous en transposions le Son grave & fondamental un Semi-ton plus haut, nous en formerons l’accord en question ; où l’on remarquera que la transposition de ce Son grave change seulement une Tierce majeure en mineure ; comme par exemple, de ces Nottes Ut, Mi, Sol, Si ♭, qui composent nôtre accord de Septiéme, nous formerons celuy de la Septiéme diminuée, en portant Ut à son dieze, ainsi Ut ♯, Mi, Sol, Si ♭, dont le renversement nous donnera l’accord de la Seconde-superfluë, ainsi Si ♭, Ut ♯, Mi, Sol : ou bien, si nous nous servons des Nottes contenuës dans les quarrez de nôtre premier accord de Septiéme, nous en formerons les mêmes accords, en portant la Notte La sur celle de Si ♭ : & cette difference de la Tierce majeure à la mineure, qui n’altere point la perfection de l’Accord parfait, parce qu’elle ne s’y apperçoit, à la verité, que dans le Son moyen, pourroit bien nous faire reçevoir cet accord de la Septiéme-diminuée, si le fondement n’y étoit pour lors détruit par la transposition du Son grave : de-sorte qu’il faut absolument que ce Son grave & fondamental puisse être sous-entendu dans le Son qu’on luy subroge icy, pour que le principe subsiste : la preuve en est évidente dans les regles que nous établissons là-dessus, comme on le verra dans la suite.", "english": "3. If we take the seventh chord of Article III and transpose its lowest, fundamental sound a semitone higher, we form the chord in question. Observe that this transposition changes only a major third into a minor one. For example, from C, E, G, B♭, which compose our seventh chord, we form the diminished-seventh chord by raising C to C♯: C♯, E, G, B♭. Its inversion gives the augmented-second chord: B♭, C♯, E, G. Or, using the notes contained in the squares of our first seventh chord, we form the same chords by moving A to B♭. This difference between major and minor thirds does not alter the perfection of the perfect chord, where admittedly it appears only in the middle sound. It might likewise lead us to accept this diminished-seventh chord, were its foundation not destroyed by transposition of the lowest sound. To preserve the principle, therefore, the lowest, fundamental sound must necessarily be capable of being understood as implied in the sound substituted for it here. The proof is evident in the rules we establish on this subject, as will be seen later.", "sources": [ { "pdf_page": 74, "source_image": "source-pages/bnf-074.png", "printed_page": 42, "bbox_pixels": [ 419, 2845, 2171, 692 ], "crop_image": "assets/I.08-060.png" }, { "pdf_page": 75, "source_image": "source-pages/bnf-075.png", "printed_page": 43, "bbox_pixels": [ 454, 376, 2180, 823 ], "crop_image": "assets/I.08-061.png" } ] }, { "id": "I.08-062", "type": "paragraph", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 589, "original": "Pour distinguer ce dernier accord, & ses dérivez de celuy dont ils tirent leur origine, nous les appellerons, empruntez ; en ce qu’ils empruntent leur perfection d’un Son qui n’y paroît point.", "english": "To distinguish this last chord and its derivatives from the chord in which they originate, we shall call them borrowed, because they borrow their perfection from a sound that does not appear in them.", "sources": [ { "pdf_page": 75, "source_image": "source-pages/bnf-075.png", "printed_page": 43, "bbox_pixels": [ 454, 1199, 2180, 232 ], "crop_image": "assets/I.08-062.png" } ] }, { "id": "I.08-063", "type": "paragraph", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 590, "original": "L’on trouvera dans la Démonstration suivante les mêmes accords que ceux qui sont contenus dans la Démonstration de l’Art. III ; ces accords portant le même nom de part & d’autre, excepté qu’on ajoûte à ceux-cy le nom du nouvel Intervale introduit par la transposition du Son fondamental ; & que cet intervale occupant les extremitez des accords de la Septiéme-diminuée, & de la Seconde-superfluë, on ne distingue ces derniers que par ces seuls noms.", "english": "The following demonstration contains the same chords as the demonstration in Article III. They bear the same names in both places, except that here we add the name of the new interval introduced by transposition of the fundamental sound. Since this interval occupies the outer positions of the diminished-seventh and augmented-second chords, these two are distinguished by those names alone.", "sources": [ { "pdf_page": 75, "source_image": "source-pages/bnf-075.png", "printed_page": 43, "bbox_pixels": [ 454, 1431, 2180, 516 ], "crop_image": "assets/I.08-063.png" } ] }, { "id": "I.08-064", "type": "paragraph", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 591, "original": "Les accords de fausse-Quinte, petite Sixte, Triton, Quinte-superfluë, & Septiéme-superfluë, ont un Son grave commun dans chaque Démonstration ; & l’on ne trouvera par tout de difference que dans la transposition du Son La, en celuy de Si ♭ ; n’y ayant aucun de ces derniers accords qui puisse être pris pour fondamental, puisqu’ils empruntent leur fondement d’ailleurs.", "english": "The diminished-fifth, small-sixth, tritone, augmented-fifth, and augmented-seventh chords have the same lowest sound in each demonstration. The only difference throughout is the transposition of A to B♭. None of these latter chords can be regarded as fundamental, since they borrow their foundation from elsewhere.", "sources": [ { "pdf_page": 75, "source_image": "source-pages/bnf-075.png", "printed_page": 43, "bbox_pixels": [ 454, 1946, 2180, 436 ], "crop_image": "assets/I.08-064.png" } ] }, { "id": "I.08-065", "type": "heading", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 592, "original": "DÉMONSTRATION.", "english": "DEMONSTRATION.", "sources": [ { "pdf_page": 75, "source_image": "source-pages/bnf-075.png", "printed_page": 43, "bbox_pixels": [ 419, 2436, 2171, 107 ], "crop_image": "assets/I.08-065.png" } ] }, { "id": "I.08-066", "type": "image", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 593, "original": "108. 125. 150. 180. | Si ♭, Ut ♯, Mi, Sol. | Accord de la Seconde-superfluë.\n125. 150. 180. 216. | Ut ♯, Mi, Sol, Si ♭. | Accord de la Septiéme-diminuée.\n75. 90. 108. 125. ou 150. 180. 216. 250. | Mi, Sol, Si ♭, Ut ♯. | Accord de la petite Sixte avec la fausse-Quinte.\n90. 108. 125. 150. ou 180. 216. 250. 300. | Sol, Si ♭, Ut ♯, Mi. | Accord du Triton, avec la Tierce mineure.\n80. Fa. Son grave de l’Accord de la Quinte-superfluë avec la Quarte.\nL’on trouvera le Son grave de l’accord de la Septiéme-superfluë avec la Sixte-mineure à 200, en triplant les raisons de l’accord de la Seconde-superfluë, ainsi :\n200. 324. 375. 450. 540.\nRe, Si ♭, Ut ♯, Mi, Sol.", "english": "108. 125. 150. 180. | B♭, C♯, E, G. | Augmented-second chord.\n125. 150. 180. 216. | C♯, E, G, B♭. | Diminished-seventh chord.\n75. 90. 108. 125. or 150. 180. 216. 250. | E, G, B♭, C♯. | Small-sixth chord with diminished fifth.\n90. 108. 125. 150. or 180. 216. 250. 300. | G, B♭, C♯, E. | Tritone chord with minor third.\n80. F. Lowest sound of the augmented-fifth chord with fourth.\nThe lowest sound of the augmented-seventh chord with minor sixth is found at 200 by tripling the ratios of the augmented-second chord, thus:\n200. 324. 375. 450. 540.\nD, B♭, C♯, E, G.", "sources": [ { "pdf_page": 75, "source_image": "source-pages/bnf-075.png", "printed_page": 43, "bbox_pixels": [ 312, 2561, 2376, 769 ], "crop_image": "assets/I.08-066.png" } ], "original_title": "Septiéme-diminuée, renversemens et accords par supposition", "english_title": "Diminished Seventh, Inversions, and Chords by Supposition", "format": "preformatted", "asset_refs": [ "I.08-066" ] }, { "id": "I.08-067", "type": "paragraph", "section": "I.08", "lesson": 12, "exercise": 12, "reading_order": 594, "original": "Quoique l’accord de la Septiéme-diminuée semble être engendré le premier, par rapport à la Quatriéme ajoûtée ; cependant nous ne pouvons nous dispenser de faire rapporter nos accords par supposition à celuy de la Seconde-superfluë, de même que nous l’avons fait partout ailleurs à l’accord de la Septiéme, afin que la raison de chaque Intervale se trouve dans l’ordre que leur prescrit la division naturelle des accords par Tierces ; ce qui commence à nous faire apperçevoir, que c’est veritablement le Son fondamental de l’accord de la Septiéme qui se prête à celuy qui occupe le grave dans cet accord de la Seconde-superfluë, & l’aigu dans l’accord de la Septiéme-diminuée ; Ce principe ne pouvant subsister (comme on doit le sçavoir à present) dans les Sons aigus, que par renversement.", "english": "Although the diminished-seventh chord seems to be generated first, because of the added fourth proportional, we must nevertheless relate our chords by supposition to the augmented-second chord, just as elsewhere we related them to the seventh chord. This ensures that the ratio of each interval follows the order prescribed by the natural division of chords into thirds. We thus begin to perceive that it is truly the fundamental sound of the seventh chord that lends itself to the sound occupying the lowest position in this augmented-second chord and the highest in the diminished-seventh chord. As should now be understood, this principle can persist among the upper sounds only through inversion.", "sources": [ { "pdf_page": 75, "source_image": "source-pages/bnf-075.png", "printed_page": 43, "bbox_pixels": [ 454, 3330, 2180, 168 ], "crop_image": "assets/I.08-067.png" }, { "pdf_page": 76, "source_image": "source-pages/bnf-076.png", "printed_page": 44, "bbox_pixels": [ 419, 350, 2171, 761 ], "crop_image": "assets/I.08-068.png" } ] }, { "id": "I.09-001", "type": "heading", "section": "I.09", "lesson": 13, "exercise": 13, "reading_order": 595, "original": "CHAPITRE NEUVIEME.", "english": "CHAPTER NINE.", "sources": [ { "pdf_page": 77, "source_image": "source-pages/bnf-077.png", "printed_page": 45, "bbox_pixels": [ 817, 531, 1397, 118 ], "crop_image": "assets/I.09-001.png" } ] }, { "id": "I.09-002", "type": "heading", "section": "I.09", "lesson": 13, "exercise": 13, "reading_order": 596, "original": "Remarques sur tous les Accords précedens.", "english": "Observations on All the Preceding Chords.", "sources": [ { "pdf_page": 77, "source_image": "source-pages/bnf-077.png", "printed_page": 45, "bbox_pixels": [ 761, 688, 1436, 112 ], "crop_image": "assets/I.09-002.png" } ] }, { "id": "I.09-003", "type": "paragraph", "section": "I.09", "lesson": 13, "exercise": 13, "reading_order": 597, "original": "L’On doit être convaincu à present, que la difference des Accords parfaits, & de Septiéme ne consiste que dans la differente situation des Tierces, ou bien dans un renversement de l’ordre de ces Tierces ; aussi n’a-t-on jamais distingué ces accords sous d’autres noms ; parce que c’est la Modulation qui nous oblige à nous servir de certains Sons, dont dépend l’ordre des Tierces qui composent tous les accords. La Modulation étant donc une fois déterminée par la difference de la Tierce, qui occupe le grave dans l’un des deux Accords parfaits, l’on ne peut plus se dispenser de conformer les accords à l’ordre des Sons compris dans l’Octave du Son fondamental de l’un de ces Accords parfaits. Mais malgré la force de l’Accord parfait dans la Modulation, l’accord de la Septiéme de l’Art. III. en est indépendant ; il est premier dans son espece, ne change jamais, quelque forme que prenne l’Accord parfait, il est seul affecté aux dominantes, & la conclusion ne peut se faire sentir parfaitement sans son secours, il est la source de toutes les dissonances, la Tierce majeure qu’il tient de l’Accord parfait dont il dérive, forme toutes les dissonances majeures ; & la Tierce mineure, qu’on ajoûte à cet Accord parfait pour en composer celui-cy, forme toutes les dissonances mineures : De plus, après avoir engendré plusieurs accords par son renversement, ou par l’addition d’un nouveau Son grave, qui suppose celuy qui en est le fondement, il en engendre encore une même quantité, en cédant son fondement à un autre Son, sans que la place qu’il doit occuper puisse être alterée en aucune façon : au lieu que les autres accords de Septiéme tiennent de ce premier, tout ce qu’ils ont de parfait, ils n’ont en partage que la dissonance mineure, & c’est la Modulation qui leur fixe le lieu qu’ils doivent occuper : De-là vient que tous les dérivez de ce premier accord dissonant, se distinguent par un nom qui ne convient qu’à eux seuls ; au lieu que les dérivez des autres accords de Septiéme ont un nom commun, parce qu’ils ne déterminent rien, & qu’ils sont déterminez par la Modulation.", "english": "We should now be convinced that the differences among perfect chords and seventh chords consist only in the different placement of thirds, or a reversal of their order. Accordingly, these chords have never been distinguished by other names, because modulation obliges us to use particular sounds, which determine the order of the thirds composing every chord. Once modulation is determined by the difference in the third occupying the lower position in either perfect chord, we can no longer avoid conforming chords to the order of the sounds contained within the octave of that perfect chord's fundamental sound. Yet despite the perfect chord's power in modulation, the seventh chord of Article III is independent of it. It is first in its kind and never changes, whatever form the perfect chord takes; it alone belongs to dominants, and without its aid a conclusion cannot be felt perfectly. It is the source of every dissonance. The major third it takes from the perfect chord from which it derives forms all major dissonances; the minor third added to that perfect chord to compose this one forms all minor dissonances. Moreover, after generating several chords by inversion or by adding a new lower sound beneath its foundation through supposition, it generates an equal number again by yielding its foundation to another sound, without any alteration in the place it must occupy. The other seventh chords, by contrast, owe everything perfect in them to this first one. They possess only the minor dissonance, and modulation determines their place. Hence every derivative of this first dissonant chord is distinguished by a name belonging to it alone, whereas the derivatives of other seventh chords share a common name, because they determine nothing and are themselves determined by modulation.", "sources": [ { "pdf_page": 77, "source_image": "source-pages/bnf-077.png", "printed_page": 45, "bbox_pixels": [ 439, 834, 2137, 2322 ], "crop_image": "assets/I.09-003.png" } ] }, { "id": "I.09-004", "type": "paragraph", "section": "I.09", "lesson": 13, "exercise": 13, "reading_order": 598, "original": "De tout ce que nous avons remarqué dans le contenu de ce Chapitre, nous devons conclure qu’il n’y a dans l’Harmonie que deux Accords, qui sont le Parfait, & celuy de la Septiéme, & qu’il n’y a non plus que deux Dissonances, qui sont la majeure ; & la mineure, comme toute la suite nous le prouvera clairement.", "english": "From all the observations contained in this chapter, we must conclude that harmony contains only two chords, the perfect chord and the seventh chord, and likewise only two dissonances, major and minor, as everything that follows will clearly prove.", "sources": [ { "pdf_page": 77, "source_image": "source-pages/bnf-077.png", "printed_page": 45, "bbox_pixels": [ 460, 3147, 2120, 391 ], "crop_image": "assets/I.09-004.png" } ] }, { "id": "I.09-005", "type": "paragraph", "section": "I.09", "lesson": 13, "exercise": 13, "reading_order": 599, "original": "Pour ce qui est de la nature & des proprietez de chaque Intervale, & de chaque Accord, cela est reservé pour le second Livre.", "english": "The nature and properties of each interval and chord are reserved for Book II.", "sources": [ { "pdf_page": 78, "source_image": "source-pages/bnf-078.png", "printed_page": 46, "bbox_pixels": [ 447, 363, 2128, 157 ], "crop_image": "assets/I.09-005.png" } ] }, { "id": "I.10-001", "type": "heading", "section": "I.10", "lesson": 14, "exercise": 14, "reading_order": 600, "original": "CHAPITRE DIXIEME.", "english": "CHAPTER TEN.", "sources": [ { "pdf_page": 78, "source_image": "source-pages/bnf-078.png", "printed_page": 46, "bbox_pixels": [ 849, 651, 1352, 105 ], "crop_image": "assets/I.10-001.png" } ] }, { "id": "I.10-002", "type": "heading", "section": "I.10", "lesson": 14, "exercise": 14, "reading_order": 601, "original": "Remarques sur les differentes raisons que l’on peut donner à un même Accord.", "english": "Observations on the Different Ratios That May Be Given to the Same Chord.", "sources": [ { "pdf_page": 78, "source_image": "source-pages/bnf-078.png", "printed_page": 46, "bbox_pixels": [ 510, 800, 1978, 185 ], "crop_image": "assets/I.10-002.png" } ] }, { "id": "I.10-003", "type": "paragraph", "section": "I.10", "lesson": 14, "exercise": 14, "reading_order": 602, "original": "Il faut remarquer que nous avons conformé les raisons des Accords, à celles des Intervales contenus entre les Nottes qui composent chaque accord ; de sorte qu’un même intervale pouvant nous être donné sous deux raisons differentes, il n’y a point de doute que la plûpart des accords précedens ne puissent participer de cette difference, en prenant ces mêmes accords sur d’autres Nottes que sur celles dont nous nous sommes servis : Voyez cy-devant le Systême Chromatique, Chap. V. pag. 28. Mais, ces differentes raisons ne nous donneront pas de nouveaux accords : la Quinte entre 27. & 40. est la même qu’entre 2. & 3, ainsi des autres ; la difference de ces deux raisons, qui est insensible à l’oreille, ne provenant que de la differente disposition des Tons & des Semi-tons qui les composent ; & le nom des Nottes doit être indifferent dans cette conjoncture, ne nous en étant servis, que pour donner une intelligence plus parfaite du tout.", "english": "Observe that we have made the ratios of the chords conform to those of the intervals between the notes composing each chord. Since the same interval can be given by two different ratios, most of the preceding chords can undoubtedly share this difference when taken on notes other than those we have used. See the chromatic system above, Chapter V, p. 28. These different ratios, however, will not give us new chords. The fifth between 27 and 40 is the same as that between 2 and 3, and similarly for the others. The difference between these two ratios, imperceptible to the ear, arises only from the different disposition of the whole tones and semitones composing them. The note names should be immaterial here; we have used them only to make the whole more fully intelligible.", "sources": [ { "pdf_page": 78, "source_image": "source-pages/bnf-078.png", "printed_page": 46, "bbox_pixels": [ 445, 1045, 2131, 1146 ], "crop_image": "assets/I.10-003.png" } ] }, { "id": "I.11-001", "type": "heading", "section": "I.11", "lesson": 15, "exercise": 15, "reading_order": 603, "original": "CHAPITRE ONZIEME.", "english": "CHAPTER ELEVEN.", "sources": [ { "pdf_page": 79, "source_image": "source-pages/bnf-079.png", "printed_page": 47, "bbox_pixels": [ 826, 529, 1352, 110 ], "crop_image": "assets/I.11-001.png" } ], "correction_refs": [ "supplement-020", "supplement-021" ] }, { "id": "I.11-002", "type": "heading", "section": "I.11", "lesson": 15, "exercise": 15, "reading_order": 604, "original": "La maniere de pouvoir rapporter aux Vibrations, & aux Multiplications des longueurs, les raisons données sur les Divisions.", "english": "How to Relate Ratios Given for Divisions to Vibrations and Multiplications of Lengths.", "sources": [ { "pdf_page": 79, "source_image": "source-pages/bnf-079.png", "printed_page": 47, "bbox_pixels": [ 445, 679, 2122, 196 ], "crop_image": "assets/I.11-002.png" } ] }, { "id": "I.11-003", "type": "paragraph", "section": "I.11", "lesson": 15, "exercise": 15, "reading_order": 605, "original": "Que dans la corde proposée, l’on prenne à part les longueurs qui resulteront de chaque division, depuis le nombre, jusqu’au bout de la corde en tirant à droite, pour les disposer de façon que l’on puisse distinguer les Vibrations (supposant que les cordes n’auront d’autre difference entr’elles que dans leurs longueurs) l’on trouvera que les raisons des Vibrations seront conformes à celles des divisions : L’on pourra ensuite diviser une corde en autant de parties qu’il est necessaire, pour en avoir les raisons des dissonances, où l’on trouvera toûjours la même conformité. Voyez cy-devant, Chap. III. Art. VI. page 15.", "english": "Take separately, from the proposed string, the lengths resulting from each division, extending rightward from the number to the end of the string. Arrange them so that their vibrations can be distinguished, assuming the strings differ only in length. We shall find that the vibration ratios agree with the division ratios. We may then divide a string into as many parts as are needed to obtain the ratios of dissonances, and shall always find the same agreement. See above, Chapter III, Article VI, p. 15.", "sources": [ { "pdf_page": 79, "source_image": "source-pages/bnf-079.png", "printed_page": 47, "bbox_pixels": [ 436, 931, 2137, 752 ], "crop_image": "assets/I.11-003.png" } ] }, { "id": "I.11-004", "type": "paragraph", "section": "I.11", "lesson": 15, "exercise": 15, "reading_order": 606, "original": "Pour avoir les raisons des longueurs, il n’y a qu’à prendre à part les deux longueurs qui proviendront de deux differentes divisions, pour donner à chacune une mesure commune par le moyen d’un compas ; & l’on trouvera que chaque longueur contiendra autant de fois la mesure commune, que les nombres qui marquent les divisions contiendront d’unitez, avec cette difference, que la comparaison en sera renversée ; je m’explique, si l’on compare ensemble les longueurs qui resulteront des divisions marquées par les nombres 2. & 3. l’on trouvera que la corde 2. contiendra trois fois la mesure, & que la corde 3. ne la contiendra que deux fois ; ainsi nous comparons d’un côté 2. à 3. & de l’autre 3. à 2. ce qui seroit la même chose, si le premier nombre de chaque raison ne nous representoit pas le Son le plus grave ; cependant il n’y aura qu’à renverser de cette sorte telle raison que l’on s’imaginera dans les divisions, pour la faire rapporter aux longueurs ; mais ce qui nous paroît icy très facile dans la comparaison de deux Sons, devient plus embarassant à mesure que le nombre en augmente ; parce que dans l’Harmonie, de même que dans une quantité continuë, il faut que les sons ou les termes moyens se rapportent à chaque extrême ; de sorte que nous ne trouverons pas dans 4. 3. 2, ce que nous trouvons dans 2. 3. 4. en ce que l’Intervale engendré de la comparaison de 2. à 3 qui est icy le premier, se trouve au contraire le dernier de l’autre côté, & c’est ce qui nous oblige de renverser nôtre proportion Arithmetique (comme nous l’avons dit ailleurs) en multipliant les deux extrêmes par le moyen, & ensuite l’un des extrêmes par l’autre, pour rendre à ces Intervales leur ordre naturel par les nombres 12. 8. 6 : En un mot, si l’Harmonie la plus parfaite que l’union des consonances puisse produire, nous est renduë dans les divisions par ces nombres 1. 2. 3. 4. 5. 6. 8. elle ne peut nous être renduë dans la multiplication des longueurs, que par ces nombres 120. 60. 30. 24. 20. 15. c’est pourquoy cecy demande plus d’attention que le reste.", "english": "To obtain the ratios of lengths, take separately the two lengths arising from two different divisions and give each a common measure with a compass. Each length will contain that common measure as many times as the numbers marking the divisions contain units, except that the comparison will be reversed. To explain: compare the lengths resulting from the divisions marked 2 and 3. String 2 contains the measure three times, and string 3 only twice. Thus on one side we compare 2 to 3, and on the other 3 to 2. This would amount to the same thing if the first number of each ratio did not represent the lowest sound. We therefore need only reverse in this way any ratio conceived in the divisions to relate it to lengths. But what seems very easy in comparing two sounds becomes more troublesome as their number increases. In harmony, as in a continuous quantity, the middle sounds or terms must be related to each extreme. Thus we do not find in 4, 3, 2 what we find in 2, 3, 4: the interval generated by comparing 2 to 3, which is first here, is last on the other side. This obliges us to invert our arithmetic proportion, as we have said elsewhere, by multiplying both extremes by the mean and then one extreme by the other, restoring the intervals to their natural order through the numbers 12, 8, 6. In short, if the most perfect harmony that the union of consonances can produce is represented in divisions by 1, 2, 3, 4, 5, 6, 8, it can be represented in the multiplication of lengths only by 120, 60, 30, 24, 20, 15. This therefore demands more attention than the rest.", "sources": [ { "pdf_page": 79, "source_image": "source-pages/bnf-079.png", "printed_page": 47, "bbox_pixels": [ 443, 1679, 2131, 1870 ], "crop_image": "assets/I.11-004.png" }, { "pdf_page": 80, "source_image": "source-pages/bnf-080.png", "printed_page": 48, "bbox_pixels": [ 464, 342, 2118, 525 ], "crop_image": "assets/I.11-005.png" } ] }, { "id": "I.11-006", "type": "paragraph", "section": "I.11", "lesson": 15, "exercise": 15, "reading_order": 607, "original": "L’on pourroit se servir de cette mesure commune pour trouver sur le champ les raisons des intervales, compris dans les longueurs prises à gauche de la corde proposée, ou bien sur le renversement que nous venons de remarquer ; il n’y a qu’à dire, si la corde 3. comparée à la corde 1. contient 1. dans l’une de ses parties, elle contiendra 2. dans ses deux autres parties, & la corde 1. comparée à 3. doit par consequent contenir 3. ainsi je vois que ces longueurs prises à gauche, me donnent la Quinte, dont la raison est comme 2. à 3. Si je compare ensuite la corde 3. à la corde 2. 3. contenant 2. dans l’une de ses parties, elle contiendra 4. dans les deux autres ; & 2. contenant 3. dans l’une, contiendra également 3. dans l’autre ; si-bien que les longueurs prises à gauche, nous donneront la raison de la Quarte entre 3. & 4. Pareillement, si la corde 3. comparée à la corde 4. contient 4. dans l’une de ses parties, elle contiendra 8 dans ses deux autres parties ; & si la corde 4 comparée à la corde 3. contient 3. dans l’une de ses parties, elle contiendra 9 dans ses trois autres parties ; ainsi je vois que la raison du Ton qui provient de la difference de la Quinte à la Quarte, est contenuë dans les nombres 8. 9. selon les divisions, & 9. 8. selon les multiplications ; cela ne souffre aucune difficulté, & l’on en peut faire la preuve sur toute sorte d’Intervales.", "english": "We could use this common measure to find at once the ratios of intervals contained in the lengths taken to the left of the proposed string, or proceed through the inversion just observed. We need only say: if string 3, compared with string 1, contains 1 in one of its parts, it will contain 2 in its other two parts; string 1, compared with 3, must consequently contain 3. Thus these left-hand lengths give the fifth, whose ratio is 2 to 3. If I next compare string 3 with string 2, since 3 contains 2 in one of its parts, it will contain 4 in the other two; and since 2 contains 3 in one part, it will likewise contain 3 in the other. The left-hand lengths therefore give the fourth's ratio between 3 and 4. Similarly, if string 3 compared with string 4 contains 4 in one of its parts, it will contain 8 in its other two parts; and if string 4 compared with string 3 contains 3 in one of its parts, it will contain 9 in its other three. I thus see that the ratio of the whole tone arising from the difference between the fifth and fourth is contained in 8, 9 according to divisions, and 9, 8 according to multiplications. This presents no difficulty and can be verified with every kind of interval.", "sources": [ { "pdf_page": 80, "source_image": "source-pages/bnf-080.png", "printed_page": 48, "bbox_pixels": [ 456, 864, 2131, 1587 ], "crop_image": "assets/I.11-006.png" } ] }, { "id": "I.11-007", "type": "heading", "section": "I.11", "lesson": 15, "exercise": 15, "reading_order": 608, "original": "FIN DU PREMIER LIVRE.", "english": "END OF BOOK ONE.", "sources": [ { "pdf_page": 80, "source_image": "source-pages/bnf-080.png", "printed_page": 48, "bbox_pixels": [ 879, 2707, 1333, 105 ], "crop_image": "assets/I.11-007.png" } ] }, { "id": "II.01-001", "type": "heading", "section": "II.01", "lesson": 16, "exercise": 16, "reading_order": 609, "original": "LIVRE SECOND.\nDe la nature & de la proprieté des Accords, & de tout ce qui peut servir à rendre une Musique parfaite.", "english": "BOOK TWO.\nOn the Nature and Properties of Chords, and Everything That Can Serve to Make Music Perfect.", "sources": [ { "pdf_page": 81, "source_image": "source-pages/bnf-081.png", "printed_page": 49, "bbox_pixels": [ 410, 660, 2200, 405 ], "crop_image": "assets/II.01-001.png" } ] }, { "id": "II.01-002", "type": "heading", "section": "II.01", "lesson": 16, "exercise": 16, "reading_order": 610, "original": "CHAPITRE PREMIER.\nDu Son fondamental de l’Harmonie, & de sa progression.", "english": "CHAPTER ONE.\nOn the Fundamental Sound of Harmony and Its Progression.", "sources": [ { "pdf_page": 81, "source_image": "source-pages/bnf-081.png", "printed_page": 49, "bbox_pixels": [ 410, 1170, 2200, 270 ], "crop_image": "assets/II.01-002.png" } ] }, { "id": "II.01-003", "type": "paragraph", "section": "II.01", "lesson": 16, "exercise": 16, "reading_order": 611, "original": "Comme nous avons assez fait sentir au premier Livre, Chap. III. Art. I. page 5. ce que c’est que le Son fondamental, & le lieu qu’il doit occuper dans l’Harmonie ; nous nous attacherons principalement ici à en déterminer la progression.", "english": "Since we have sufficiently explained in Book I, Chapter III, Article I, p. 5, what the fundamental sound is and the place it must occupy in harmony, we shall chiefly concern ourselves here with determining its progression.", "sources": [ { "pdf_page": 81, "source_image": "source-pages/bnf-081.png", "printed_page": 49, "bbox_pixels": [ 410, 1470, 2200, 400 ], "crop_image": "assets/II.01-003.png" } ] }, { "id": "II.01-004", "type": "paragraph", "section": "II.01", "lesson": 16, "exercise": 16, "reading_order": 612, "original": "On appelle Basse, la partie où regne ce Son fondamental, parce qu’il est toûjours le plus grave, & le plus bas ; & voicy comment * Zarlin s’explique sur ce sujet ; de même que la terre sert de fondement aux autres élemens, de même aussi la Basse a la proprieté de soûtenir, d’établir & de fortifier les autres parties ; de sorte qu’elle est prise pour la base & pour le fondement de l’Harmonie ; d’où elle est appellée Basse, comme qui diroit la base & le soûtient. Et après avoir supposé que si la terre venoit à manquer, tout ce bel ordre de la nature tomberoit en ruine, il dit, pareillement si la Basse venoit à manquer, toute la piece de Musique seroit remplie de dissonances & de confusion ; quand donc l’on voudra composer une Basse, il faudra la faire proceder par des mouvemens un peu lents & un peu separez, c’est à dire plus éloignez que ceux des autres parties, afin qu’elles puissent proceder par des mouvemens conjoints, & sur tout la partie qui fait le Dessus, parce que c’est sa proprieté, &c. que l’on confronte ensuite une définition si claire & si juste de cette partie fondamentale de l’Harmonie avec les regles & les exemples de cet Auteur, l’on y trouvera par tout des contradictions qui nous tiennent toûjours en doute & en suspend.", "english": "The part in which this fundamental sound prevails is called the bass, because that sound is always the deepest and lowest. Here is how Zarlino* explains the subject: just as the earth serves as the foundation of the other elements, so the bass has the property of supporting, establishing, and strengthening the other parts. It is therefore regarded as the base and foundation of harmony, whence its name bass, as if to say base and support. Having supposed that, if the earth failed, all this beautiful order of nature would fall into ruin, he says likewise that, if the bass failed, the whole musical piece would be filled with dissonance and confusion. When composing a bass, then, we must make it proceed by somewhat slow and separated movements—that is, farther apart than those of the other parts—so that they can proceed by conjunct movements, especially the part forming the soprano, because this is its property, and so forth. Yet compare so clear and accurate a definition of harmony's fundamental part with this author's rules and examples: contradictions will be found everywhere, keeping us perpetually doubtful and uncertain.", "sources": [ { "pdf_page": 81, "source_image": "source-pages/bnf-081.png", "printed_page": 49, "bbox_pixels": [ 410, 1850, 2200, 1360 ], "crop_image": "assets/II.01-004.png" } ] }, { "id": "II.01-005", "type": "paragraph", "section": "II.01", "lesson": 16, "exercise": 16, "reading_order": 613, "original": "Cependant l’on ne peut trop bien établir un principe, sur lequel tout est fondé, & c’est le détruire, que de le perdre un moment de vuë ; c’est pourquoy sans nous écarter du principe qui vient d’être proposé, nous y joindrons encore pour l’affermir, celuy de la corde entiere, qui renferme dans ses premieres divisions, des consonances qui toutes ensemble forment une Harmonie parfaite ; de sorte que si nous pouvons donner une progression à la partie que nous represente cette corde entiere, ce ne peut être qu’en la faisant proceder par ces intervales consonans que nous rendent les premieres divisions de cette corde, ainsi chaque Son s’accordera toûjours avec celuy qui l’aura précédé, & chacun pouvant porter à son tour un accord pareil à celuy que nous avons reçû de ces premieres divisions, nous representera sans difficulté la corde entiere qui est le principe & le fondement de cet accord ; & c’est ainsi que nous pouvons définir la proposition de Zarlin à l’égard des intervales separez, par lesquels il dit, que la Basse doit proceder, puisqu’ils ne peuvent être consonans qu’ils ne soient separez ; s’il dit encore qu’ils doivent être lents, ce n’est que par rapport à ceux des autres parties, qui doivent être diatoniques, puisque de cette maniere ces parties superieures peuvent faire plusieurs mouvemens, pour passer d’une consonance à l’autre, pendant que la Basse n’en fera qu’un ; quoique dans l’établissement de nos regles, nous fassions proceder chaque partie par des mouvemens égaux pour rendre d’abord les choses plus simples & plus claires, il ne faut point confondre l’Octave dans la progression que nous venons de déterminer à la Basse, puisqu’il n’importe que le Son fondamental soit plus ou moins élevé de plusieurs Octaves, pourvû qu’il se trouve toûjours au dessous des autres parties ; mais on doit regarder d’abord la Quinte comme l’intervale qui luy convienne le mieux : En effet on n’entend jamais de cadences finales ou de conclusions de chants, que cette progression n’en soit le premier objet ; il n’y a qu’à consulter pour cela ceux qui sont un peu sensibles à l’Harmonie, ils n’entendent jamais une conclusion de chant, de quelque façon que ce soit, qu’ils ne se sentent forcez de faire proceder la Basse par cet intervale, & ce que nous disons de la Quinte doit s’entendre aussi de la Quarte qui la represente toûjours, où l’on remarque que ceux qui ont la voix assez basse descendent naturellement d’une Quinte dans ces sortes de conclusions, au lieu que ceux qui ne le peuvent, montent d’une Quarte ; preuve évidente de la force de l’Octave qui se represente toûjours dans l’un des Sons qui la forment, & du rapport de la Quarte à la Quinte qui proviennent de sa division, où la Quinte est toûjours preferée si-tôt que la voix nous le permet, & qui n’est cependant point détruite en luy supposant la Quarte ; ensuite pour tenir l’Auditeur dans une suspension agréable, comme la Quinte est composée de deux Tierces, l’on peut faire proceder la Basse par une ou plusieurs Tierces ; & par consequent par les Sixtes qui representent ces Tierces, reservant toutes les cadences à la Quinte seule, & à la Quarte qui la represente ; de sorte que toute la progression de la Basse fondamentale doit être renfermée dans ces consonances ; & si la dissonance nous oblige quelquefois à ne faire monter cette Basse que d’un Ton ou d’un semi-Ton, outre que cela provient d’une licence introduite par la Cadence rompuë dont nous parlerons dans la suite ; l’on peut remarquer que ce Ton ou ce semi-Ton en montant, & non pas en descendant, sont renversez de la Septiéme qui se fait entendre pour lors entre les deux Sons qui forment ce Ton ou ce semi-Ton ; & l’on vera même dans le troisiéme Livre, Chap. XI. qu’à l’exception de la cadence rompuë, la progression de la Tierce & de la Quarte peut y être sous-entenduë.", "english": "Yet a principle on which everything rests cannot be established too firmly, and losing sight of it for a moment is to destroy it. Without departing from the principle just proposed, we shall therefore reinforce it with that of the whole string, whose first divisions contain consonances that together form perfect harmony. If we can assign a progression to the part represented by this whole string, it can only be through those consonant intervals given by its first divisions. Each sound will thus always agree with its predecessor; and each, in turn, being able to bear a chord like that received from these first divisions, will readily represent the whole string that is the principle and foundation of that chord. This defines Zarlino's proposition concerning the separated intervals by which he says the bass must proceed, since they cannot be consonant unless they are separated. If he also says they must be slow, this is only relative to the other parts, which must be diatonic: in this way the upper parts can make several movements in passing from one consonance to another while the bass makes only one. In establishing our rules, however, we shall make every part proceed by equal movements, to keep matters simple and clear at first. The octave must not be confused with the progression we have just assigned to the bass: it does not matter whether the fundamental sound is raised or lowered by several octaves, provided it always remains beneath the other parts. Rather, the fifth must first be regarded as the interval most suited to it. Indeed, no final cadence or conclusion of a melody is heard without this progression being its primary object. Consult anyone with some feeling for harmony: whatever the kind of melodic conclusion heard, they feel compelled to make the bass proceed by this interval. What we say of the fifth must also be understood of the fourth, which always represents it. People whose voices are low enough naturally descend a fifth in these conclusions; those who cannot do so ascend a fourth. This plainly proves both the power of the octave, always represented in either sound forming it, and the relationship between the fourth and fifth arising from its division. The fifth is always preferred as soon as the voice permits it, yet it is not destroyed when the fourth is substituted for it. Next, to keep the listener in a pleasing suspense, since the fifth consists of two thirds, the bass may proceed by one or more thirds, and consequently by the sixths representing them. All cadences are reserved for the fifth alone and the fourth representing it. The entire progression of the fundamental bass must therefore be confined to these consonances. If dissonance sometimes obliges this bass to ascend only a whole tone or semitone, this arises from a license introduced by the interrupted cadence, which we shall discuss later. Moreover, observe that this whole tone or semitone ascending, not descending, is the inversion of the seventh then sounding between the two sounds forming it. We shall even see in Book III, Chapter XI that, except in the interrupted cadence, progression by a third and fourth can be understood as implied there.", "sources": [ { "pdf_page": 81, "source_image": "source-pages/bnf-081.png", "printed_page": 49, "bbox_pixels": [ 410, 3200, 2200, 238 ], "crop_image": "assets/II.01-005.png" }, { "pdf_page": 82, "source_image": "source-pages/bnf-082.png", "printed_page": 50, "bbox_pixels": [ 410, 380, 2200, 3170 ], "crop_image": "assets/II.01-007.png" }, { "pdf_page": 83, "source_image": "source-pages/bnf-083.png", "printed_page": 51, "bbox_pixels": [ 410, 330, 2200, 1045 ], "crop_image": "assets/II.01-008.png" } ] }, { "id": "II.01-006", "type": "footnote", "section": "II.01", "lesson": 16, "exercise": 16, "reading_order": 614, "original": "* Zarlino, Istitutioni Harmoniche, terza parte, cap. 58. f. 281. & 282.", "english": "* Zarlino, Istitutioni Harmoniche, third part, chapter 58, fols. 281 and 282.", "sources": [ { "pdf_page": 81, "source_image": "source-pages/bnf-081.png", "printed_page": 49, "bbox_pixels": [ 410, 3435, 2200, 80 ], "crop_image": "assets/II.01-006.png" } ] }, { "id": "II.01-009", "type": "paragraph", "section": "II.01", "lesson": 16, "exercise": 16, "reading_order": 615, "original": "L’on doit être prévenu en faveur de ce principe, s’il peut se soûtenir par tout ; aussi ne l’a-t-on pas avancé, sans être certain du succès.", "english": "We should be disposed in favor of this principle if it can hold good everywhere; nor has it been advanced without certainty of its success.", "sources": [ { "pdf_page": 83, "source_image": "source-pages/bnf-083.png", "printed_page": 51, "bbox_pixels": [ 410, 1380, 2200, 230 ], "crop_image": "assets/II.01-009.png" } ] }, { "id": "II.02-001", "type": "heading", "section": "II.02", "lesson": 17, "exercise": 17, "reading_order": 616, "original": "CHAPITRE SECOND.\nDes Accords affectez aux Sons fondamentaux, & de leur progression.", "english": "CHAPTER TWO.\nOn the Chords Assigned to Fundamental Sounds and Their Progression.", "sources": [ { "pdf_page": 84, "source_image": "source-pages/bnf-084.png", "printed_page": 52, "bbox_pixels": [ 410, 525, 2200, 325 ], "crop_image": "assets/II.02-001.png" } ], "correction_refs": [ "supplement-023", "supplement-024" ] }, { "id": "II.02-002", "type": "paragraph", "section": "II.02", "lesson": 17, "exercise": 17, "reading_order": 617, "original": "Les Sons, ou plûtôt les intervales affectez à la progression de la Basse fondamentale, doivent aussi l’accompagner par tout dans les parties qui s’unissent avec elle, mais avec une certaine discretion, que nous n’imposons point à la progression de la Basse qui en est le guide : En un mot, l’Accord parfait étant le premier & le seul qui se forme de la division de la corde, doit être aussi le seul qui convienne à chaque Son de cette Basse fondamentale ; & si l’accord de la Septiéme ne peut en être excepté, ce n’est pas à dire que la Tierce ajoûtée à un accord parfait, dont celuy de la Septiéme est formé, ne pût être retranchée des accords, sans alterer pour cela la perfection de l’Harmonie ; mais la diversité que cet accord y cause en y introduisant une certaine amertume, qui releve en même temps la douceur de l’accord parfait, doit nous le faire souhaiter, bien loin de le rejetter, ne pouvant nous dispenser pour lors de la mettre au nombre des accords fondamentaux, puisqu’il ne détruit point le principe qui subsiste toûjours dans le Son grave de l’Accord parfait.", "english": "The sounds, or rather the intervals, assigned to the progression of the fundamental bass must also accompany it everywhere in the parts united with it, but with a certain restraint that we do not impose on the progression of the bass, their guide. In short, the perfect chord, being the first and only chord formed by division of the string, must also be the only one suited to each sound of this fundamental bass. If the seventh chord cannot be excluded, this does not mean that the third added to a perfect chord to form the seventh could not be removed without impairing the perfection of harmony. But the variety this chord creates by introducing a certain bitterness, which simultaneously heightens the sweetness of the perfect chord, should make us desire it, far from rejecting it. We must then count it among the fundamental chords, since it does not destroy the principle that always remains in the lowest sound of the perfect chord.", "sources": [ { "pdf_page": 84, "source_image": "source-pages/bnf-084.png", "printed_page": 52, "bbox_pixels": [ 410, 900, 2200, 1290 ], "crop_image": "assets/II.02-002.png" } ] }, { "id": "II.02-003", "type": "paragraph", "section": "II.02", "lesson": 17, "exercise": 17, "reading_order": 618, "original": "Pour ce qui regarde d’ailleurs la progression des parties qui contiennent chacune un Son de ces accords, Zarlin nous a déja fait remarquer qu’elle devoit être diatonique, & cette sujettion luy vient de la progression consonante de la Basse fondamentale ; aussi pour peu que l’on connoisse la distance des Intervales, l’on se sent porté comme mal-gré soy, à donner à ces parties superieures cette progression diatonique, d’où se forme une suite agréable d’accords, sans que l’on soit obligé d’avoir recours à aucune autre regle, la nature ayant pris soin d’elle-même de nous conduire à la perfection qui luy convient. Voyez cy-après les Chap. XIX. XX. XXIV. & XXV. Et dans le troisiéme Livre, Chap. IV. & VI.", "english": "As for the progression of the parts, each containing one sound of these chords, Zarlino has already observed that it should be diatonic. This constraint arises from the consonant progression of the fundamental bass. Even a slight knowledge of the distances of intervals inclines us, almost against our will, to give the upper parts this diatonic progression. A pleasing succession of chords results without recourse to any other rule: nature herself has taken care to guide us to her proper perfection. See Chapters XIX, XX, XXIV, and XXV below, and Book III, Chapters IV and VI.", "sources": [ { "pdf_page": 84, "source_image": "source-pages/bnf-084.png", "printed_page": 52, "bbox_pixels": [ 410, 2180, 2200, 825 ], "crop_image": "assets/II.02-003.png" } ] }, { "id": "II.02-004", "type": "paragraph", "section": "II.02", "lesson": 17, "exercise": 17, "reading_order": 619, "original": "Il est bien vray, que lorsqu’on est une fois instruit de ces progressions fixées à chaque partie, l’on est libre de donner à l’une la progression qui convient à l’autre ; mais c’est en se reglant toûjours sur cette premiere disposition, & sur cette premiere suite des Accords fondamentaux, sur tout à l’égard de la Septiéme que l’oreille ne reçoit que sous ces conditions ; sa progression ne pouvant être que diatonique depuis le Son qui la précede, jusqu’à celuy qui la suit ; encore faut-il que ces Sons soient consonans, ce qui s’apperçoit dans l’acte d’une cadence parfaite, dont on peut même tirer une preuve à l’égard du lieu que doit occuper cette dissonance dans l’Harmonie, en ce que des deux Sons de la Basse qui nous préparent à une conclusion de chant, celuy qui la termine étant sans doute le principal, puisque ce Son final est aussi celuy par lequel on commence toute la piece de Musique, étant fondée sur luy, il paroît en quelque façon naturel, que le Son qui le précede en soit distingué par quelque chose qui le rende moins parfait : Car si chacun de ces Sons portoit un accord parfait, l’on peut dire que l’ame n’ayant plus rien à desirer après un tel accord, seroit comme incertaine du choix qu’elle auroit à faire de l’un de ces deux Sons pour son repos, & il semble que la dissonance soit necessaire icy, pour faire souhaiter avec plus d’ardeur par sa dureté, le repos qui la suit ; l’on sent même que la nature s’y interesse, par le choix indispensable que l’on doit faire de la Tierce, qui est la seule consonance qui puisse nous dédommager de la dureté de la dissonance ; & cette Tierce mal-gré son imperfection, devient l’unique objet de nos desirs après la dissonance, rendant par ce moyen de nouvelles graces à l’Accord parfait : C’est de-là que la regle de sauver les dissonances a été établie ; mais ceux qui n’ont pû sentir qu’il n’y avoit qu’une dissonance mineure, n’ont pû s’imaginer par consequent, qu’il n’y eût qu’une consonance pour la sauver ; c’est cependant une verité dont il ne sera pas permis de douter dans la suite.", "english": "Once these progressions assigned to each part are understood, we are indeed free to give one part the progression belonging to another. But we must always be guided by this original disposition and succession of fundamental chords, especially concerning the seventh, which the ear accepts only under these conditions. Its progression can only be diatonic from the sound preceding it to the one following it, and those sounds must moreover be consonant. This is evident in a perfect cadence, which also proves where this dissonance should stand in harmony. Of the two bass sounds preparing a melodic conclusion, the one that ends it is undoubtedly the principal sound: this final sound also begins the whole musical piece, which is founded upon it. It therefore seems somewhat natural that the preceding sound should be distinguished by something making it less perfect. If both sounds bore perfect chords, the soul, having nothing further to desire after such a chord, would be uncertain which of the two sounds to choose for repose. Dissonance seems necessary here: its harshness makes us desire the following repose more ardently. We even feel nature's involvement in the indispensable choice of the third, the only consonance able to compensate for the dissonance's harshness. Despite its imperfection, this third becomes the sole object of our desire after the dissonance, lending new grace to the perfect chord. Hence the rule of resolving dissonances was established. But those who could not perceive that there was only one minor dissonance consequently could not imagine that there was only one consonance to resolve it. This is nevertheless a truth that the following discussion will leave no room to doubt.", "sources": [ { "pdf_page": 84, "source_image": "source-pages/bnf-084.png", "printed_page": 52, "bbox_pixels": [ 410, 3000, 2200, 550 ], "crop_image": "assets/II.02-004.png" }, { "pdf_page": 85, "source_image": "source-pages/bnf-085.png", "printed_page": 53, "bbox_pixels": [ 410, 380, 2200, 1805 ], "crop_image": "assets/II.02-005.png" } ] }, { "id": "II.03-001", "type": "heading", "section": "II.03", "lesson": 18, "exercise": 18, "reading_order": 620, "original": "CHAPITRE TROISIEME.\nDe la nature & de la proprieté de l’Octave.", "english": "CHAPTER THREE.\nOn the Nature and Properties of the Octave.", "sources": [ { "pdf_page": 86, "source_image": "source-pages/bnf-086.png", "printed_page": 54, "bbox_pixels": [ 410, 545, 2200, 240 ], "crop_image": "assets/II.03-001.png" } ], "correction_refs": [ "supplement-026" ] }, { "id": "II.03-002", "type": "paragraph", "section": "II.03", "lesson": 18, "exercise": 18, "reading_order": 621, "original": "L’Octave qui renferme tous les Sons qui peuvent composer entr’eux des accords fondamentaux, peut y être ajoûtée pour en augmenter la perfection : Sans elle, l’Accord parfait & ses dérivez subsistent toûjours ; mais avec elle, ils deviennent plus brillans, en ce que les accords naturels, & renversez s’y font entendre en même temps : Dans les Pieces à quatre parties l’on ne peut se dispenser de s’en servir, & dans celles à cinq parties, elle s’accorde parfaitement avec les Sons de l’Accord fondamental de la Septiéme ; en un mot, elle peut-être toûjours jointe aux accords, où il ne se trouve qu’une dissonance mineure ; sa progression qui doit être diatonique dans les parties superieures, s’assujettit facilement aux regles ; d’ailleurs elle détermine la modulation, comme nous le verrons dans la suite.", "english": "The octave, which contains all the sounds that can together compose fundamental chords, may be added to them to increase their perfection. Without it, the perfect chord and its derivatives still exist; with it, they become more brilliant, because the natural and inverted chords sound simultaneously. In four-part pieces its use is indispensable, and in five-part pieces it agrees perfectly with the sounds of the fundamental seventh chord. In short, it may always be joined to chords containing only one minor dissonance. Its progression, which must be diatonic in the upper parts, readily obeys the rules. Moreover, it determines modulation, as we shall see later.", "sources": [ { "pdf_page": 86, "source_image": "source-pages/bnf-086.png", "printed_page": 54, "bbox_pixels": [ 410, 840, 2200, 920 ], "crop_image": "assets/II.03-002.png" } ] }, { "id": "II.04-001", "type": "heading", "section": "II.04", "lesson": 19, "exercise": 19, "reading_order": 622, "original": "CHAPITRE QUATRIEME.\nDe la nature & de la proprieté de la Quinte & de la Quarte.", "english": "CHAPTER FOUR.\nOn the Nature and Properties of the Fifth and Fourth.", "sources": [ { "pdf_page": 86, "source_image": "source-pages/bnf-086.png", "printed_page": 54, "bbox_pixels": [ 410, 1880, 2200, 250 ], "crop_image": "assets/II.04-001.png" } ], "correction_refs": [ "supplement-026" ] }, { "id": "II.04-002", "type": "paragraph", "section": "II.04", "lesson": 19, "exercise": 19, "reading_order": 623, "original": "La Quinte est le premier objet de tous les accords ; c’est à dire, qu’un accord ne peut subsister sans elle ou sans la Quarte qui la represente ; nous avons déja remarqué les proprietez de ces deux intervales dans la progression de la Basse ; & à l’égard des autres parties, leur progression y est à peu-prés la même que celle de l’Octave.", "english": "The fifth is the primary object of every chord: a chord cannot exist without it or without the fourth representing it. We have already observed the properties of these two intervals in the bass's progression. In the other parts, their progression is approximately the same as that of the octave.", "sources": [ { "pdf_page": 86, "source_image": "source-pages/bnf-086.png", "printed_page": 54, "bbox_pixels": [ 410, 2170, 2200, 465 ], "crop_image": "assets/II.04-002.png" } ] }, { "id": "II.05-001", "type": "heading", "section": "II.05", "lesson": 20, "exercise": 20, "reading_order": 624, "original": "CHAPITRE CINQUIEME.", "english": "CHAPTER FIVE.", "sources": [ { "pdf_page": 86, "source_image": "source-pages/bnf-086.png", "printed_page": 54, "bbox_pixels": [ 752, 2752, 1505, 107 ], "crop_image": "assets/II.05-001.png" } ], "correction_refs": [ "supplement-026", "supplement-027", "supplement-028", "supplement-030", "supplement-033", "supplement-035" ] }, { "id": "II.05-002", "type": "heading", "section": "II.05", "lesson": 20, "exercise": 20, "reading_order": 625, "original": "De la Cadence parfaite, où la nature & la proprieté de tous les intervales se rencontrent.", "english": "On the Perfect Cadence, in Which the Nature and Properties of All Intervals Meet.", "sources": [ { "pdf_page": 86, "source_image": "source-pages/bnf-086.png", "printed_page": 54, "bbox_pixels": [ 430, 2892, 2139, 204 ], "crop_image": "assets/II.05-002.png" } ] }, { "id": "II.05-003", "type": "paragraph", "section": "II.05", "lesson": 20, "exercise": 20, "reading_order": 626, "original": "L’On appelle Cadence parfaite, une certaine conclusion de chant, qui satisfait de façon, que l’on n’a plus rien à desirer après une telle Cadence. Nous devons avoir déja une idée de cette cadence, par le contenu des deux premiers Chapitres, tant à l’égard de la progression de la Basse en descendant de Quinte, ou en montant de Quarte, que des accords dont elle est composée, qui sont le Parfait, & celuy de la Septiéme ; mais sa perfection ne se borne pas-là, & l’on y trouve encore que la progression de tous les intervales y est déterminée par celle des Tierces qui dominent dans les accords, à l’exception de l’Octave & de la Quinte, qui ont été engendrées les premieres, & qui ont par consequent une progression indépendante.", "english": "A perfect cadence is a certain conclusion of a melody that satisfies so fully that nothing further is desired. The first two chapters should already have given us an idea of this cadence, both in the bass's descent by a fifth or ascent by a fourth and in the chords composing it, the perfect chord and the seventh chord. Its perfection does not end there: the progression of every interval is determined by that of the thirds prevailing in the chords, except for the octave and fifth, which were generated first and consequently have an independent progression.", "sources": [ { "pdf_page": 86, "source_image": "source-pages/bnf-086.png", "printed_page": 54, "bbox_pixels": [ 430, 3139, 2139, 408 ], "crop_image": "assets/II.05-003.png" }, { "pdf_page": 87, "source_image": "source-pages/bnf-087.png", "printed_page": 55, "bbox_pixels": [ 430, 376, 2139, 548 ], "crop_image": "assets/II.05-004.png" } ] }, { "id": "II.05-005", "type": "paragraph", "section": "II.05", "lesson": 20, "exercise": 20, "reading_order": 627, "original": "Si nous avons regardé la Quinte comme le premier objet de tous les accords, nous ne devons pas moins attribuer cette qualité aux Tierces, dont elle est composée : l’Octave après avoir engendré la Quinte par sa division, se repose sur elle pour la construction de tous les accords ; la Quinte aussi après avoir engendré les Tierces par sa division, se repose sur elles pour la progression des autres intervales qui suivent en tout la nature & la proprieté de ces Tierces ; de sorte que la Tierce majeure étant naturellement vive & gaye, tout ce qui est majeur ou superflu doit avoir cette proprieté ; & la Tierce mineure étant naturellement tendre & triste, tout ce qui est mineur, ou diminué doit suivre également cette proprieté. A l’égard de la progression de ces Tierces : Zarlin dit, * que leur extrémitez aiment naturellement à se porter vers la partie qui approche le plus de leur être ; de sorte que la majeure souhaite de devenir majeure, c’est à dire de monter, & la mineure de descendre, comme cela est évident à tous les habils Musiciens qui ont un juste discernement, parce que la progression qui se fait dans la partie superieure est d’un semi-Ton : Semi-Ton qui est le sel. ( Si je puis m’exprimer ainsi ) l’ornement & l’occasion de la belle Harmonie, & de la bonne modulation, laquelle modulation sans son secours seroit presque insupportable. De ces deux progressions differentes, nous tirons celles de tous les intervales qui peuvent être distinguez en majeurs, superflus, mineurs & diminuez, & ce doit être pour nous une regle générale, que tout ce qui est majeur ou superflu doit monter, & que tout ce qui est mineur ou diminué doit descendre.", "english": "If we have regarded the fifth as the primary object of every chord, we must attribute this quality no less to the thirds composing it. After generating the fifth by division, the octave entrusts it with the construction of every chord; likewise, after generating the thirds by division, the fifth entrusts them with the progression of the other intervals, which follow the nature and properties of these thirds in every respect. Thus, since the major third is naturally lively and cheerful, everything major or augmented must have this property; and since the minor third is naturally tender and sad, everything minor or diminished must likewise follow its property. Concerning the progression of thirds, Zarlino says* that their outer sounds naturally tend toward the direction closest to their being: the major wishes to become major, that is, to ascend, and the minor to descend. This is evident, he says, to all skillful musicians of sound discernment, because the movement in the upper part is a semitone. This semitone is the salt, if I may say so, the ornament and the occasion of beautiful harmony and good modulation, which without it would be almost unbearable. From these two different progressions we derive those of every interval distinguished as major, augmented, minor, or diminished. Our general rule must be that everything major or augmented ascends, and everything minor or diminished descends.", "sources": [ { "pdf_page": 87, "source_image": "source-pages/bnf-087.png", "printed_page": 55, "bbox_pixels": [ 426, 922, 2148, 1853 ], "crop_image": "assets/II.05-005.png" } ] }, { "id": "II.05-006", "type": "paragraph", "section": "II.05", "lesson": 20, "exercise": 20, "reading_order": 628, "original": "Ce semi-Ton auquel la progression de tous les intervales doit se conformer, & qu’il semble que Zarlin propose pour regle générale, est en effet le seul qui convienne aux intervales majeurs ou superflus ; mais les mineurs & les diminuez peuvent descendre aussi d’un Ton, conformément à la modulation, & il est assez extraordinaire que Zarlin, après avoir parlé avec tant de succès de ce semi-Ton, l’ait abandonné aux endroits où il se fait sentir le mieux ; car si l’on remarque dans le Systême parfait, que ce semi-Ton se trouve entre l’Octave & le Son qui la précede en montant, que c’est sur cette Octave que le repos se détermine, & qu’on ne peut y arriver en montant diatoniquement que par ce semi-Ton ; l’on verra que ce Son précurseur de l’Octave ne doit pas avoir moins de part dans l’Harmonie que cette Octave même, puisqu’il faut passer à l’un pour arriver à l’autre. Cependant quoique Zarlin n’ait pû s’empescher de dire, qu’il falloit monter de la Tierce majeure & de la Sixte majeure à l’Octave ( regle qui ne peut provenir que de la remarque que nous venons de faire ) il oublie que le Triton doit participer de cette même regle, il n’en parle qu’en passant, & n’en fait aucune mention dans sa Cadence parfaite ; les autres dissonances majeures ou superfluës, qui proviennent de cette Tierce majeure, toûjours formée de ce Son précurseur de l’Octave, sont encore moins dignes de son attention, & tout ce qui peut conformer sa progression sans aucune restriction au semi-Ton qu’il propose, est justement ce dont il parle le moins ; il est donc à propos de faire voir son aveuglement par un exemple de la Cadence parfaite, où ce Son précurseur de l’Octave forme une Tierce majeure, d’où dérivent toutes les dissonances majeures qui doivent monter d’un semi-Ton sur cette Octave.", "english": "The semitone to which the progression of every interval should conform, and which Zarlino seems to offer as a general rule, is indeed the only movement suited to major or augmented intervals. Minor and diminished intervals, however, may also descend a whole tone, according to the modulation. It is extraordinary that, after speaking so successfully of this semitone, Zarlino abandoned it precisely where it is most strongly felt. Observe in the perfect system that the semitone lies between the octave and the sound preceding it in ascent, that repose is determined on this octave, and that a diatonic ascent can reach it only through this semitone. The sound preceding the octave must therefore have no less a share in harmony than the octave itself, since one must pass through the former to reach the latter. Yet although Zarlino could not avoid saying that one must ascend from the major third and major sixth to the octave—a rule that can arise only from the observation just made—he forgets that the tritone must share the rule. He mentions it only in passing and omits it entirely from his perfect cadence. The other major or augmented dissonances arising from this major third, always formed by the sound preceding the octave, receive even less attention. Precisely those things whose progression conforms without qualification to his proposed semitone are the ones he discusses least. We should therefore expose his blindness through an example of the perfect cadence, in which the sound preceding the octave forms a major third, from which arise all the major dissonances that must ascend a semitone to this octave.", "sources": [ { "pdf_page": 87, "source_image": "source-pages/bnf-087.png", "printed_page": 55, "bbox_pixels": [ 430, 2773, 2139, 688 ], "crop_image": "assets/II.05-006.png" }, { "pdf_page": 88, "source_image": "source-pages/bnf-088.png", "printed_page": 56, "bbox_pixels": [ 430, 467, 2146, 1428 ], "crop_image": "assets/II.05-008.png" } ] }, { "id": "II.05-007", "type": "footnote", "section": "II.05", "lesson": 20, "exercise": 20, "reading_order": 629, "original": "* Terza parte, cap. 10. f. 182. cap. 38. f. 219. & 220.", "english": "* Third part, chapter 10, fol. 182; chapter 38, fols. 219 and 220.", "sources": [ { "pdf_page": 87, "source_image": "source-pages/bnf-087.png", "printed_page": 55, "bbox_pixels": [ 494, 3457, 1311, 82 ], "crop_image": "assets/II.05-007.png" } ] }, { "id": "II.05-009", "type": "paragraph", "section": "II.05", "lesson": 20, "exercise": 20, "reading_order": 630, "original": "On appelle Dominante, la premiere des deux Nottes qui dans la Basse, forment la cadence parfaite, parce qu’elle doit préceder toûjours la Notte finale, & par consequent la domine.", "english": "The first of the two bass notes forming the perfect cadence is called the dominant, because it must always precede the final note and consequently dominates it.", "sources": [ { "pdf_page": 88, "source_image": "source-pages/bnf-088.png", "printed_page": 56, "bbox_pixels": [ 436, 1896, 2128, 219 ], "crop_image": "assets/II.05-009.png" } ] }, { "id": "II.05-010", "type": "paragraph", "section": "II.05", "lesson": 20, "exercise": 20, "reading_order": 631, "original": "La Septiéme qui provient d’une Tierce mineure ajoûtée à son accord parfait, forme non seulement une dissonance avec elle, mais encore avec sa Tierce majeure ; de sorte que cette Tierce devient dissonante par rapport à cette Septiéme ; la premiere étant l’origine de toutes les dissonances majeures ; & l’autre celle de toutes les mineures, sans aucune exception.", "english": "The seventh arising from a minor third added to the dominant's perfect chord forms a dissonance not only with the dominant but also with its major third. That third therefore becomes dissonant in relation to the seventh: the former is the origin of every major dissonance, and the latter of every minor dissonance, without exception.", "sources": [ { "pdf_page": 88, "source_image": "source-pages/bnf-088.png", "printed_page": 56, "bbox_pixels": [ 432, 2118, 2139, 445 ], "crop_image": "assets/II.05-010.png" } ] }, { "id": "II.05-011", "type": "paragraph", "section": "II.05", "lesson": 20, "exercise": 20, "reading_order": 632, "original": "On appelle Notte tonique, celle qui termine la Cadence parfaite, en ce que c’est par elle que l’on commence & que l’on finit, & que c’est dans l’étenduë de son Octave que se détermine toute la modulation.", "english": "The note ending the perfect cadence is called the tonic, because it begins and ends the piece, and all modulation is determined within the compass of its octave.", "sources": [ { "pdf_page": 88, "source_image": "source-pages/bnf-088.png", "printed_page": 56, "bbox_pixels": [ 434, 2567, 2133, 297 ], "crop_image": "assets/II.05-011.png" } ] }, { "id": "II.05-012", "type": "paragraph", "section": "II.05", "lesson": 20, "exercise": 20, "reading_order": 633, "original": "On appelle Notte sensible, ce Son précurseur de l’Octave qui forme toutes les dissonances majeures, parce que l’on n’entend jamais l’une de ces dissonances majeures, que l’on ne sente que la Notte tonique, où son Octave doivent suivre immediatement après ; c’est pourquoy ce nom convient assez au Son qui fait sentir celuy qui est l’objet de toute la modulation.", "english": "The sound preceding the octave, which forms every major dissonance, is called the leading note: no major dissonance is heard without our feeling that the tonic or its octave must follow immediately. The name therefore aptly describes the sound that makes us anticipate the object of all modulation.", "sources": [ { "pdf_page": 88, "source_image": "source-pages/bnf-088.png", "printed_page": 56, "bbox_pixels": [ 434, 2870, 2133, 451 ], "crop_image": "assets/II.05-012.png" } ] }, { "id": "II.05-013", "type": "heading", "section": "II.05", "lesson": 20, "exercise": 20, "reading_order": 634, "original": "EXEMPLES.", "english": "EXAMPLES.", "sources": [ { "pdf_page": 89, "source_image": "source-pages/bnf-089.png", "printed_page": 57, "bbox_pixels": [ 1090, 441, 774, 95 ], "crop_image": "assets/II.05-013.png" } ] }, { "id": "II.05-014", "type": "music", "section": "II.05", "lesson": 20, "exercise": 20, "reading_order": 635, "original": "Cadence parfaite dans le Mode majeur.", "english": "Perfect Cadence in the Major Mode.", "sources": [ { "pdf_page": 89, "source_image": "source-pages/bnf-089.png", "printed_page": 57, "bbox_pixels": [ 385, 587, 1176, 1574 ], "crop_image": "assets/II.05-014.png" } ], "original_title": "Cadence parfaite dans le Mode majeur.", "english_title": "Perfect Cadence in the Major Mode.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.05-014" ], "music_asset_refs": [ "II.05-014" ] }, { "id": "II.05-015", "type": "music", "section": "II.05", "lesson": 20, "exercise": 20, "reading_order": 636, "original": "Cadence parfaite dans le Mode mineur.", "english": "Perfect Cadence in the Minor Mode.", "sources": [ { "pdf_page": 89, "source_image": "source-pages/bnf-089.png", "printed_page": 57, "bbox_pixels": [ 1569, 587, 1041, 1574 ], "crop_image": "assets/II.05-015.png" } ], "original_title": "Cadence parfaite dans le Mode mineur.", "english_title": "Perfect Cadence in the Minor Mode.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.05-015" ], "music_asset_refs": [ "II.05-015" ] }, { "id": "II.05-016", "type": "paragraph", "section": "II.05", "lesson": 20, "exercise": 20, "reading_order": 637, "original": "Après avoir remarqué l’uniformité de ces deux Exemples, à l’exception de la Dissonance mineure qui d’un côté ne descend que d’un semi-Ton, & de l’autre descend d’un Ton, pendant que la Dissonance majeure monte toûjours d’un semi-Ton de la Tierce majeure à l’Octave ; si l’on retranche la Basse fondamentale, & que l’on mette alternativement à sa place l’une des autres parties, l’on trouvera tous les Accords renversez de ceux-cy, dont l’Harmonie sera toûjours bonne, parce que si la Basse fondamentale en est retranchée, elle y est toûjours sous-entenduë ; & les differentes Dissonances qui s’y feront entendre, par rapport à la differente situation de ces parties, suivront indispensablement la progression qui leur est déterminée dans les premiers Accords ; la majeure montera toûjours d’un semi-Ton sur la Notte tonique ou sur son Octave, & la mineure descendra toûjours sur la Tierce majeure ou mineure de cette Notte tonique ; rien n’est plus évident, * & Zarlin même nous en fournit la preuve dans ses Exemples de la fausse-Quinte & du Triton, dont il fait remarquer le renversement sans y songer.", "english": "Observe that these two examples are uniform except for the minor dissonance, which descends only a semitone in one and a whole tone in the other, while the major dissonance always ascends a semitone from the major third to the octave. Remove the fundamental bass and alternately put each of the other parts in its place: every inversion of these chords will be found, and the harmony will always be good, because the fundamental bass, though removed, remains implied. The different dissonances heard as a result of the parts' different positions must invariably follow the progression assigned to them in the original chords. The major dissonance always rises a semitone to the tonic or its octave; the minor always descends to the major or minor third of the tonic. Nothing is clearer,* and Zarlino himself supplies the proof in his examples of the diminished fifth and tritone, whose inversion he demonstrates without realizing it.", "sources": [ { "pdf_page": 89, "source_image": "source-pages/bnf-089.png", "printed_page": 57, "bbox_pixels": [ 445, 2169, 2133, 1273 ], "crop_image": "assets/II.05-016.png" } ] }, { "id": "II.05-017", "type": "footnote", "section": "II.05", "lesson": 20, "exercise": 20, "reading_order": 638, "original": "* Terza parte, cap. 61. f. 293.", "english": "* Third part, chapter 61, fol. 293.", "sources": [ { "pdf_page": 89, "source_image": "source-pages/bnf-089.png", "printed_page": 57, "bbox_pixels": [ 499, 3442, 742, 75 ], "crop_image": "assets/II.05-017.png" } ] }, { "id": "II.05-018", "type": "heading", "section": "II.05", "lesson": 20, "exercise": 20, "reading_order": 639, "original": "Exemple de Zarlin, auquel nous ajoûtons la Basse fondamentale.", "english": "Example by Zarlino, to Which We Add the Fundamental Bass.", "sources": [ { "pdf_page": 90, "source_image": "source-pages/bnf-090.png", "printed_page": 58, "bbox_pixels": [ 421, 464, 2107, 107 ], "crop_image": "assets/II.05-018.png" } ] }, { "id": "II.05-019", "type": "music", "section": "II.05", "lesson": 20, "exercise": 20, "reading_order": 640, "original": "Exemple de Zarlin, auquel nous ajoûtons la Basse fondamentale.", "english": "Zarlino's Example with an Added Fundamental Bass.", "sources": [ { "pdf_page": 90, "source_image": "source-pages/bnf-090.png", "printed_page": 58, "bbox_pixels": [ 411, 602, 2137, 1569 ], "crop_image": "assets/II.05-019.png" } ], "original_title": "Exemple de Zarlin, auquel nous ajoûtons la Basse fondamentale.", "english_title": "Zarlino's Example with an Added Fundamental Bass.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.05-019" ], "music_asset_refs": [ "II.05-019" ] }, { "id": "II.05-020", "type": "paragraph", "section": "II.05", "lesson": 20, "exercise": 20, "reading_order": 641, "original": "Si l’on prend à part les deux parties superieures, l’on y trouvera le Triton marqué par un (A), & la fausse-Quinte par un (B) ; si on les compare ensuite à la partie qu’il appelle Basso, l’on trouvera que le Triton en fait la Sixte majeure, qui monte d’un semi-Ton sur l’Octave ; & si on les compare enfin à nôtre Basse fondamentale, l’on trouvera que le Triton en fait la Tierce majeure, & que la fausse-Quinte en fait la Septiéme, dont la progression est conforme à nôtre regle précédente ; de sorte que ces differents Accords nous representent toûjours la cadence parfaite, puisque leur progression ne change point, & que le fondement y subsiste toûjours, quoique sous-entendu ; autrement la Piece de Musique seroit remplie de confusion & de dissonances, ᵃ Zarlin le pense quand il le dit, & l’oublie dans l’execution ; s’il dit encore que la progression naturelle ᵇ de la partie la plus grave dans les cadences parfaites, est de descendre de Quinte ; il en donne une Exemple, où la partie superieure monte toûjours de la Tierce majeure à l’Octave (A) ; ᶜ dans un autre endroit pendant que cette Tierce majeure de la dominante monte, la Quinte de cette même Dominante descend aussi sur l’Octave (B)ᵈ & pendant que cette Quinte descend, la Tierce de cette Quinte qui fait la Septiéme de la Dominante, descend sur la Tierce (C) ; de sorte que si nous assemblons ces trois differents Exemples, nous y trouverons nôtre cadence complette ; & pour cet effet nous prendrons son Exemple du Chap. VI. où nous joindrons les parties qui y manquent ainsi.", "english": "If we consider the two upper parts separately, we find the tritone marked (A) and the diminished fifth marked (B). Compare them next with the part he calls Basso: the tritone supplies its major sixth, ascending a semitone to the octave. Finally, compare them with our fundamental bass: the tritone supplies its major third, and the diminished fifth its seventh, progressing according to our preceding rule. These different chords therefore always represent the perfect cadence, because their progression does not change and the foundation remains, though implied. Otherwise the piece would be filled with confusion and dissonance.a Zarlino means this when he says it and forgets it in practice. If he further says that the natural progressionb of the lowest part in perfect cadences is to descend a fifth, he gives an example in which the upper part always ascends from the major third to the octave (A).c Elsewhere, while this major third of the dominant ascends, the fifth of the same dominant also descends to the octave (B);d and while this fifth descends, its third, which is the dominant's seventh, descends to the third (C). Assemble these three different examples, and we find our complete cadence. For this purpose we shall take his example from Chapter VI and add its missing parts as follows.", "sources": [ { "pdf_page": 90, "source_image": "source-pages/bnf-090.png", "printed_page": 58, "bbox_pixels": [ 426, 2167, 2133, 1309 ], "crop_image": "assets/II.05-020.png" }, { "pdf_page": 91, "source_image": "source-pages/bnf-091.png", "printed_page": 59, "bbox_pixels": [ 447, 374, 2133, 454 ], "crop_image": "assets/II.05-024.png" } ] }, { "id": "II.05-021", "type": "footnote", "section": "II.05", "lesson": 20, "exercise": 20, "reading_order": 642, "original": "a Terza parte, cap. 58. f. 282.", "english": "a Third part, chapter 58, fol. 282.", "sources": [ { "pdf_page": 90, "source_image": "source-pages/bnf-090.png", "printed_page": 58, "bbox_pixels": [ 527, 3487, 798, 92 ], "crop_image": "assets/II.05-021.png" } ] }, { "id": "II.05-022", "type": "footnote", "section": "II.05", "lesson": 20, "exercise": 20, "reading_order": 643, "original": "b Cap. 5. f. 251.", "english": "b Chapter 5, fol. 251.", "sources": [ { "pdf_page": 90, "source_image": "source-pages/bnf-090.png", "printed_page": 58, "bbox_pixels": [ 1359, 3487, 477, 92 ], "crop_image": "assets/II.05-022.png" } ] }, { "id": "II.05-023", "type": "footnote", "section": "II.05", "lesson": 20, "exercise": 20, "reading_order": 644, "original": "c F. 251.", "english": "c Fol. 251.", "sources": [ { "pdf_page": 90, "source_image": "source-pages/bnf-090.png", "printed_page": 58, "bbox_pixels": [ 1916, 3487, 344, 92 ], "crop_image": "assets/II.05-023.png" } ] }, { "id": "II.05-025", "type": "music", "section": "II.05", "lesson": 20, "exercise": 20, "reading_order": 645, "original": "Parties ajoûtées. Exemple de Zarlin. Basse fondamentale ajoûtée.", "english": "Added Parts. Zarlino's Example. Added Fundamental Bass.", "sources": [ { "pdf_page": 91, "source_image": "source-pages/bnf-091.png", "printed_page": 59, "bbox_pixels": [ 544, 843, 1920, 2118 ], "crop_image": "assets/II.05-025.png" } ], "original_title": "Parties ajoûtées. Exemple de Zarlin. Basse fondamentale ajoûtée.", "english_title": "Added Parts. Zarlino's Example. Added Fundamental Bass.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.05-025" ], "music_asset_refs": [ "II.05-025" ] }, { "id": "II.05-026", "type": "paragraph", "section": "II.05", "lesson": 20, "exercise": 20, "reading_order": 646, "original": "Ce n’est pas-là l’Harmonie que Zarlin sous-entendoit en cet endroit ; & il pretendoit apparemment que l’Accord parfait fût entendu sur le second temps de la Ronde qui fait Quinte avec la Basse fondamentale, parce que la Quarte qui frappe sur le premier temps de cette même Ronde est plûtôt dissonante que consonante selon luy ; mais comment faire entendre l’Accord parfait de la derniere Ronde qui termine la cadence après celuy de l’autre Ronde en question ; si la Tierce mineure de celle-cy qui fait Septiéme contre la Basse fondamentale descend, quelle progression tiendront la Quinte & l’Octave ? Un habile homme doit toûjours chiffrer sa Basse, sur tout lorsque ses Exemples ne contiennent que deux parties, afin que l’on puisse en juger sainement ; sinon les consequences que l’on en tire, peuvent souvent être fausses ; mais peut-être que Zarlin n’a point chiffré ses Basses, crainte d’y faire remarquer des intervales qu’il vouloit ignorer, & qu’il vouloit apparemment qu’on ignorât aussi.", "english": "This is not the harmony Zarlino understood as implied here. He apparently intended the perfect chord to sound on the second beat of the whole note that forms a fifth with the fundamental bass, because in his view the fourth struck on the first beat of that same whole note is dissonant rather than consonant. But how can the perfect chord of the final whole note, which ends the cadence, follow that of the other whole note in question? If the latter's minor third, forming a seventh against the fundamental bass, descends, what progression will the fifth and octave take? A skillful musician should always figure his bass, especially when his examples have only two parts, so that they can be judged soundly; otherwise the conclusions drawn from them may often be false. Perhaps, however, Zarlino left his basses unfigured for fear of drawing attention to intervals he wished to ignore, and apparently wished others to ignore as well.", "sources": [ { "pdf_page": 91, "source_image": "source-pages/bnf-091.png", "printed_page": 59, "bbox_pixels": [ 419, 3010, 2131, 400 ], "crop_image": "assets/II.05-026.png" }, { "pdf_page": 92, "source_image": "source-pages/bnf-092.png", "printed_page": 60, "bbox_pixels": [ 415, 385, 2154, 759 ], "crop_image": "assets/II.05-028.png" } ] }, { "id": "II.05-027", "type": "footnote", "section": "II.05", "lesson": 20, "exercise": 20, "reading_order": 647, "original": "d Cap. 6. f. 254. quatorziéme & quinziéme Mesures.", "english": "d Chapter 6, fol. 254, fourteenth and fifteenth measures.", "sources": [ { "pdf_page": 91, "source_image": "source-pages/bnf-091.png", "printed_page": 59, "bbox_pixels": [ 462, 3408, 1236, 82 ], "crop_image": "assets/II.05-027.png" } ] }, { "id": "II.05-029", "type": "paragraph", "section": "II.05", "lesson": 20, "exercise": 20, "reading_order": 648, "original": "D’ailleurs, si l’Accord parfait doit être entendu sur chacune des deux dernieres Nottes de la partie qu’il appelle Grave ; nos premieres remarques que nous avons tirées de son raisonnement même, nous prouvent que cela est contre le fondement de l’Harmonie, puisque la basse ne peut proceder diatoniquement sous des Accords parfaits ; ainsi la Quarte qui se trouve dans cet Exemple doit être consonante, eu égard à la basse fondamentale, avec qui cette Quarte fait Octave ; & si elle étoit dissonante, la cadence parfaite ne pourroit plus se faire sentir sur la derniere Notte, & cette cadence seroit pour lors irreguliere.", "english": "Moreover, if a perfect chord is to sound on each of the last two notes in the part he calls Grave, our first observations, drawn from his own reasoning, prove this contrary to the foundation of harmony: the bass cannot proceed diatonically beneath perfect chords. The fourth in this example must therefore be consonant in relation to the fundamental bass, with which it forms an octave. If it were dissonant, the perfect cadence could no longer be felt on the final note; the cadence would then be irregular.", "sources": [ { "pdf_page": 92, "source_image": "source-pages/bnf-092.png", "printed_page": 60, "bbox_pixels": [ 419, 1135, 2150, 742 ], "crop_image": "assets/II.05-029.png" } ] }, { "id": "II.05-030", "type": "heading", "section": "II.05", "lesson": 20, "exercise": 20, "reading_order": 649, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 92, "source_image": "source-pages/bnf-092.png", "printed_page": 60, "bbox_pixels": [ 1150, 1875, 707, 92 ], "crop_image": "assets/II.05-030.png" } ] }, { "id": "II.05-031", "type": "music", "section": "II.05", "lesson": 20, "exercise": 20, "reading_order": 650, "original": "Exemple de Zarlin. Parties ajoûtées. Basse fondamentale. Cadence irreguliere.", "english": "Zarlino's Example. Added Parts. Fundamental Bass. Irregular Cadence.", "sources": [ { "pdf_page": 92, "source_image": "source-pages/bnf-092.png", "printed_page": 60, "bbox_pixels": [ 555, 1948, 1896, 1157 ], "crop_image": "assets/II.05-031.png" } ], "original_title": "Exemple de Zarlin. Parties ajoûtées. Basse fondamentale. Cadence irreguliere.", "english_title": "Zarlino's Example. Added Parts. Fundamental Bass. Irregular Cadence.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.05-031" ], "music_asset_refs": [ "II.05-031" ] }, { "id": "II.05-032", "type": "paragraph", "section": "II.05", "lesson": 20, "exercise": 20, "reading_order": 651, "original": "Demandez-nous à present laquelle des deux cadences Zarlin a voulu employer icy ? c’est apparemment la parfaite, puisque toute sa Piece roule sur le Ton d’Ut, au lieu que cette Cadence irreguliere est dans celuy de La, ou de Ré, outre qu’il ne fait aucune mention de la cadence irreguliere ; & si elle se rencontre dans ses Exemples, ce n’est que dans une suite d’Accords, où il ne l’a fait pas remarquer.", "english": "Ask us now which of the two cadences Zarlino intended here. Apparently the perfect cadence, since his whole piece revolves around the key of C, whereas this irregular cadence is in A or D. Moreover, he makes no mention of the irregular cadence; when it occurs in his examples, it is merely within a chord succession in which he does not point it out.", "sources": [ { "pdf_page": 92, "source_image": "source-pages/bnf-092.png", "printed_page": 60, "bbox_pixels": [ 436, 3132, 2141, 406 ], "crop_image": "assets/II.05-032.png" }, { "pdf_page": 93, "source_image": "source-pages/bnf-093.png", "printed_page": 61, "bbox_pixels": [ 398, 374, 2124, 183 ], "crop_image": "assets/II.05-033.png" } ] }, { "id": "II.05-034", "type": "paragraph", "section": "II.05", "lesson": 20, "exercise": 20, "reading_order": 652, "original": "C’est donc de nôtre premier Exemple que l’on doit tirer toutes les differentes manieres de pratiquer la cadence parfaite, soit à deux, à trois, à quatre, ou à cinq parties ; choisissant telles parties que l’on juge à propos pour les faire entendre ensemble, & mettant indifferemment au dessous de l’une celles qui se trouvent au dessus, n’y ayant que la Basse fondamentale qui ne puisse naturellement changer de lieu, quoique cela soit libre, lorsque le bon goût nous guide, sur tout pour éviter une conclusion parfaite dans une partie superieure, pendant que la Basse procede diatoniquement ; ainsi l’on trouve l’Harmonie renfermée dans les deux Accords proposez, qui sont le Parfait, & celuy de la Septiéme ; toutes nos regles étant fondées sur la progression naturelle à ces deux Accords.", "english": "Our first example must therefore supply every way of practicing the perfect cadence in two, three, four, or five parts. Choose whichever parts seem appropriate to sound together, and freely place beneath one part those lying above it. Only the fundamental bass cannot naturally change position, although even this is permitted when good taste guides us, especially to avoid a perfect conclusion in an upper part while the bass moves diatonically. Thus harmony is contained in the two proposed chords, the perfect chord and the seventh chord; all our rules rest on the progression natural to these two chords.", "sources": [ { "pdf_page": 93, "source_image": "source-pages/bnf-093.png", "printed_page": 61, "bbox_pixels": [ 398, 546, 2139, 907 ], "crop_image": "assets/II.05-034.png" } ] }, { "id": "II.06-001", "type": "heading", "section": "II.06", "lesson": 21, "exercise": 21, "reading_order": 653, "original": "CHAPITRE SIXIÉME.", "english": "CHAPTER SIX.", "sources": [ { "pdf_page": 93, "source_image": "source-pages/bnf-093.png", "printed_page": 61, "bbox_pixels": [ 830, 1560, 1310, 95 ], "crop_image": "assets/II.06-001.png" } ], "correction_refs": [ "supplement-036" ] }, { "id": "II.06-002", "type": "heading", "section": "II.06", "lesson": 21, "exercise": 21, "reading_order": 654, "original": "De la Cadence rompuë.", "english": "On the Interrupted Cadence.", "sources": [ { "pdf_page": 93, "source_image": "source-pages/bnf-093.png", "printed_page": 61, "bbox_pixels": [ 1080, 1710, 805, 90 ], "crop_image": "assets/II.06-002.png" } ] }, { "id": "II.06-003", "type": "paragraph", "section": "II.06", "lesson": 21, "exercise": 21, "reading_order": 655, "original": "SI nous changeons la progression de l’un des Sons compris dans le premier accord d’une Cadence parfaite ; il est certain que nous en interromprons la conclusion ; aussi est-ce de cette interruption causée par ce changement de progression, que la Cadence rompuë tire son origine.", "english": "If we change the progression of one of the sounds in the first chord of a perfect cadence, we necessarily interrupt its conclusion. The interrupted cadence originates in this interruption caused by a change of progression.", "sources": [ { "pdf_page": 93, "source_image": "source-pages/bnf-093.png", "printed_page": 61, "bbox_pixels": [ 435, 1860, 2125, 395 ], "crop_image": "assets/II.06-003.png" } ] }, { "id": "II.06-004", "type": "paragraph", "section": "II.06", "lesson": 21, "exercise": 21, "reading_order": 656, "original": "Cette Cadence ne differe pas beaucoup de la parfaite, puisque l’une & l’autre sont également composées, ou des mêmes accords, ou de la même Basse fondamentale ; si les Accords y sont les mêmes, la Basse fondamentale qui dans la Cadence parfaite doit descendre de Quinte, montera diatoniquement dans celle-cy ; & si la Basse fondamentale est la même dans l’une, & l’autre Cadence, l’Accord parfait qui termine la Cadence parfaite, sera changée icy en un accord de Sixte, où il faut bien remarquer que ces changemens n’ont lieu que dans les Sons consonans, comme dans le Son fondamental, dans son Octave ou dans sa Quinte, & non pas dans ceux qui forment les dissonances ; de sorte que la Tierce majeure, l’objet de toutes les dissonances majeures montera toûjours d’un semi-Ton, & la Septiéme, l’objet de toutes les dissonances mineures descendra d’un Ton ou d’un semi-Ton, ce qui s’accorde avec nos regles qui regardent la progression des dissonances, & ce qui ne détruit le fondement que dans un principe, si l’accord parfait ny subsiste plus, la Basse fondamentale ne change point, & si celle-cy change, l’accord parfait vient à son secours ; mais quoy, cette Sixte que nous supposons à la Quinte, ne forme-t-elle pas un accord dérivé du parfait ; & n’avons nous pas remarqué que la septiéme introduisoit dans la Basse une progression conforme à son intervale ; ainsi tout subsiste encore, quoique cette derniere cadence ne puisse être admise que par licence, parce que, où l’accord n’y est plus fondamental, ou la progression de la Basse n’y est plus engendrée des consonances, & la liberté que la dissonance nous donne en ce cas, altere la perfection ; mais cette alteration qui n’a rien de dur, loin de déplaire, ne sert qu’à rendre cette perfection encore plus agréable lorsqu’elle s’offre à nous, après avoir été suspenduë pour quelque temps.", "english": "This cadence differs little from the perfect cadence, since both are composed either of the same chords or of the same fundamental bass. If their chords are the same, the fundamental bass, which must descend a fifth in the perfect cadence, ascends diatonically here. If the fundamental bass is the same in both, the perfect chord ending the perfect cadence is changed here into a sixth chord. Observe carefully that these changes affect only consonant sounds—the fundamental, its octave, or its fifth—not the sounds forming dissonances. Thus the major third, the object of all major dissonances, always rises a semitone; and the seventh, the object of all minor dissonances, descends a whole tone or semitone. This agrees with our rules for dissonance progression and undermines the foundation in only one principle at a time: if the perfect chord no longer remains, the fundamental bass stays unchanged; if the bass changes, the perfect chord comes to its aid. Yet does not the sixth substituted for the fifth form a chord derived from the perfect chord? And have we not observed that the seventh introduces a bass progression corresponding to its interval? Everything therefore still remains, although this latter cadence can be admitted only by license: either its chord is no longer fundamental, or its bass progression is no longer generated by consonances, and the freedom dissonance gives us here alters perfection. But this alteration is not harsh. Far from displeasing, it only makes perfection more agreeable when it returns after being withheld for a time.", "sources": [ { "pdf_page": 93, "source_image": "source-pages/bnf-093.png", "printed_page": 61, "bbox_pixels": [ 440, 2250, 2130, 1270 ], "crop_image": "assets/II.06-004.png" }, { "pdf_page": 94, "source_image": "source-pages/bnf-094.png", "printed_page": 62, "bbox_pixels": [ 440, 385, 2120, 895 ], "crop_image": "assets/II.06-005.png" } ] }, { "id": "II.06-006", "type": "heading", "section": "II.06", "lesson": 21, "exercise": 21, "reading_order": 657, "original": "EXEMPLES.", "english": "EXAMPLES.", "sources": [ { "pdf_page": 94, "source_image": "source-pages/bnf-094.png", "printed_page": 62, "bbox_pixels": [ 1120, 1280, 770, 100 ], "crop_image": "assets/II.06-006.png" } ] }, { "id": "II.06-007", "type": "music", "section": "II.06", "lesson": 21, "exercise": 21, "reading_order": 658, "original": "Cadence rompuë dans le Mode majeur.", "english": "Interrupted Cadence in the Major Mode.", "sources": [ { "pdf_page": 94, "source_image": "source-pages/bnf-094.png", "printed_page": 62, "bbox_pixels": [ 405, 1380, 1190, 1900 ], "crop_image": "assets/II.06-007.png" } ], "original_title": "Cadence rompuë dans le Mode majeur.", "english_title": "Interrupted Cadence in the Major Mode.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.06-007" ], "music_asset_refs": [ "II.06-007" ] }, { "id": "II.06-008", "type": "music", "section": "II.06", "lesson": 21, "exercise": 21, "reading_order": 659, "original": "Cadence rompuë dans le Mode mineur.", "english": "Interrupted Cadence in the Minor Mode.", "sources": [ { "pdf_page": 94, "source_image": "source-pages/bnf-094.png", "printed_page": 62, "bbox_pixels": [ 1580, 1380, 1010, 1900 ], "crop_image": "assets/II.06-008.png" } ], "original_title": "Cadence rompuë dans le Mode mineur.", "english_title": "Interrupted Cadence in the Minor Mode.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.06-008" ], "music_asset_refs": [ "II.06-008" ] }, { "id": "II.06-009", "type": "paragraph", "section": "II.06", "lesson": 21, "exercise": 21, "reading_order": 660, "original": "Que l’on confronte ces Exemples avec ceux de la Cadence parfaite, on n’y trouvera d’autre difference que celle de la Quinte à la Sixte, dans les parties marquées par un (A) ; que l’on mette ensuite la partie (A) de ces derniers Exemples au dessous de la Basse fondamentale ; l’on n’y trouvera plus qu’un accord de Septiéme, & un Parfait, selon nôtre premiere proposition, & c’est de cette maniere que la Cadence rompuë se pratique le plus souvent.", "english": "Compare these examples with those of the perfect cadence: the only difference is the substitution of the sixth for the fifth in the parts marked (A). Then place part (A) of these latter examples beneath the fundamental bass. We find only a seventh chord and a perfect chord, according to our first proposition. This is the most usual way of practicing the interrupted cadence.", "sources": [ { "pdf_page": 94, "source_image": "source-pages/bnf-094.png", "printed_page": 62, "bbox_pixels": [ 440, 3310, 2120, 260 ], "crop_image": "assets/II.06-009.png" }, { "pdf_page": 95, "source_image": "source-pages/bnf-095.png", "printed_page": 63, "bbox_pixels": [ 450, 395, 2120, 315 ], "crop_image": "assets/II.06-010.png" } ] }, { "id": "II.06-011", "type": "paragraph", "section": "II.06", "lesson": 21, "exercise": 21, "reading_order": 661, "original": "L’on peut renverser toutes ces parties, & en prendre à part 2, 3, ou 4 ; en se souvenant de n’employer la Basse fondamentale pour le Dessus, qu’autant que le bon goût le permet, & que la Cadence rompuë ne peut se faire sentir que dans la transposition de la Quinte à la Sixte, c’est à dire, en mettant la Sixte à la place de la Quinte qui se trouve dans l’Accord parfait qui termine la Cadence parfaite, puisque toutes les autres parties sont conformes dans l’une & l’autre Cadences.", "english": "All these parts may be inverted, and two, three, or four taken separately. Remember to use the fundamental bass as the soprano only insofar as good taste permits, and that the interrupted cadence can be felt only through the substitution of the sixth for the fifth—that is, by putting the sixth in place of the fifth in the perfect chord ending the perfect cadence, since every other part is the same in both cadences.", "sources": [ { "pdf_page": 95, "source_image": "source-pages/bnf-095.png", "printed_page": 63, "bbox_pixels": [ 450, 710, 2120, 600 ], "crop_image": "assets/II.06-011.png" } ] }, { "id": "II.06-012", "type": "paragraph", "section": "II.06", "lesson": 21, "exercise": 21, "reading_order": 662, "original": "Remarquez que lorsque la partie (A) sert de Basse, on entend dans les Accords, l’Octave de la Tierce, preferablement à celle de la Basse, parce que cette Tierce suppose pour lors le veritable Son fondamental, dont la replique ne peut déplaire, au lieu que dans une suite d’Harmonie parfaite, l’Octave de la Tierce preferée à celle du Son fondamental deviendroit défectueuse ; ce n’est pas à dire qu’on ne puisse mettre icy l’Octave de la Basse, au lieu de celle de la Tierce, mais il faut être auparavant bien assuré de ce que l’on fait, parce que cette Octave ne peut guere s’y faire entendre, sans tomber dans des fautes grossieres, où le jugement est pour lors necessaire ; & il ne faut jamais s’écarter du principe, qu’on ne le connoisse à fond.", "english": "Observe that when part (A) serves as the bass, the octave of the third is heard in the chords in preference to the octave of the bass. This third then stands for the true fundamental sound, whose replication cannot displease. In a succession of perfect harmony, by contrast, preferring the octave of the third to that of the fundamental sound would be faulty. This does not mean that the bass's octave cannot be used here instead of the third's; but one must first be fully certain of what one is doing, since that octave can hardly sound here without causing gross faults. Judgment is therefore necessary, and one should never depart from a principle without knowing it thoroughly.", "sources": [ { "pdf_page": 95, "source_image": "source-pages/bnf-095.png", "printed_page": 63, "bbox_pixels": [ 455, 1300, 2125, 900 ], "crop_image": "assets/II.06-012.png" } ] }, { "id": "II.07-001", "type": "heading", "section": "II.07", "lesson": 22, "exercise": 22, "reading_order": 663, "original": "CHAPITRE SEPTIÉME.", "english": "CHAPTER SEVEN.", "sources": [ { "pdf_page": 96, "source_image": "source-pages/bnf-096.png", "printed_page": 64, "bbox_pixels": [ 815, 510, 1390, 95 ], "crop_image": "assets/II.07-001.png" } ], "correction_refs": [ "supplement-039" ] }, { "id": "II.07-002", "type": "heading", "section": "II.07", "lesson": 22, "exercise": 22, "reading_order": 664, "original": "De la Cadence irreguliere.", "english": "On the Irregular Cadence.", "sources": [ { "pdf_page": 96, "source_image": "source-pages/bnf-096.png", "printed_page": 64, "bbox_pixels": [ 1070, 655, 875, 95 ], "crop_image": "assets/II.07-002.png" } ] }, { "id": "II.07-003", "type": "paragraph", "section": "II.07", "lesson": 22, "exercise": 22, "reading_order": 665, "original": "AU lieu que la Cadence parfaite se termine de la dominante à la Notte tonique ; celle-cy au contraire se termine de la Notte tonique à sa dominante, d’où nous luy donnons le nom d’irreguliere.", "english": "Whereas the perfect cadence concludes from the dominant to the tonic, this one, conversely, concludes from the tonic to its dominant; hence we call it irregular.", "sources": [ { "pdf_page": 96, "source_image": "source-pages/bnf-096.png", "printed_page": 64, "bbox_pixels": [ 440, 805, 2120, 230 ], "crop_image": "assets/II.07-003.png" } ] }, { "id": "II.07-004", "type": "paragraph", "section": "II.07", "lesson": 22, "exercise": 22, "reading_order": 666, "original": "L’Accord parfait est seul affecté aux Nottes de la basse fondamentale, dont se forment toutes les Cadences ; mais la même raison qui nous a fait alterer le premier Accord parfait des deux précedentes Cadences par l’addition d’un nouveau Son, d’où provient la dissonance ; ne pourroit-elle pas nous servir aussi à l’égard de celle-cy. Si nous avons prévû que la dissonance convenoit à la premiere Notte d’une Cadence ; nous ne croyons pas qu’il faille icy la fuir plûtôt que de la chercher, lorsque nous n’avons que cette occasion pour l’employer.", "english": "The perfect chord alone belongs to the fundamental-bass notes from which every cadence is formed. But could not the same reason that led us to alter the first perfect chord of the two preceding cadences by adding a new sound, producing dissonance, also serve us here? If we have recognized that dissonance suits a cadence's first note, we do not believe it should here be avoided rather than sought, when this is our only opportunity to use it.", "sources": [ { "pdf_page": 96, "source_image": "source-pages/bnf-096.png", "printed_page": 64, "bbox_pixels": [ 440, 1035, 2120, 675 ], "crop_image": "assets/II.07-004.png" } ] }, { "id": "II.07-005", "type": "paragraph", "section": "II.07", "lesson": 22, "exercise": 22, "reading_order": 667, "original": "Cette dissonance que nous ajoûterons icy, ne sera point-elle contre le Son fondamental ? ce sera une Sixte qui est consonante, mais qui formera dissonance avec la Quinte de ce Son fondamental ; & s’il semble que nous nous contredisions en cette occasion, vû que nous avons avancé que la septiéme étoit la source de toutes les dissonances ; l’on verra neanmoins que l’Accord dissonant formé de cette Sixte ajoûtée à l’Accord parfait, n’est autre que celuy de la grande Sixte renversée de celuy de la Septiéme. Voyez Livre premier, Chap. VIII. Art. IV. page 39.", "english": "Will the dissonance we add here be against the fundamental sound? It will be a sixth, which is consonant, but will form a dissonance with that fundamental sound's fifth. If this seems to contradict our assertion that the seventh is the source of every dissonance, observe nevertheless that the dissonant chord formed by adding this sixth to the perfect chord is none other than the great-sixth chord, inverted from the seventh chord. See Book I, Chapter VIII, Article IV, p. 39.", "sources": [ { "pdf_page": 96, "source_image": "source-pages/bnf-096.png", "printed_page": 64, "bbox_pixels": [ 440, 1710, 2120, 675 ], "crop_image": "assets/II.07-005.png" } ] }, { "id": "II.07-006", "type": "paragraph", "section": "II.07", "lesson": 22, "exercise": 22, "reading_order": 668, "original": "Il est vray que la dissonance ajoûtée icy ne suivra pas la progression naturelle à la septiéme, en quoy le terme d’irregulier peut luy convenir aussi-bien qu’à la Cadence où elle a lieu ; mais si l’on se souvient de ce que nous avons dit au sujet de la Dissonance mineure également formée de la Septiéme & de cette Sixte ajoûtée, laquelle semble n’être engendrée que pour adoucir l’imperfection de la Tierce, sur laquelle cette Dissonance va mourir ; l’on trouvera encore icy la verité de cette remarque ; cette Sixte ajoûtée se sauvant en montant sur la Tierce, au lieu que la Septiéme s’y sauve en descendant. Nous expliquons la raison de cette difference au Chap. XVIII.", "english": "It is true that the dissonance added here will not follow the seventh's natural progression; the term irregular therefore suits it as well as the cadence in which it occurs. But recall what we said of the minor dissonance, formed equally by the seventh and by this added sixth: it seems generated only to soften the imperfection of the third upon which it subsides. The truth of this observation appears here too. The added sixth resolves upward to the third, whereas the seventh resolves downward to it. We explain the reason for this difference in Chapter XVIII.", "sources": [ { "pdf_page": 96, "source_image": "source-pages/bnf-096.png", "printed_page": 64, "bbox_pixels": [ 440, 2385, 2120, 825 ], "crop_image": "assets/II.07-006.png" } ] }, { "id": "II.07-007", "type": "paragraph", "section": "II.07", "lesson": 22, "exercise": 22, "reading_order": 669, "original": "Comme c’est le propre de la quatriéme Notte de porter un accord de grande Sixte, & que celuy de la Notte tonique est de porter le parfait ; on peut prendre le change en cette occasion, en formant encore cette Cadence irreguliere de ces deux dernieres Nottes.", "english": "Since the fourth note characteristically bears a great-sixth chord, and the tonic a perfect chord, we may make a substitution here and form the irregular cadence from these latter two notes as well.", "sources": [ { "pdf_page": 96, "source_image": "source-pages/bnf-096.png", "printed_page": 64, "bbox_pixels": [ 440, 3210, 2120, 375 ], "crop_image": "assets/II.07-007.png" } ] }, { "id": "II.07-008", "type": "heading", "section": "II.07", "lesson": 22, "exercise": 22, "reading_order": 670, "original": "EXEMPLES.", "english": "EXAMPLES.", "sources": [ { "pdf_page": 97, "source_image": "source-pages/bnf-097.png", "printed_page": 65, "bbox_pixels": [ 1040, 405, 815, 105 ], "crop_image": "assets/II.07-008.png" } ] }, { "id": "II.07-009", "type": "music", "section": "II.07", "lesson": 22, "exercise": 22, "reading_order": 671, "original": "Cadence irreguliere dans le Mode maj.", "english": "Irregular Cadence in the Major Mode.", "sources": [ { "pdf_page": 97, "source_image": "source-pages/bnf-097.png", "printed_page": 65, "bbox_pixels": [ 400, 555, 1030, 1400 ], "crop_image": "assets/II.07-009.png" } ], "original_title": "Cadence irreguliere dans le Mode maj.", "english_title": "Irregular Cadence in the Major Mode.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.07-009" ], "music_asset_refs": [ "II.07-009" ] }, { "id": "II.07-010", "type": "music", "section": "II.07", "lesson": 22, "exercise": 22, "reading_order": 672, "original": "Cadence irreguliere dans le Mode min.", "english": "Irregular Cadence in the Minor Mode.", "sources": [ { "pdf_page": 97, "source_image": "source-pages/bnf-097.png", "printed_page": 65, "bbox_pixels": [ 1500, 555, 1040, 1400 ], "crop_image": "assets/II.07-010.png" } ], "original_title": "Cadence irreguliere dans le Mode min.", "english_title": "Irregular Cadence in the Minor Mode.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.07-010" ], "music_asset_refs": [ "II.07-010" ] }, { "id": "II.07-011", "type": "paragraph", "section": "II.07", "lesson": 22, "exercise": 22, "reading_order": 673, "original": "Pour que la Notte qui termine cette Cadence puisse passer pour Dominante, il n’y a qu’à luy donner toûjours la Tierce majeure ; la difference du Mode ne pouvant paroître pour lors que dans la Tierce de la Notte tonique, qui doit preceder en ce cas la Dominante.", "english": "For the note ending this cadence to be regarded as a dominant, we need only give it a major third every time. The difference of mode can then appear only in the third of the tonic, which in this case must precede the dominant.", "sources": [ { "pdf_page": 97, "source_image": "source-pages/bnf-097.png", "printed_page": 65, "bbox_pixels": [ 415, 2020, 2130, 395 ], "crop_image": "assets/II.07-011.png" } ] }, { "id": "II.07-012", "type": "paragraph", "section": "II.07", "lesson": 22, "exercise": 22, "reading_order": 674, "original": "Le Sʳ Masson qui ne parle point comme nous de cette Cadence, en donne cependant un Exemple, mais par renversement, & dans des Accords dont il ignore l’origine ; car il traite de Triton (A.) ce qui n’est au fond qu’une Quarte, qui se trouve alterée par rapport à la Modulation ; mais bien plus, ce qui n’est qu’une Sixte à l’égard de la Basse fondamentale.", "english": "Although Monsieur Masson does not discuss this cadence as we do, he nevertheless gives an example of it, but in inversion and in chords whose origin he does not know. He calls a tritone (A) what is fundamentally only a fourth altered by modulation—or rather, what is merely a sixth in relation to the fundamental bass.", "sources": [ { "pdf_page": 97, "source_image": "source-pages/bnf-097.png", "printed_page": 65, "bbox_pixels": [ 415, 2400, 2130, 450 ], "crop_image": "assets/II.07-012.png" } ] }, { "id": "II.07-013", "type": "heading", "section": "II.07", "lesson": 22, "exercise": 22, "reading_order": 675, "original": "EXEMPLE", "english": "EXAMPLE", "sources": [ { "pdf_page": 98, "source_image": "source-pages/bnf-098.png", "printed_page": 66, "bbox_pixels": [ 1175, 435, 700, 85 ], "crop_image": "assets/II.07-013.png" } ] }, { "id": "II.07-014", "type": "paragraph", "section": "II.07", "lesson": 22, "exercise": 22, "reading_order": 676, "original": "Du Sʳ. Masson, où l’on connoîtra par le moyen de la Basse fondamentale que nous y ajoûtons, que la Cadence irreguliere y est renversée.", "english": "By Monsieur Masson. The fundamental bass we add will show that the irregular cadence appears here in inversion.", "sources": [ { "pdf_page": 98, "source_image": "source-pages/bnf-098.png", "printed_page": 66, "bbox_pixels": [ 440, 550, 2130, 155 ], "crop_image": "assets/II.07-014.png" } ] }, { "id": "II.07-015", "type": "music", "section": "II.07", "lesson": 22, "exercise": 22, "reading_order": 677, "original": "Basse fondamentale ajoûtée.", "english": "Added Fundamental Bass.", "sources": [ { "pdf_page": 98, "source_image": "source-pages/bnf-098.png", "printed_page": 66, "bbox_pixels": [ 580, 710, 1810, 1270 ], "crop_image": "assets/II.07-015.png" } ], "original_title": "Basse fondamentale ajoûtée.", "english_title": "Added Fundamental Bass.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.07-015" ], "music_asset_refs": [ "II.07-015" ] }, { "id": "II.07-016", "type": "paragraph", "section": "II.07", "lesson": 22, "exercise": 22, "reading_order": 678, "original": "Au reste, cette Sixte ajoûtée peut toûjours être retranchée de l’Accord parfait, puisque nous ne l’a devons qu’au bon goût ; mais la diversité qu’elle cause, la facilité qu’elle apporte dans une composition à 4, à 5, & à 6 parties, & les chants agreables qui en naissent, doivent nous la faire souhaiter, plûtôt que de la rejetter, & nous ne pouvons que loüer ceux qui l’ont pratiquée les premiers.", "english": "Moreover, this added sixth may always be removed from the perfect chord, since we owe it only to good taste. But the variety it creates, the ease it brings to composition in four, five, and six parts, and the pleasing melodies arising from it should make us desire rather than reject it. We can only praise those who first used it.", "sources": [ { "pdf_page": 98, "source_image": "source-pages/bnf-098.png", "printed_page": 66, "bbox_pixels": [ 435, 2035, 2130, 525 ], "crop_image": "assets/II.07-016.png" } ] }, { "id": "II.07-017", "type": "paragraph", "section": "II.07", "lesson": 22, "exercise": 22, "reading_order": 679, "original": "Il étoit à propos de parler de ces trois Cadences avant toute chose, pour prouver que l’Harmonie ne consiste que dans l’Accord parfait & dans celuy de la Septiéme, puisque toute la diversité qu’on peut y apporter ne provient que du renversement de ces Accords, pouvant encore faire entendre le Dissonant par supposition ou par emprunt ; mais sa progression est toûjours conforme à celle que nous luy avons donnée dans ces dernieres Cadences, sur tout à l’égard des parties qui font dissonance entr’elles ; & si-tôt que l’on connoît l’origine d’un Accord dissonant, il n’est pas difficile de sçavoir celuy qui doit le suivre ; de quelque maniere que la Basse soit disposée pour ce qui est de l’Accord consonant, sa route est moins limitée, & quand on sçaura ce que c’est que moduler, sur quelles Nottes d’un Ton les Accords dérivez doivent se faire, comment l’on prepare & l’on sauve les Dissonances, & à quelles sortes de progressions de la Basse le tout doit se conformer, l’on verra combien la connoissance de ces trois précedentes Cadences est necessaire, puisque les differentes progressions de toutes les Dissonances y sont renfermées.", "english": "It was appropriate to discuss these three cadences before anything else, to prove that harmony consists only of the perfect chord and seventh chord. Every variety introduced into it arises only from their inversion, though the dissonant chord may also be heard through supposition or borrowing. Its progression always conforms to that assigned in these cadences, especially in the parts dissonant with one another. As soon as the origin of a dissonant chord is known, it is not difficult to know what chord should follow, however the bass is arranged. The consonant chord's course is less restricted. Once we know what modulation is, on which notes of a key the derived chords should occur, how dissonances are prepared and resolved, and to what kinds of bass progression all this must conform, we shall see how necessary knowledge of these three cadences is: they contain every different progression of dissonances.", "sources": [ { "pdf_page": 98, "source_image": "source-pages/bnf-098.png", "printed_page": 66, "bbox_pixels": [ 435, 2560, 2130, 985 ], "crop_image": "assets/II.07-017.png" }, { "pdf_page": 99, "source_image": "source-pages/bnf-099.png", "printed_page": 67, "bbox_pixels": [ 435, 355, 2125, 400 ], "crop_image": "assets/II.07-018.png" } ] }, { "id": "II.08-001", "type": "heading", "section": "II.08", "lesson": 23, "exercise": 23, "reading_order": 680, "original": "CHAPITRE HUITIEME.\nDe l’Imitation des Cadences par renversement.", "english": "CHAPTER EIGHT.\nOn Imitating Cadences by Inversion.", "sources": [ { "pdf_page": 99, "source_image": "source-pages/bnf-099.png", "printed_page": 67, "bbox_pixels": [ 420, 880, 2160, 235 ], "crop_image": "assets/II.08-001.png" } ] }, { "id": "II.08-002", "type": "paragraph", "section": "II.08", "lesson": 23, "exercise": 23, "reading_order": 681, "original": "Lorsque l’on veut imiter une Cadence par renversement, il faut en retrancher ordinairement la Basse fondamentale, & prendre pour Basse, telle autre partie que l’on juge à propos en diversifiant même la progression des Sons qui ne font point dissonance ensemble, comme le Son fondamental & sa Quinte, ce qui est expliqué au troisiéme Livre de ces differentes parties qui forment chacune à leur tour, la Basse ou le Dessus : L’on tire toute la mélodie imaginable, l’on diversifie l’Harmonie, en faisant rencontrer dans la Basse un Son contenu dans l’Accord fondamental, au lieu du Son fondamental même, & l’on trouve sous ses pas une suite innombrable de chants & d’accords, dont on forme à son gré une Piece de Musique, qui reveille l’Auditeur à tout moment par la diversité que cause ce renversement. Ceux qui ont été sensibles à ce renversement, ne l’ont point puisé dans son origine, leurs regles & leurs Exemples en font foy, autant d’accords differents, autant d’Exemples differens, & autant de regles differentes ; celuy-cy dit que la Septiéme se sauve par la Tierce, par la Quinte, par l’Octave, par la Sixte ; celuy-là dit que la fausse-Quinte se sauve par la Tierce, par la Quarte, par le Triton, par la Neuviéme, soit en descendant, soit en montant, soit en tenant ferme ; enfin, c’est ainsi que l’on rend les sciences obscures, en citant chacune de leur partie en particulier, lorsqu’elles peuvent être renfermées dans un tout simple & intelligible. Si la dissonance de la Septiéme peut être distinguée en fausse-Quinte, en Seconde, en Neuviéme ou en Onziéme, & si elle peut se sauver par des intervales differens, cela ne provient que de la differente progression de la Basse, qui en passant sur des Sons dérivez d’un Accord fondamental, donne une forme differente aux intervales, par rapport à la comparaison que l’on en fait avec ces Sons dérivez ; mais les Accords sont toûjours les mêmes, quoique disposez differemment, & leur progression ne change point ; si l’intervale change en apparence, qu’on le rapporte à son fondement, il sera toûjours le même ; les Basses fondamentales que nous avons soin de mettre au dessous de tous nos Exemples, en sont une preuve certaine, ne s’agissant que de rendre les choses sensibles, comme nous esperons de le faire.", "english": "To imitate a cadence by inversion, we ordinarily remove the fundamental bass and take whichever other part seems suitable as the bass. We may even vary the progression of sounds that are not dissonant with one another, such as the fundamental and its fifth, as explained in Book III. From these different parts, each serving in turn as bass or soprano, we draw every imaginable melody. We vary harmony by placing in the bass a sound contained in the fundamental chord instead of the fundamental sound itself. We thus find at every step innumerable successions of melodies and chords from which to fashion a musical piece at will, constantly awakening the listener through the variety produced by inversion. Those who have felt the effects of inversion have not traced it to its origin: their rules and examples bear witness. For every different chord, a different example and a different rule. One says the seventh resolves by the third, fifth, octave, or sixth; another says the diminished fifth resolves by the third, fourth, tritone, or ninth, whether descending, ascending, or remaining stationary. This is how sciences are made obscure: each part is cited separately when all could be contained in a simple, intelligible whole. If the dissonance of the seventh can be identified as a diminished fifth, second, ninth, or eleventh, and can resolve through different intervals, this arises only from the bass's different progression. By passing through sounds derived from a fundamental chord, the bass gives the intervals a different form relative to these derived sounds. But the chords remain the same, though differently arranged, and their progression does not change. If an interval appears to change, relate it to its foundation: it will always be the same. The fundamental basses we carefully place beneath all our examples provide certain proof. It is only a matter of making things perceptible, as we hope to do.", "sources": [ { "pdf_page": 99, "source_image": "source-pages/bnf-099.png", "printed_page": 67, "bbox_pixels": [ 410, 1175, 2180, 2320 ], "crop_image": "assets/II.08-002.png" }, { "pdf_page": 100, "source_image": "source-pages/bnf-100.png", "printed_page": 68, "bbox_pixels": [ 445, 365, 2170, 320 ], "crop_image": "assets/II.08-003.png" } ] }, { "id": "II.09-001", "type": "heading", "section": "II.09", "lesson": 24, "exercise": 24, "reading_order": 682, "original": "CHAPITRE NEUVIEME.\nDe la maniere d’éviter les Cadences, en les imitant.", "english": "CHAPTER NINE.\nOn Avoiding Cadences while Imitating Them.", "sources": [ { "pdf_page": 100, "source_image": "source-pages/bnf-100.png", "printed_page": 68, "bbox_pixels": [ 410, 800, 2200, 250 ], "crop_image": "assets/II.09-001.png" } ], "correction_refs": [ "supplement-091", "supplement-093", "supplement-095" ] }, { "id": "II.09-002", "type": "paragraph", "section": "II.09", "lesson": 24, "exercise": 24, "reading_order": 683, "original": "C’est déja éviter les Cadences, que de ne les imiter qu’en partie ; mais nous nous servons plus précisément du terme d’éviter, dans les accords où il est permis d’alterer ceux dont se forment les Cadences. Cette maniere est infinie, quoiqu’on puisse la reduire à un principe tres-simple, selon l’explication suivante.", "english": "To imitate cadences only in part is already to avoid them. More precisely, however, we use the term avoid for cases in which the chords forming the cadences may be altered. This practice has endless forms, although it can be reduced to a very simple principle, as follows.", "sources": [ { "pdf_page": 100, "source_image": "source-pages/bnf-100.png", "printed_page": 68, "bbox_pixels": [ 410, 1100, 2200, 395 ], "crop_image": "assets/II.09-002.png" } ] }, { "id": "II.09-003", "type": "paragraph", "section": "II.09", "lesson": 24, "exercise": 24, "reading_order": 684, "original": "L’accord consonant peut être alteré par l’addition d’une Tierce, qui y introduit la dissonance de la Septiéme ; & le dissonant peut l’être en rendant mineure la Tierce qui se trouve naturellement majeure dans les Dominantes, pouvant ainsi conduire une assez longue suite de chant & d’Harmonie, sans y introduire aucune conclusion.", "english": "A consonant chord can be altered by adding a third, introducing the dissonance of the seventh. A dissonant chord can be altered by making minor the third that is naturally major in dominants. In this way a fairly long succession of melody and harmony can be sustained without introducing any conclusion.", "sources": [ { "pdf_page": 100, "source_image": "source-pages/bnf-100.png", "printed_page": 68, "bbox_pixels": [ 410, 1490, 2200, 455 ], "crop_image": "assets/II.09-003.png" } ] }, { "id": "II.09-004", "type": "paragraph", "section": "II.09", "lesson": 24, "exercise": 24, "reading_order": 685, "original": "Il faut remarquer avant toute chose, que nous ne donnons le nom de Tonique qu’aux Nottes qui portent l’Accord parfait, & celuy de Dominante qu’à celles qui portent l’accord de la Septiéme ; que la Notte tonique ne peut paroître qu’après une Dominante dont la Tierce est majeure, & dont cette Tierce fait la fausse-Quinte avec sa Septiéme, que si la Tierce de cette Dominante n’est point majeure, & que les intervales de la fausse-Quinte ou du Triton n’y ayent point lieu entre sa Tierce & sa Septiéme, elle ne peut être suivie que d’une autre Dominante ; qu’ainsi il est à propos de distinguer ces Dominantes en appellant Dominantes toniques, celles qui contiendront dans leur accord de septiéme un intervale de fausse-Quinte ou de Triton, & simplement Dominantes, celles où ces intervales ne paroîtront point ; de sorte que par la differente construction de ces accords de Septiéme, l’on distinguera d’abord une Cadence de son imitation, & l’on sçaura si la Notte qui suit est tonique, & par consequent l’accord que chaque Notte doit porter, ne s’agissant icy que des Accords fondamentaux, dans la progression fondamentale de la Basse.", "english": "First observe that we give the name tonic only to notes bearing the perfect chord, and dominant only to those bearing the seventh chord. A tonic can appear only after a dominant whose third is major and forms a diminished fifth with its seventh. If that dominant's third is not major, and neither a diminished fifth nor a tritone occurs between its third and seventh, it can be followed only by another dominant. We should therefore distinguish these dominants: call those whose seventh chords contain a diminished fifth or tritone tonic dominants, and those without these intervals simply dominants. Their different seventh-chord structures immediately distinguish a cadence from its imitation and tell us whether the following note is tonic, and consequently which chord every note must bear. We are concerned here only with fundamental chords in the bass's fundamental progression.", "sources": [ { "pdf_page": 100, "source_image": "source-pages/bnf-100.png", "printed_page": 68, "bbox_pixels": [ 410, 1940, 2200, 1350 ], "crop_image": "assets/II.09-004.png" } ] }, { "id": "II.09-005", "type": "paragraph", "section": "II.09", "lesson": 24, "exercise": 24, "reading_order": 686, "original": "Si nous commençons à present par la Cadence parfaite, nous en tirerons d’abord un principe certain, qui est que dans toute progression de Quinte en descendant, ou de Quarte en montant (ce qui est la même chose.) Le premier Son peut & doit même porter un accord de Septiéme ; si la fausse-Quinte ou le Triton n’ont point lieu entre la Tierce & la Septiéme de cet accord, il est certain que le Son suivant ne sera point Notte tonique, donc il faudra qu’il porte encore un accord de Septiéme, & ainsi consecutivement jusqu’à ce que l’un de ces intervales s’y rencontre, entre la Tierce & la Septiéme, ou pour lors la Notte sensible déterminera que la Notte tonique doit suivre, en remarquant que si nous sous-entendons un accord de Septiéme dans le premier Son d’un intervale de Quinte en descendant, cette progression doit être également sous-entenduë après un accord de Septiéme, excepté qu’on ne veuille imiter en ce cas la Cadence rompuë, ou quelques licences dont nous parlerons dans la suite : Au reste le nombre de ces accords de Septiéme & des intervales par où la Basse doit passer en pareil cas, n’est borné que par la Modulation.", "english": "Beginning with the perfect cadence, we immediately derive a certain principle: in every progression descending a fifth or ascending a fourth, which amount to the same thing, the first sound may and indeed should bear a seventh chord. If no diminished fifth or tritone occurs between this chord's third and seventh, the following sound will certainly not be tonic. It must therefore bear another seventh chord, and so on until one of those intervals occurs between the third and seventh. The leading note will then determine that the tonic must follow. Observe that if we understand a seventh chord as implied on the first sound of a descending fifth, this progression must likewise be understood as implied after a seventh chord, unless we wish to imitate the interrupted cadence or use certain licenses discussed later. The number of seventh chords and intervals through which the bass may pass in such a case is limited only by modulation.", "sources": [ { "pdf_page": 100, "source_image": "source-pages/bnf-100.png", "printed_page": 68, "bbox_pixels": [ 410, 3290, 2200, 235 ], "crop_image": "assets/II.09-005.png" }, { "pdf_page": 101, "source_image": "source-pages/bnf-101.png", "printed_page": 69, "bbox_pixels": [ 410, 390, 2200, 1160 ], "crop_image": "assets/II.09-006.png" } ] }, { "id": "II.09-007", "type": "heading", "section": "II.09", "lesson": 24, "exercise": 24, "reading_order": 687, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 101, "source_image": "source-pages/bnf-101.png", "printed_page": 69, "bbox_pixels": [ 410, 1580, 2200, 95 ], "crop_image": "assets/II.09-007.png" } ] }, { "id": "II.09-008", "type": "music", "section": "II.09", "lesson": 24, "exercise": 24, "reading_order": 688, "original": "Accords de Septiéme et cadence parfaite évitée.", "english": "Seventh Chords and an Avoided Perfect Cadence.", "sources": [ { "pdf_page": 101, "source_image": "source-pages/bnf-101.png", "printed_page": 69, "bbox_pixels": [ 410, 1680, 2160, 1100 ], "crop_image": "assets/II.09-008.png" } ], "original_title": "Accords de Septiéme et cadence parfaite évitée.", "english_title": "Seventh Chords and an Avoided Perfect Cadence.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.09-008" ], "music_asset_refs": [ "II.09-008" ] }, { "id": "II.09-009", "type": "paragraph", "section": "II.09", "lesson": 24, "exercise": 24, "reading_order": 689, "original": "Les Nottes A, B, C. portent chacune un accord de Septiéme, où l’on trouve même progression, d’A à B, de B à C, que de C à la Notte tonique, ainsi A, B, & B, C nous representent une espece de Cadence parfaite, qui est évitée par la Tierce mineure qui se trouve dans leurs accords de Septiéme, & qui se fait sentir à C, par la Tierce majeure, qui introduit un intervale de Triton, où se détermine la conclusion sur la Notte tonique ; l’on peut pousser plus loin cette maniere d’éviter la Cadence parfaite, en changeant pour lors de Ton, & rendant par consequent Dominante, la Notte tonique, en y ajoûtant une Septiéme ; si la Septiéme qu’on y ajoûtera n’introduit point l’intervale de fausse-Quinte ou de Triton ; cette Notte tonique deviendra simplement Dominante, sinon elle deviendra Dominante tonique, le tout étant libre lorsqu’on est guidé par une bonne modulation ; c’est en la rendant Dominante tonique que l’on introduit le genre chromatique dans l’Harmonie ; nous en parlerons au troisiéme Livre.", "english": "Notes A, B, and C each bear a seventh chord, with the same progression from A to B and B to C as from C to the tonic. Thus A–B and B–C represent a kind of perfect cadence avoided through the minor third in their seventh chords. At C the cadence becomes perceptible through the major third, which introduces a tritone and determines the conclusion on the tonic. We can carry this avoidance further by changing key and consequently making the tonic a dominant through an added seventh. If the added seventh introduces neither a diminished fifth nor a tritone, the tonic becomes a simple dominant; otherwise it becomes a tonic dominant. Either is permitted when good modulation guides us. Making it a tonic dominant introduces the chromatic genus into harmony; we shall discuss this in Book III.", "sources": [ { "pdf_page": 101, "source_image": "source-pages/bnf-101.png", "printed_page": 69, "bbox_pixels": [ 410, 2780, 2200, 770 ], "crop_image": "assets/II.09-009.png" }, { "pdf_page": 102, "source_image": "source-pages/bnf-102.png", "printed_page": 70, "bbox_pixels": [ 410, 335, 2200, 450 ], "crop_image": "assets/II.09-010.png" } ] }, { "id": "II.09-011", "type": "paragraph", "section": "II.09", "lesson": 24, "exercise": 24, "reading_order": 690, "original": "La Cadence irreguliere ne peut s’éviter dans le premier accord, parce qu’on ne peut changer du mineur au majeur, ou du majeur au mineur, la dissonance qu’on y entend ; mais on l’évitera dans le second accord, en y ajoûtant une Sixte ou une Septiéme, ce qui prepare une autre Cadence, qu’il est encore permis d’éviter, & ainsi de suite.", "english": "The irregular cadence cannot be avoided in its first chord, since its dissonance cannot be changed from minor to major or major to minor. It can be avoided in the second chord by adding a sixth or seventh, preparing another cadence that may in turn be avoided, and so on.", "sources": [ { "pdf_page": 102, "source_image": "source-pages/bnf-102.png", "printed_page": 70, "bbox_pixels": [ 410, 785, 2200, 445 ], "crop_image": "assets/II.09-011.png" } ] }, { "id": "II.09-012", "type": "paragraph", "section": "II.09", "lesson": 24, "exercise": 24, "reading_order": 691, "original": "La Cadence rompuë s’évite de même que la parfaite, avec la difference, que si l’on change la Tierce majeure de la premiere Notte en mineure, l’on ne peut rendre Dominante tonique la Notte qui suit, & il faut être même capable d’un juste discernement lorsqu’on veut la rendre telle, de quelque façon qu’elle ait été précédée dans cette Cadence.", "english": "The interrupted cadence is avoided like the perfect cadence, with this difference: if the first note's major third is made minor, the following note cannot be made a tonic dominant. Indeed, sound judgment is required whenever one wishes to make it such, however it has been approached in this cadence.", "sources": [ { "pdf_page": 102, "source_image": "source-pages/bnf-102.png", "printed_page": 70, "bbox_pixels": [ 410, 1235, 2200, 445 ], "crop_image": "assets/II.09-012.png" } ] }, { "id": "II.09-013", "type": "paragraph", "section": "II.09", "lesson": 24, "exercise": 24, "reading_order": 692, "original": "L’on peut encore éviter la Cadence parfaite, & la rompuë dans leur imitation même, en ajoûtant une Sixte au lieu de la Septiéme à toutes les secondes Nottes de ces Cadences, pourvû que la Quinte s’y trouve preparée par l’Octave, ou par la Tierce de la Notte précédente, parce que la Quinte represente pour lors le Son aigu de la dissonance. L’accord qui resulte de cette Sixte ajoûtée, étant celuy de la grande Sixte, qui est renversée de celuy de la Septiéme, il peut en provenir une Cadence irreguliere, ou par renversement, une imitation d’une Cadence parfaite ou rompuë, évitée.", "english": "We can also avoid perfect and interrupted cadences even in their imitation, by adding a sixth instead of a seventh to every second note of these cadences, provided the fifth is prepared by the preceding note's octave or third: the fifth then represents the upper sound of the dissonance. The added sixth produces the great-sixth chord, an inversion of the seventh chord. It can therefore give rise to an irregular cadence, or through inversion to an imitation of an avoided perfect or interrupted cadence.", "sources": [ { "pdf_page": 102, "source_image": "source-pages/bnf-102.png", "printed_page": 70, "bbox_pixels": [ 410, 1680, 2200, 710 ], "crop_image": "assets/II.09-013.png" } ] }, { "id": "II.09-014", "type": "heading", "section": "II.09", "lesson": 24, "exercise": 24, "reading_order": 693, "original": "EXEMPLE DU TOUT.", "english": "EXAMPLE OF THE WHOLE.", "sources": [ { "pdf_page": 103, "source_image": "source-pages/bnf-103.png", "printed_page": 71, "bbox_pixels": [ 410, 435, 2200, 100 ], "crop_image": "assets/II.09-014.png" } ] }, { "id": "II.09-015", "type": "music", "section": "II.09", "lesson": 24, "exercise": 24, "reading_order": 694, "original": "Exemple du tout : cadences évitées et basse fondamentale.", "english": "Complete Example: Avoided Cadences and Fundamental Bass.", "sources": [ { "pdf_page": 103, "source_image": "source-pages/bnf-103.png", "printed_page": 71, "bbox_pixels": [ 405, 570, 2185, 2010 ], "crop_image": "assets/II.09-015.png" } ], "original_title": "Exemple du tout : cadences évitées et basse fondamentale.", "english_title": "Complete Example: Avoided Cadences and Fundamental Bass.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.09-015" ], "music_asset_refs": [ "II.09-015" ] }, { "id": "II.09-016", "type": "paragraph", "section": "II.09", "lesson": 24, "exercise": 24, "reading_order": 695, "original": "A. A. A. D. E. F. S. T. Cadences parfaites évitées, en ce que la fausse-Quinte ny le Triton ne se trouvent point dans le premier accord, entre la Tierce & la Septiéme de la Notte qui est à la Basse fondamentale.", "english": "A. A. A. D. E. F. S. T. Perfect cadences avoided because neither the diminished fifth nor the tritone occurs in the first chord between the third and seventh of the fundamental-bass note.", "sources": [ { "pdf_page": 103, "source_image": "source-pages/bnf-103.png", "printed_page": 71, "bbox_pixels": [ 410, 2585, 2200, 305 ], "crop_image": "assets/II.09-016.png" } ] }, { "id": "II.09-017", "type": "paragraph", "section": "II.09", "lesson": 24, "exercise": 24, "reading_order": 696, "original": "B. C. O. P. R. S. Cadences rompuës évitées par une Septiéme ajoûtée à la seconde Notte de la Basse fondamentale, c’est à dire aux Nottes C. P. & S.", "english": "B. C. O. P. R. S. Interrupted cadences avoided by adding a seventh to the second fundamental-bass note, namely C, P, and S.", "sources": [ { "pdf_page": 103, "source_image": "source-pages/bnf-103.png", "printed_page": 71, "bbox_pixels": [ 410, 2890, 2200, 225 ], "crop_image": "assets/II.09-017.png" } ] }, { "id": "II.09-018", "type": "paragraph", "section": "II.09", "lesson": 24, "exercise": 24, "reading_order": 697, "original": "B. C. R. S. Cadences parfaites évitées par une Sixte ajoûtée à la seconde Notte de la Basse-continuë.", "english": "B. C. R. S. Perfect cadences avoided by adding a sixth to the second continuo-bass note.", "sources": [ { "pdf_page": 103, "source_image": "source-pages/bnf-103.png", "printed_page": 71, "bbox_pixels": [ 410, 3110, 2200, 155 ], "crop_image": "assets/II.09-018.png" } ] }, { "id": "II.09-019", "type": "paragraph", "section": "II.09", "lesson": 24, "exercise": 24, "reading_order": 698, "original": "C. D. Cadence rompuë évitée, en ce que la fausse-Quinte ny le Triton ne se rencontrent point dans le premier accord de la Basse fondamentale, & que la Septiéme est ajoûtée à l’Accord parfait de la Notte D.", "english": "C. D. Interrupted cadence avoided because neither the diminished fifth nor the tritone occurs in the first fundamental-bass chord, and a seventh is added to the perfect chord on D.", "sources": [ { "pdf_page": 103, "source_image": "source-pages/bnf-103.png", "printed_page": 71, "bbox_pixels": [ 410, 3260, 2200, 290 ], "crop_image": "assets/II.09-019.png" } ] }, { "id": "II.09-020", "type": "paragraph", "section": "II.09", "lesson": 24, "exercise": 24, "reading_order": 699, "original": "D. E. S. T, suite ordinaire de la Cadence évitée dans la Basse-continuë.", "english": "D. E. S. T. The ordinary succession of the avoided cadence in the continuo bass.", "sources": [ { "pdf_page": 104, "source_image": "source-pages/bnf-104.png", "printed_page": 72, "bbox_pixels": [ 410, 355, 2200, 145 ], "crop_image": "assets/II.09-020.png" } ] }, { "id": "II.09-021", "type": "paragraph", "section": "II.09", "lesson": 24, "exercise": 24, "reading_order": 700, "original": "F. G. Cadence irreguliere évitée par une Septiéme ajoûtée à la Notte G. Il se trouve icy quelques licences dont nous parlerons au Chap. XIII. Et souvenez-vous, en attendant, que si l’on faisoit servir de Basse la partie Y, il faudroit faire passer celle qui est au dessous sur le guidon Z, plûtôt que sur la Notte qui se trouve dans le même temps.", "english": "F. G. Irregular cadence avoided by adding a seventh to G. Certain licenses occur here, which we shall discuss in Chapter XIII. Meanwhile, remember that if part Y served as the bass, the part beneath it would have to move to custos Z rather than to the note occurring at the same time.", "sources": [ { "pdf_page": 104, "source_image": "source-pages/bnf-104.png", "printed_page": 72, "bbox_pixels": [ 410, 500, 2200, 465 ], "crop_image": "assets/II.09-021.png" } ] }, { "id": "II.09-022", "type": "paragraph", "section": "II.09", "lesson": 24, "exercise": 24, "reading_order": 701, "original": "A. B, G. H, I. L. La Tierce majeure de la premiere Notte renduë ensuite mineure introduit une fausse-Quinte dans l’accord suivant, qui rend les Nottes B, H, L. Dominantes toniques, de Nottes toniques qu’elles devoient être ; c’est ainsi que se pratique le genre Chromatique, dont nous ne parlerons qu’au Livre suivant. Voyez, en attendant l’une des parties superieures qui descend en cet endroit par semi-Tons.", "english": "A. B. G. H. I. L. The first note's major third, subsequently made minor, introduces a diminished fifth into the following chord, turning B, H, and L into tonic dominants instead of the tonics they were to have been. This is how the chromatic genus is practiced, which we shall discuss only in the following book. Meanwhile, observe one of the upper parts descending here by semitones.", "sources": [ { "pdf_page": 104, "source_image": "source-pages/bnf-104.png", "printed_page": 72, "bbox_pixels": [ 410, 960, 2200, 520 ], "crop_image": "assets/II.09-022.png" } ] }, { "id": "II.09-023", "type": "paragraph", "section": "II.09", "lesson": 24, "exercise": 24, "reading_order": 702, "original": "E. F, Cadence parfaite évitée sur la Notte E. par une Tierce mineure, & sur la Notte F. par une Sixte ajoûtée ; au lieu qu’il est plus naturel d’y ajoûter la Septiéme, sur tout lorsqu’elle s’y trouve preparée.", "english": "E. F. Perfect cadence avoided on E through a minor third, and on F through an added sixth, although adding the seventh is more natural, especially when it is prepared.", "sources": [ { "pdf_page": 104, "source_image": "source-pages/bnf-104.png", "printed_page": 72, "bbox_pixels": [ 410, 1480, 2200, 310 ], "crop_image": "assets/II.09-023.png" } ] }, { "id": "II.09-024", "type": "paragraph", "section": "II.09", "lesson": 24, "exercise": 24, "reading_order": 703, "original": "N. O, P. Q. Licences dont nous parlerons ailleurs.", "english": "N. O. P. Q. Licenses to be discussed elsewhere.", "sources": [ { "pdf_page": 104, "source_image": "source-pages/bnf-104.png", "printed_page": 72, "bbox_pixels": [ 410, 1790, 2200, 80 ], "crop_image": "assets/II.09-024.png" } ] }, { "id": "II.09-025", "type": "paragraph", "section": "II.09", "lesson": 24, "exercise": 24, "reading_order": 704, "original": "M. N, Deux Accords parfaits consecutifs dans une progression consonante de la Basse.", "english": "M. N. Two consecutive perfect chords over a consonant bass progression.", "sources": [ { "pdf_page": 104, "source_image": "source-pages/bnf-104.png", "printed_page": 72, "bbox_pixels": [ 410, 1870, 2200, 145 ], "crop_image": "assets/II.09-025.png" } ] }, { "id": "II.09-026", "type": "paragraph", "section": "II.09", "lesson": 24, "exercise": 24, "reading_order": 705, "original": "L. M, T. V, Cadences parfaites.", "english": "L. M. T. V. Perfect cadences.", "sources": [ { "pdf_page": 104, "source_image": "source-pages/bnf-104.png", "printed_page": 72, "bbox_pixels": [ 410, 2015, 2200, 80 ], "crop_image": "assets/II.09-026.png" } ] }, { "id": "II.09-027", "type": "paragraph", "section": "II.09", "lesson": 24, "exercise": 24, "reading_order": 706, "original": "X, Il est à propos de transposer quelquefois les parties une Octave plus-haut, ou plus-bas, pour les remettre dans leur portée naturelle ; pourvû que cela n’introduise pas deux Octaves, ny deux Quintes de suite.", "english": "X. It is sometimes appropriate to transpose parts an octave higher or lower to restore their natural range, provided this introduces neither two consecutive octaves nor two consecutive fifths.", "sources": [ { "pdf_page": 104, "source_image": "source-pages/bnf-104.png", "printed_page": 72, "bbox_pixels": [ 410, 2090, 2200, 300 ], "crop_image": "assets/II.09-027.png" } ] }, { "id": "II.09-028", "type": "paragraph", "section": "II.09", "lesson": 24, "exercise": 24, "reading_order": 707, "original": "L’on peut faire servir chaque partie de Basse, en retranchant la fondamentale, où l’on trouvera les differentes progressions d’accords qui proviennent du renversement des fondamentaux, ayant eu soin de les chiffrer sur chaque partie.", "english": "Each part may serve as the bass if the fundamental bass is removed. The various chord progressions arising from inversion of the fundamental chords will then be found; we have taken care to figure them in every part.", "sources": [ { "pdf_page": 104, "source_image": "source-pages/bnf-104.png", "printed_page": 72, "bbox_pixels": [ 410, 2390, 2200, 295 ], "crop_image": "assets/II.09-028.png" } ] }, { "id": "II.09-029", "type": "paragraph", "section": "II.09", "lesson": 24, "exercise": 24, "reading_order": 708, "original": "Une Musique remplie de tant de dissonances consecutives ne seroit pas des plus agréables, n’étant tombé dans ce défaut, que pour renfermer ce que nous avions à dire dans un petit Exemple, dont la modulation n’est pas même trop reguliere ; mais il n’est pas encore temps d’en parler.", "english": "Music filled with so many consecutive dissonances would not be among the most pleasing. We have fallen into this fault only to contain all we had to say in a short example, whose modulation is not even particularly regular; but it is not yet time to discuss that.", "sources": [ { "pdf_page": 104, "source_image": "source-pages/bnf-104.png", "printed_page": 72, "bbox_pixels": [ 410, 2685, 2200, 370 ], "crop_image": "assets/II.09-029.png" } ] }, { "id": "II.09-030", "type": "paragraph", "section": "II.09", "lesson": 24, "exercise": 24, "reading_order": 709, "original": "Rien n’est plus facile que de pratiquer les Accords consonans, puisqu’il faut que la progression de la Basse y soit toûjours consonante, excepté dans de certains changemens de Ton, où l’on peut transgresser cette regle à l’égard des seuls Accords consonans renversez, & dans une seule progression de deux Nottes, ce que la modulation nous apprendra avec le temps ; la pratique des dissonances n’est guere moins-facile, puisque par le moyen d’une Basse fondamentale, l’on juge sur le champ de leur suite ; outre que sans cette Basse, l’on sçait que les mineurs doivent descendre, & que les majeurs doivent monter, à l’exception du Chromatique & de la Cadence irreguliere ; ce qui est aisé à distinguer par les regles que nous en donnons : De plus, nous faisons voir par des Exemples courts & simples dans le Livre suivant, toutes les differentes manieres de les pratiquer ; & quand on possede une fois les Regles fondamentales de l’Harmonie, on en tire tout le chant que l’on peut s’imaginer, sur lequel on arrange sans peine les accords qui luy conviennent. Dans des Pieces à 2, & à 3. parties, l’on choisit les consonances ou les dissonances qui sont les plus propres au sujet, ou au beau chant que l’on veut faire regner dans les parties, & l’on n’ignore jamais les Sons qui pourroient rendre complets les Accords que l’on met en usage ; défaut de connoissance qui a donné lieu à de fausses regles, qui ont souvent jetté dans l’erreur des Maîtres, qui passent cependant pour habiles, lorsqu’ils ont voulu remplir les Accords ou chiffrer les Basses-continuës.", "english": "Nothing is easier than using consonant chords, since the bass's progression beneath them must always be consonant, except in certain changes of key. There this rule may be broken only with inverted consonant chords, and only in a single progression of two notes, as modulation will teach us in time. Using dissonances is scarcely harder, since a fundamental bass allows us to judge their succession immediately. Even without that bass, we know that minor dissonances must descend and major ones ascend, except in the chromatic genus and irregular cadence; these exceptions are easily distinguished through our rules. Moreover, short, simple examples in the next book show every different way of using them. Once the fundamental rules of harmony are mastered, we can derive every imaginable melody and easily arrange suitable chords upon it. In two- and three-part pieces, we choose consonances or dissonances most suited to the subject or to the beautiful melody we wish to make prevail in the parts. We are never ignorant of the sounds that could complete the chords we use. Lack of this knowledge has produced false rules and has often misled masters nevertheless considered skillful when they tried to fill out chords or figure continuo basses.", "sources": [ { "pdf_page": 104, "source_image": "source-pages/bnf-104.png", "printed_page": 72, "bbox_pixels": [ 410, 3055, 2200, 475 ], "crop_image": "assets/II.09-030.png" }, { "pdf_page": 105, "source_image": "source-pages/bnf-105.png", "printed_page": 73, "bbox_pixels": [ 410, 350, 2200, 1360 ], "crop_image": "assets/II.09-031.png" } ] }, { "id": "II.10-001", "type": "heading", "section": "II.10", "lesson": 25, "exercise": 25, "reading_order": 710, "original": "CHAPITRE DIXIEME.\nDes Accords par supposition, avec lesquels on peut encore éviter les Cadences en les imitant.", "english": "CHAPTER TEN.\nOn Chords by Supposition, with Which Cadences Can Also Be Avoided while Being Imitated.", "sources": [ { "pdf_page": 105, "source_image": "source-pages/bnf-105.png", "printed_page": 73, "bbox_pixels": [ 410, 1825, 2200, 335 ], "crop_image": "assets/II.10-001.png" } ], "correction_refs": [ "supplement-096", "supplement-097", "supplement-098" ] }, { "id": "II.10-002", "type": "paragraph", "section": "II.10", "lesson": 25, "exercise": 25, "reading_order": 711, "original": "Pour sçavoir ce que c’est qu’Accord par supposition, il faut être persuadé auparavant des bornes prescrites aux Accords. Or il est certain, que si tous les Accords se forment de la Quinte & des Tierces ; (comme nous l’avons remarqué au premier Livre, Chap. VII. & VIII.) ils doivent être par consequent divisez par Tierces selon la division naturelle de la Quinte ; & si les deux Sons de l’Octave servent de termes à tous ceux qui peuvent former une Harmonie parfaite, puisque les Sons qui excedent les termes de cette Octave, ne sont que la replique de ceux qui sont renfermez dans son étenduë ; donc elle doit servir de bornes à tous les Accords : De plus, le fondement de l’Harmonie subsistant dans le Son grave de l’Accord parfait, nous voyons qu’il y subsiste toûjours ; quoiqu’on y ajoûte une Tierce pour en former l’Accord & la Dissonance de la Septiéme, d’autant mieux que cette Dissonance n’excede point les bornes de l’Octave, & que son addition ne détruit point la division proposée : Mais si l’on y ajoûtoit encore une Tierce, le fondement de l’Harmonie y seroit pour lors confondu ; car son rapport avec cette quatriéme Tierce ne se distingueroit plus de celuy qu’il auroit avec le Son compris dans l’étenduë de son Octave, dont cette derniere Tierce n’est que la replique ; si bien que la division des Accords par Tierces, y seroit encore interrompuë, puisqu’une Neuviéme ou une Onziéme nous representeroient toûjours une Seconde ou une Quarte ; & supposé qu’on ne voulut avoir aucun égard à cette representation ; en ne considerant ces intervales que comme Neuviémes & Onziémes ; quel en seroit pour lors le principe, puisqu’ils excedent les bornes de l’Octave qui est le principe, ou (selon Zarlin) la mere, la source & l’origine de tous les intervales.", "english": "To understand a chord by supposition, we must first accept the limits prescribed for chords. If all chords are formed from the fifth and thirds, as observed in Book I, Chapters VII and VIII, they must consequently be divided into thirds according to the natural division of the fifth. And if the two sounds of the octave bound all those capable of forming perfect harmony—since sounds beyond that octave merely replicate those within it—the octave must bound every chord. Moreover, the foundation of harmony lies in the lowest sound of the perfect chord and remains there even when a third is added to form the chord and dissonance of the seventh. This is all the more so because the dissonance does not exceed the octave's bounds and its addition does not destroy the proposed division. But adding yet another third would confuse the foundation of harmony: its relation to this fourth third would no longer be distinguishable from its relation to the sound within its octave of which that last third is merely the replication. The division of chords into thirds would also be interrupted, since a ninth or eleventh would always represent a second or fourth. Suppose we disregarded this representation and considered these intervals solely as ninths and elevenths: what would their principle then be, since they exceed the bounds of the octave, which is the principle—or, in Zarlino's words, the mother, source, and origin—of every interval?", "sources": [ { "pdf_page": 105, "source_image": "source-pages/bnf-105.png", "printed_page": 73, "bbox_pixels": [ 410, 2220, 2200, 1295 ], "crop_image": "assets/II.10-002.png" }, { "pdf_page": 106, "source_image": "source-pages/bnf-106.png", "printed_page": 74, "bbox_pixels": [ 410, 385, 2200, 825 ], "crop_image": "assets/II.10-003.png" } ] }, { "id": "II.10-004", "type": "paragraph", "section": "II.10", "lesson": 25, "exercise": 25, "reading_order": 712, "original": "Si l’on peut donc ajoûter un cinquiéme Son à l’Accord de la Septiéme, ce ne peut être qu’au dessous & non au dessus, ou pour lors ce Son ajoûté supposera le fondamental qui se trouvera immediatement au dessus de luy ; de sorte que nous ne chercherons point le principe dans l’Octave de ce Son ajoûté, mais dans celle du Son fondamental qu’il suppose ; & c’est ainsi que nous pourrons rapporter exactement la progression de ces derniers Accords à celle des précédens. L’Accord de la Septiéme qui s’y trouve toûjours depuis le Son fondamental supposé, pourra se renverser de même qu’auparavant ; mais le Son ajoûté ne pourra jamais changer de lieu, il occupera toûjours le grave, pendant que les autres profiteront du renversement, dont ils peuvent participer entr’eux, * comme étant contenus dans les bornes prescrites par l’Harmonie ; ces derniers suivront leur progression naturelle dans le Mode qu’ils representeront, & le Son ajoûté s’évanoüira, en se réünissant avec eux ; de sorte qu’il ne peut être regardé que comme surnumeraire, puisque l’Harmonie fondamentale y subsiste toûjours sans luy, & que la progression des Accords n’y est point alterée.", "english": "If a fifth sound can be added to the seventh chord, therefore, it can only be below, not above. The added sound then stands by supposition beneath the fundamental, which lies immediately above it. We shall seek the principle not in the added sound's octave but in the octave of the fundamental above it. Thus the progression of these chords can be related exactly to that of the preceding ones. The seventh chord, which always begins from the fundamental sound above the added bass, may be inverted as before; but the added sound can never change its place. It must always remain lowest while the others take part in inversion among themselves,* since they lie within the bounds prescribed by harmony. These latter sounds follow their natural progression in the mode they represent, while the added sound vanishes by reuniting with them. It can therefore be considered only supernumerary: fundamental harmony always exists without it, and the chords' progression remains unaltered.", "sources": [ { "pdf_page": 106, "source_image": "source-pages/bnf-106.png", "printed_page": 74, "bbox_pixels": [ 410, 1210, 2200, 1370 ], "crop_image": "assets/II.10-004.png" } ] }, { "id": "II.10-005", "type": "footnote", "section": "II.10", "lesson": 25, "exercise": 25, "reading_order": 713, "original": "* Voyez Livre premier, Chap. VIII. Art. III. IV. & V.", "english": "* See Book I, Chapter VIII, Articles III, IV, and V.", "sources": [ { "pdf_page": 106, "source_image": "source-pages/bnf-106.png", "printed_page": 74, "bbox_pixels": [ 410, 2580, 2200, 80 ], "crop_image": "assets/II.10-005.png" } ] }, { "id": "II.10-006", "type": "heading", "section": "II.10", "lesson": 25, "exercise": 25, "reading_order": 714, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 107, "source_image": "source-pages/bnf-107.png", "printed_page": 75, "bbox_pixels": [ 410, 400, 2200, 100 ], "crop_image": "assets/II.10-006.png" } ] }, { "id": "II.10-007", "type": "music", "section": "II.10", "lesson": 25, "exercise": 25, "reading_order": 715, "original": "Accords par supposition : sept parties et basse fondamentale.", "english": "Chords by Supposition: Seven Parts and Fundamental Bass.", "sources": [ { "pdf_page": 107, "source_image": "source-pages/bnf-107.png", "printed_page": 75, "bbox_pixels": [ 400, 535, 2195, 2050 ], "crop_image": "assets/II.10-007.png" } ], "original_title": "Accords par supposition : sept parties et basse fondamentale.", "english_title": "Chords by Supposition: Seven Parts and Fundamental Bass.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.10-007" ], "music_asset_refs": [ "II.10-007" ] }, { "id": "II.10-008", "type": "paragraph", "section": "II.10", "lesson": 25, "exercise": 25, "reading_order": 716, "original": "Remarquez, 1°. Que les Sons de la Basse fondamentale ne portent que des Accords parfaits ou de Septiéme, & que leur progression est conforme à celles des Cadences parfaites (B) rompuës (C) ou irregulieres (D.)", "english": "Observe: 1. The fundamental-bass sounds bear only perfect or seventh chords, and their progression conforms to perfect cadences (B), interrupted cadences (C), or irregular cadences (D).", "sources": [ { "pdf_page": 107, "source_image": "source-pages/bnf-107.png", "printed_page": 75, "bbox_pixels": [ 410, 2590, 2200, 295 ], "crop_image": "assets/II.10-008.png" } ] }, { "id": "II.10-009", "type": "paragraph", "section": "II.10", "lesson": 25, "exercise": 25, "reading_order": 717, "original": "2°. Que les Sons de cette Basse se trouvent au dessus de ceux de l’autre Basse dans les Accords par supposition, qui sont chiffrez par un 9, un 5♯, un 7♯, & un 4 ; car si on les mettoit au dessous, il faudroit absolument retrancher des Accords les Sons de l’autre Basse, pour que l’Harmonie pût subsister dans sa perfection, sans choquer l’oreille.", "english": "2. The sounds of this bass lie above those of the other bass in the chords by supposition, figured 9, 5♯, 7♯, and 4. If they were placed below, the sounds of the other bass would have to be removed from the chords for harmony to retain its perfection without offending the ear.", "sources": [ { "pdf_page": 107, "source_image": "source-pages/bnf-107.png", "printed_page": 75, "bbox_pixels": [ 410, 2890, 2200, 445 ], "crop_image": "assets/II.10-009.png" } ] }, { "id": "II.10-010", "type": "paragraph", "section": "II.10", "lesson": 25, "exercise": 25, "reading_order": 718, "original": "3°. Que les Sons de cette Basse fondamentale forment l’Unisson dans les Accords par supposition avec ceux de la Partie qui la represente en ce cas, où l’on ne trouve entre celle-cy & les autres Parties superieures, que des Accords de Septiéme tous divisez par Tierces, dont la progression est conforme à celle que nous leur avons prescrit.", "english": "3. In chords by supposition, the fundamental-bass sounds form unisons with those of the part representing that bass. Between this part and the upper parts there are only seventh chords, all divided into thirds, whose progression conforms to that prescribed.", "sources": [ { "pdf_page": 107, "source_image": "source-pages/bnf-107.png", "printed_page": 75, "bbox_pixels": [ 410, 3335, 2200, 175 ], "crop_image": "assets/II.10-010.png" }, { "pdf_page": 108, "source_image": "source-pages/bnf-108.png", "printed_page": 76, "bbox_pixels": [ 410, 335, 2200, 315 ], "crop_image": "assets/II.10-011.png" } ] }, { "id": "II.10-012", "type": "paragraph", "section": "II.10", "lesson": 25, "exercise": 25, "reading_order": 719, "original": "4°. Et finalement, que l’Accord de la Onziéme, chiffré par un 4. étant extrémement dur dans sa composition ordinaire, on en retranche presque toûjours les Sons moyens, en conservant seulement les deux principaux, qui sont le Fondamental & sa Septiéme, & quelquefois encore sa Tierce mineure ou sa Quinte, auxquels on substituë un nouveau Son qui se met une Quinte au dessous du fondamental, & qui fait par consequent la Onziéme, & non pas la Quarte avec la Septiéme du fondamental ; c’est pourquoy l’on peut appeller cet Accord heteroclite, en ce qu’il n’est point divisé comme les autres ; suivant d’ailleurs la proprieté des Accords par supposition qui ne se renversent point : Cependant on le remplit quelquefois de tous les Sons qui le composent.", "english": "4. Finally, the eleventh chord, figured 4, is extremely harsh in its ordinary composition. Its middle sounds are therefore almost always removed, retaining only the two principal ones, the fundamental and its seventh, and sometimes also its minor third or fifth. A new sound is substituted beneath them, a fifth below the fundamental, consequently forming an eleventh, not a fourth, with the fundamental's seventh. We may therefore call this chord irregular in construction, since it is not divided like the others. Otherwise it follows the property of chords by supposition, which cannot be inverted. Sometimes, however, all the sounds composing it are included.", "sources": [ { "pdf_page": 108, "source_image": "source-pages/bnf-108.png", "printed_page": 76, "bbox_pixels": [ 410, 645, 2200, 905 ], "crop_image": "assets/II.10-012.png" } ] }, { "id": "II.10-013", "type": "heading", "section": "II.10", "lesson": 25, "exercise": 25, "reading_order": 720, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 108, "source_image": "source-pages/bnf-108.png", "printed_page": 76, "bbox_pixels": [ 410, 1610, 2200, 100 ], "crop_image": "assets/II.10-013.png" } ] }, { "id": "II.10-014", "type": "music", "section": "II.10", "lesson": 25, "exercise": 25, "reading_order": 721, "original": "Accord de la Onziéme, taille et basse par supposition.", "english": "Eleventh Chord, Tenor, and Bass by Supposition.", "sources": [ { "pdf_page": 108, "source_image": "source-pages/bnf-108.png", "printed_page": 76, "bbox_pixels": [ 580, 1740, 1810, 1845 ], "crop_image": "assets/II.10-014.png" } ], "original_title": "Accord de la Onziéme, taille et basse par supposition.", "english_title": "Eleventh Chord, Tenor, and Bass by Supposition.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.10-014" ], "music_asset_refs": [ "II.10-014" ] }, { "id": "II.10-015", "type": "paragraph", "section": "II.10", "lesson": 25, "exercise": 25, "reading_order": 722, "original": "L’on voit icy que le Son de la Basse par supposition, marqué d’un (A) suppose celuy de la Basse fondamentale ou de la Taille, marqué de même, & que les parties superieures y forment entr’elles un Accord de Septiéme qui suit sa progression naturelle.", "english": "Here the sound marked (A) in the bass by supposition stands beneath the equally marked sound of the fundamental bass or tenor. The upper parts form a seventh chord among themselves, following its natural progression.", "sources": [ { "pdf_page": 109, "source_image": "source-pages/bnf-109.png", "printed_page": 77, "bbox_pixels": [ 410, 400, 2200, 315 ], "crop_image": "assets/II.10-015.png" } ] }, { "id": "II.10-016", "type": "paragraph", "section": "II.10", "lesson": 25, "exercise": 25, "reading_order": 723, "original": "L’on peut confronter cet Accord avec celuy de l’autre Exemple, marqué aussi par un (a), où nous ne nous sommes point attachez à mettre dans la Taille le Son qui se trouve dans la Basse fondamentale, par rapport à la progression diatonique des parties ; mais on pourra y remarquer la difference que nous en avons faite, & la raison pour laquelle nous l’appellons heteroclite.", "english": "Compare this chord with the one marked (a) in the other example. There, for the sake of the parts' diatonic progression, we did not insist on placing the fundamental-bass sound in the tenor. The difference in our treatment, and the reason for calling the chord irregular in construction, can be observed there.", "sources": [ { "pdf_page": 109, "source_image": "source-pages/bnf-109.png", "printed_page": 77, "bbox_pixels": [ 410, 710, 2200, 450 ], "crop_image": "assets/II.10-016.png" } ] }, { "id": "II.10-017", "type": "paragraph", "section": "II.10", "lesson": 25, "exercise": 25, "reading_order": 724, "original": "Il est facile de juger par les Exemples que nous venons de donner de ces Accords par supposition, que les Cadences parfaites, rompuës ou irregulieres y sont supposées, & que de cette maniere on peut les éviter en les imitant. Voyez encore ce que nous en dirons au Troisiéme Livre, Chap. XXXII.", "english": "These examples of chords by supposition readily show that perfect, interrupted, or irregular cadences lie beneath them, and may thus be avoided while being imitated. See also our further discussion in Book III, Chapter XXXII.", "sources": [ { "pdf_page": 109, "source_image": "source-pages/bnf-109.png", "printed_page": 77, "bbox_pixels": [ 410, 1155, 2200, 380 ], "crop_image": "assets/II.10-017.png" } ] }, { "id": "II.11-001", "type": "heading", "section": "II.11", "lesson": 26, "exercise": 26, "reading_order": 725, "original": "CHAPITRE ONZIEME.\nDe la Quarte & de la Onziéme.", "english": "CHAPTER ELEVEN.\nOn the Fourth and Eleventh.", "sources": [ { "pdf_page": 109, "source_image": "source-pages/bnf-109.png", "printed_page": 77, "bbox_pixels": [ 410, 1655, 2200, 245 ], "crop_image": "assets/II.11-001.png" } ], "correction_refs": [ "supplement-098", "supplement-100" ] }, { "id": "II.11-002", "type": "paragraph", "section": "II.11", "lesson": 26, "exercise": 26, "reading_order": 726, "original": "Il est à propos de faire icy la difference de la Quarte à la Onziéme ; ce dernier intervale qui n’a point encore été connu sous ce nom, ayant toûjours été confondu dans celuy de la Quarte ; c’est de-là que les opinions ont été partagées, les uns voulant que la Quarte fût consonante & les autres dissonante ; les premiers suivant l’ordre des raisons, ne pouvoient s’imaginer qu’elle fût dissonante ; les autres dans la pratique, ont eu peine à la traiter comme consonante ; & si l’on ne s’est pas accordé, ce n’est que faute de s’entendre.", "english": "It is appropriate here to distinguish the fourth from the eleventh. The latter interval has not yet been known under that name, but has always been confused with the fourth. Hence opinions have divided: some maintain that the fourth is consonant, others dissonant. Those following the order of ratios could not imagine it dissonant; those considering practice found it difficult to treat it as consonant. Their disagreement arises only from a failure to understand one another.", "sources": [ { "pdf_page": 109, "source_image": "source-pages/bnf-109.png", "printed_page": 77, "bbox_pixels": [ 410, 1955, 2200, 615 ], "crop_image": "assets/II.11-002.png" } ] }, { "id": "II.11-003", "type": "paragraph", "section": "II.11", "lesson": 26, "exercise": 26, "reading_order": 727, "original": "Premierement, ᵃ Zarlin la traite de consonance dans la pratique, il en donne des Exemples, rapporte l’autorité des Grecs, & plus fortement celle des raisons ; il veut même que deux Quartes de suite fassent à peu-prés le même effet que deux Quintes, parce que (dit-il) la Quarte est une consonance parfaite, & de plus (selon nos remarques) elle est renversée de la Quinte ; il n’ajoûte point ces dernieres paroles, mais il le prouve dans ses Exemples sans y songer, outre qu’il en fait mention dans ses Démonstrations Harmoniques ; ᵇ & n’est-ce pas en faire sentir toute la force, lorsqu’il dit que les Grecs modernes de son temps se servoient de la Quarte dans les parties les plus graves, sans mettre aucune autre consonance pour base, où je vous prie de remarquer qu’il ne peut s’empescher de reconnoître une base dans l’Harmonie, & qu’il témoigne la souhaiter lorsqu’il ne l’entend point ; ce n’est donc qu’en sous-entendant cette base, qui subsiste toûjours dans le Son grave de la Quinte, que nous pouvons prouver que les Accords renversez sont agréables à l’oreille.", "english": "First, Zarlinoᵃ treats it as a consonance in practice, gives examples, and invokes the authority of the Greeks and, more strongly, that of ratios. He even maintains that two successive fourths have approximately the same effect as two fifths, because, he says, the fourth is a perfect consonance—and, according to our observations, because it is an inversion of the fifth. He does not add these last words, but unknowingly proves them in his examples, besides mentioning the matter in his Dimostrationi Harmoniche.ᵇ Does he not make its full power felt when he says that the modern Greeks of his time used the fourth in the lowest parts without putting another consonance beneath it as a base? Notice that he cannot help recognizing a base in harmony and shows that he desires it when he does not hear it. It is therefore only by understanding this base as implied—a base always residing in the fifth's lowest sound—that we can prove inverted chords pleasing to the ear.", "sources": [ { "pdf_page": 109, "source_image": "source-pages/bnf-109.png", "printed_page": 77, "bbox_pixels": [ 410, 2570, 2200, 830 ], "crop_image": "assets/II.11-003.png" }, { "pdf_page": 110, "source_image": "source-pages/bnf-110.png", "printed_page": 78, "bbox_pixels": [ 410, 385, 2200, 455 ], "crop_image": "assets/II.11-006.png" } ] }, { "id": "II.11-004", "type": "footnote", "section": "II.11", "lesson": 26, "exercise": 26, "reading_order": 728, "original": "a Terza parte, cap. 60. & 61. f. 291. 292. 293. & 294. Cap. 5. f. 177. & 178.", "english": "a Third part, chapters 60 and 61, fols. 291, 292, 293, and 294; chapter 5, fols. 177 and 178.", "sources": [ { "pdf_page": 109, "source_image": "source-pages/bnf-109.png", "printed_page": 77, "bbox_pixels": [ 410, 3410, 2200, 65 ], "crop_image": "assets/II.11-004.png" } ] }, { "id": "II.11-005", "type": "footnote", "section": "II.11", "lesson": 26, "exercise": 26, "reading_order": 729, "original": "b Ragionam. secundo def. x. f. 83. & 84.", "english": "b Ragionamento secondo, definition X, fols. 83 and 84.", "sources": [ { "pdf_page": 109, "source_image": "source-pages/bnf-109.png", "printed_page": 77, "bbox_pixels": [ 410, 3475, 2200, 65 ], "crop_image": "assets/II.11-005.png" } ] }, { "id": "II.11-007", "type": "paragraph", "section": "II.11", "lesson": 26, "exercise": 26, "reading_order": 730, "original": "Il cite encore la Onziéme comme replique de la Quarte, & la Neuviéme comme replique de la Seconde ; en quoy il est certain que chaque intervale a sa replique double, triple, quadruple, &c. comme nous l’avons déja dit plusieurs fois ; mais il ne faut pas confondre ceux dont les proprietez sont differentes. Si l’on a sçû faire la difference de la Seconde à la Neuviéme, pourquoy ne pas faire celle de la Quarte à la Onziéme, qui est bien plus grande ? La Seconde & la Neuviéme sont deux dissonances, au lieu que la Quarte est consonance, & la Onziéme dissonance ; la Seconde provient du renversement d’un Accord fondamental ; la Neuviéme au contraire se forme d’un Son ajoûté à cet Accord fondamental, & ne peut se renverser, elle se prepare & se sauve differemment que la Seconde, & voilà ce qui nous oblige d’en faire la distinction ; pareillement la Quarte provient du renversement de l’Accord parfait, & comme consonance, sa progression n’est point limitée ; la Onziéme au contraire se forme d’un Son ajoûté à l’accord de la Septiéme, ne peut se renverser, doit être preparée & sauvée ; & de plus les raisons nous en donnent une autre preuve, comme nous l’avons remarqué au premier Livre, Chap. VIII. Art. IV. page 39. tout cela ne suffit-il pas pour nous convaincre de la distinction que l’on doit faire de ces intervales, par rapport aux differens Accords qui en sont composez, sans s’attacher au rapport qu’ils ont entre eux, lorsqu’on les considere en particulier ; car c’est le nom de l’intervale qui détermine toûjours un Accord premier dans son espece, lequel n’est composé que des Sons contenus dans l’étenduë de cet intervale, tels sont les accords de Septiéme, de Neuviéme & de Onziéme, ces deux derniers noms étant sous-entendus dans les accords de Quinte superfluë & de Septiéme superfluë : Donc la Quarte qui ne peut se trouver que dans un accord renversé, où elle represente la Quinte, est consonante ; & la Onziéme qui détermine un accord premier dans son espece, dont les Sons qui le composent doivent être contenus dans l’étenduë de cette Onziéme, est pour lors dissonante ; & si nous la chiffrons d’un 4, c’est pour suivre en cela l’usage ordinaire.", "english": "He also cites the eleventh as a replication of the fourth and the ninth as a replication of the second. Certainly every interval has its double, triple, quadruple replication, and so forth, as we have said several times; but intervals with different properties must not be confused. If the second and ninth have been distinguished, why not distinguish the fourth and eleventh, whose difference is much greater? The second and ninth are both dissonances, whereas the fourth is consonant and the eleventh dissonant. The second arises from inversion of a fundamental chord; the ninth, conversely, is formed by adding a sound to that chord, cannot be inverted, and is prepared and resolved differently from the second. This obliges us to distinguish them. Likewise, the fourth arises from inversion of the perfect chord and, as a consonance, has unrestricted progression. The eleventh, conversely, is formed by adding a sound to the seventh chord, cannot be inverted, and must be prepared and resolved. Ratios supply further proof, as observed in Book I, Chapter VIII, Article IV, p. 39. Is this not enough to convince us that these intervals must be distinguished according to the different chords they compose, without fastening upon their relationship when considered in isolation? The name of the interval always identifies a chord primary in its kind, composed only of sounds within that interval's compass. Such are the seventh, ninth, and eleventh chords; the latter two names are implied in the augmented-fifth and augmented-seventh chords. Thus the fourth, found only in an inverted chord where it represents the fifth, is consonant. The eleventh identifies a chord primary in its kind, whose constituent sounds must lie within that eleventh, and is therefore dissonant. If we figure it with 4, this is to follow ordinary usage.", "sources": [ { "pdf_page": 110, "source_image": "source-pages/bnf-110.png", "printed_page": 78, "bbox_pixels": [ 410, 840, 2200, 2565 ], "crop_image": "assets/II.11-007.png" } ] }, { "id": "II.12-001", "type": "heading", "section": "II.12", "lesson": 27, "exercise": 27, "reading_order": 731, "original": "CHAPITRE DOUZIEME.\nDes Accords par emprunt, avec lesquels on peut éviter les Cadences parfaites, en les imitant.", "english": "CHAPTER TWELVE.\nOn Borrowed Chords, with Which Perfect Cadences Can Be Avoided while Being Imitated.", "sources": [ { "pdf_page": 111, "source_image": "source-pages/bnf-111.png", "printed_page": 79, "bbox_pixels": [ 410, 485, 2200, 340 ], "crop_image": "assets/II.12-001.png" } ], "correction_refs": [ "supplement-101" ] }, { "id": "II.12-002", "type": "paragraph", "section": "II.12", "lesson": 27, "exercise": 27, "reading_order": 732, "original": "Nous avons déja fait sentir au premier Livre, Chap. VIII. Art. VII. page 41. que l’Accord de la Septiéme diminuée & ses dérivez empruntoient leur fondement du Son grave de l’accord de la Septiéme d’une Dominante tonique ; & pour en juger plus sainement, il n’y a qu’à confronter la progression des Accords contenus dans les deux Exemples suivans, où l’on ne trouvera de difference que dans la progression du Son qui emprunte son fondement du grave de la Septiéme, parce qu’il est obligé de suivre la progression déterminée à la dissonance qu’il forme.", "english": "We have already shown in Book I, Chapter VIII, Article VII, p. 41, that the diminished-seventh chord and its derivatives borrow their foundation from the lowest sound of a tonic dominant's seventh chord. To judge this more clearly, compare the chord progressions in the following two examples. The only difference is in the progression of the sound borrowing its foundation from the seventh chord's lowest sound, since it must follow the movement assigned to the dissonance it forms.", "sources": [ { "pdf_page": 111, "source_image": "source-pages/bnf-111.png", "printed_page": 79, "bbox_pixels": [ 410, 875, 2200, 690 ], "crop_image": "assets/II.12-002.png" } ] }, { "id": "II.12-003", "type": "paragraph", "section": "II.12", "lesson": 27, "exercise": 27, "reading_order": 733, "original": "Voyez les Exemples cy-après.", "english": "See the examples below.", "sources": [ { "pdf_page": 111, "source_image": "source-pages/bnf-111.png", "printed_page": 79, "bbox_pixels": [ 410, 1770, 2200, 125 ], "crop_image": "assets/II.12-003.png" } ] }, { "id": "II.12-004", "type": "heading", "section": "II.12", "lesson": 27, "exercise": 27, "reading_order": 734, "original": "EXEMPLES.", "english": "EXAMPLES.", "sources": [ { "pdf_page": 112, "source_image": "source-pages/bnf-112.png", "printed_page": 80, "bbox_pixels": [ 410, 420, 2200, 100 ], "crop_image": "assets/II.12-004.png" } ] }, { "id": "II.12-005", "type": "music", "section": "II.12", "lesson": 27, "exercise": 27, "reading_order": 735, "original": "Cadence parfaite dans le Mode mineur.", "english": "Perfect Cadence in the Minor Mode.", "sources": [ { "pdf_page": 112, "source_image": "source-pages/bnf-112.png", "printed_page": 80, "bbox_pixels": [ 420, 565, 990, 2330 ], "crop_image": "assets/II.12-005.png" } ], "original_title": "Cadence parfaite dans le Mode mineur.", "english_title": "Perfect Cadence in the Minor Mode.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.12-005" ], "music_asset_refs": [ "II.12-005" ] }, { "id": "II.12-006", "type": "music", "section": "II.12", "lesson": 27, "exercise": 27, "reading_order": 736, "original": "Cadence parfaite dans le Mode min. évitée par emprunt.", "english": "Perfect Cadence in the Minor Mode, Avoided through Borrowing.", "sources": [ { "pdf_page": 112, "source_image": "source-pages/bnf-112.png", "printed_page": 80, "bbox_pixels": [ 1440, 565, 1180, 2330 ], "crop_image": "assets/II.12-006.png" } ], "original_title": "Cadence parfaite dans le Mode min. évitée par emprunt.", "english_title": "Perfect Cadence in the Minor Mode, Avoided through Borrowing.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.12-006" ], "music_asset_refs": [ "II.12-006" ] }, { "id": "II.12-007", "type": "paragraph", "section": "II.12", "lesson": 27, "exercise": 27, "reading_order": 737, "original": "1°. Si l’on renverse les quatre Parties superieures de part & d’autre, l’on y trouvera la même conformité qui s’y rencontre à present, dont la difference ne consistera que dans la sixiéme Notte qui emprunte son fondement de la Dominante.", "english": "1. If the four upper parts on either side are inverted, the same agreement found here will remain. The only difference will be in the sixth note, which borrows its foundation from the dominant.", "sources": [ { "pdf_page": 112, "source_image": "source-pages/bnf-112.png", "printed_page": 80, "bbox_pixels": [ 410, 2945, 2200, 315 ], "crop_image": "assets/II.12-007.png" } ] }, { "id": "II.12-008", "type": "paragraph", "section": "II.12", "lesson": 27, "exercise": 27, "reading_order": 738, "original": "2°. Nous avons marqué la Tierce avec un Guidon dans la partie où l’Octave est marquée avec une Note, & de l’autre côté nous avons fait le contraire, pour faire remarquer par la Note, la progression la plus naturelle du Son qui se trouve dans le premier Accord, & par le Guidon, la liberté que l’on peut prendre de changer cette progression ; mais le fond de l’Harmonie n’en est point alteré pour cela, comme nous l’expliquerons plus amplement au troisiéme Livre.", "english": "2. In the part where the octave is shown by an ordinary note, we have marked the third with a custos; on the other side we have done the reverse. The ordinary note indicates the most natural progression of the sound in the first chord, while the custos indicates the freedom to change that progression. This does not alter the substance of harmony, as we shall explain more fully in Book III.", "sources": [ { "pdf_page": 112, "source_image": "source-pages/bnf-112.png", "printed_page": 80, "bbox_pixels": [ 410, 3260, 2200, 295 ], "crop_image": "assets/II.12-008.png" }, { "pdf_page": 113, "source_image": "source-pages/bnf-113.png", "printed_page": 81, "bbox_pixels": [ 410, 380, 2200, 295 ], "crop_image": "assets/II.12-009.png" } ] }, { "id": "II.12-010", "type": "paragraph", "section": "II.12", "lesson": 27, "exercise": 27, "reading_order": 739, "original": "3°. Dans le renversement que l’on peut faire de ces Accords, il faut remarquer que les Sons qui occuperont le grave seront toûjours les mêmes de part & d’autre, comme cela se voit dans les deux Basses par supposition, avec chacune desquelles les quatre Parties superieures forment des Accords par supposition, toute leur difference ne consistant que dans l’emprunt de la dominante par la sixiéme Notte ; c’est pourquoy ces Accords sont arbitraires dans les Tons mineurs seulement, dépendant du bon goût des Compositeurs : de les appliquer à des sujets convenables ; comme nous le verrons dans la suite.", "english": "3. In the inversions of these chords, observe that the sounds occupying the lowest position will always be the same on both sides. This is seen in the two basses by supposition: with each, the four upper parts form chords by supposition. Their sole difference lies in the sixth note's borrowing from the dominant. These chords are therefore optional in minor keys only; their application to suitable subjects depends on the composer's good taste, as we shall see later.", "sources": [ { "pdf_page": 113, "source_image": "source-pages/bnf-113.png", "printed_page": 81, "bbox_pixels": [ 410, 670, 2200, 760 ], "crop_image": "assets/II.12-010.png" } ] }, { "id": "II.13-001", "type": "heading", "section": "II.13", "lesson": 28, "exercise": 28, "reading_order": 740, "original": "CHAPITRE TREIZIÉME.", "english": "CHAPTER THIRTEEN.", "sources": [ { "pdf_page": 113, "source_image": "source-pages/bnf-113.png", "printed_page": 81, "bbox_pixels": [ 700, 1550, 1560, 105 ], "crop_image": "assets/II.13-001.png" } ], "correction_refs": [ "supplement-106", "supplement-109", "supplement-110", "supplement-111" ] }, { "id": "II.13-002", "type": "heading", "section": "II.13", "lesson": 28, "exercise": 28, "reading_order": 741, "original": "Regle pour la progression des Dissonances, tirée de celle des Accords fondamentaux.", "english": "Rule for the Progression of Dissonances, Drawn from That of Fundamental Chords.", "sources": [ { "pdf_page": 113, "source_image": "source-pages/bnf-113.png", "printed_page": 81, "bbox_pixels": [ 445, 1700, 2115, 185 ], "crop_image": "assets/II.13-002.png" } ] }, { "id": "II.13-003", "type": "paragraph", "section": "II.13", "lesson": 28, "exercise": 28, "reading_order": 742, "original": "NOus avons déja remarqué que les Dissonances se distinguoient en deux genres, selon la qualité des Tierces, dont elles sont engendrées, & qu’elles en suivoient en même temps les proprietez, c’est-à-dire, que les majeurs montoient, & que les mineurs descendoient ; mais nous remarquons encore dans la suite naturelle des Accords, que la Dissonance mineure y est toûjours précédée d’une Consonance, qui forme elle-même cette Dissonance sans changer de lieu, demeurant toûjours sur le même degré où elle avoit été entenduë comme consonante, ce qui nous oblige de fixer non seulement la progression de cette Dissonance par rapport à ce qui doit la suivre, mais encore par rapport à ce qui doit la précéder, ce que nous appellons sauver & preparer. Dans la progression la plus parfaite de la Basse, qui est celle de Quinte en descendant, la Tierce prepare & sauve la Dissonance, qui (comme l’on sçait) est la Septiéme selon l’Harmonie fondamentale, & dans les progressions de Tierce & de Septiéme en descendant, la Quinte & l’Octave preparent & sauvent cette dissonance, bien que selon l’Harmonie naturelle, la Tierce soit la seule consonance qui puisse sauver cette dissonance ; mais dans les progressions opposées à ces premieres, c’est-à-dire, en faisant monter la Basse par les mêmes intervales que nous venons de la faire descendre, la Septiéme ne peut être preparée ; donc la Regle de preparer les dissonances ne doit point être generale, si la Septiéme peut être entenduë dans ces dernieres progressions, sans offenser l’oreille.", "english": "We have already observed that dissonances fall into two kinds according to the quality of the thirds generating them, and follow those thirds' properties: major dissonances ascend, minor ones descend. But in the natural succession of chords we also observe that a minor dissonance is always preceded by a consonance that itself becomes the dissonance without changing position, remaining on the same degree where it was heard as consonant. We must therefore determine this dissonance's progression not only in relation to what follows it, but also to what precedes it: these are what we call resolution and preparation. In the bass's most perfect progression, descending a fifth, the third prepares and resolves the dissonance, which, as we know, is the seventh in fundamental harmony. In descents by a third and seventh, the fifth and octave prepare and resolve it, although in natural harmony the third is the only consonance that can resolve it. But in the opposite progressions, with the bass ascending by the same intervals through which it just descended, the seventh cannot be prepared. The rule requiring dissonance preparation therefore cannot be universal if the seventh can sound in these latter progressions without offending the ear.", "sources": [ { "pdf_page": 113, "source_image": "source-pages/bnf-113.png", "printed_page": 81, "bbox_pixels": [ 440, 1925, 2120, 1580 ], "crop_image": "assets/II.13-003.png" }, { "pdf_page": 114, "source_image": "source-pages/bnf-114.png", "printed_page": 82, "bbox_pixels": [ 425, 410, 2140, 235 ], "crop_image": "assets/II.13-004.png" } ] }, { "id": "II.13-005", "type": "paragraph", "section": "II.13", "lesson": 28, "exercise": 28, "reading_order": 743, "original": "Pour ce qui est de la Dissonance majeure, bien qu’elle ait toûjours lieu avec la mineure, on ne doit pas neanmoins les confondre ensemble ; Pour sauver l’une, il faut la faire monter ; & pour sauver l’autre, il faut la faire descendre, celle-cy aimant à être préparée, pendant que la premiere n’exige jamais cette précaution. Zarlin ne connoît d’autre dissonance majeure que le Triton, encore n’en parle-t-il qu’en passant ; les Auteurs qui sont venus après luy, en citent bien quelqu’autres ; mais aucun ne nous en a fait remarquer l’origine dans la Tierce majeure du Son fondamental d’un accord de Septiéme ; de même que cette Septiéme est aussi l’origine de toutes les dissonances mineures ; ce défaut d’attention ayant empesché ces derniers Auteurs d’innover sur les regles de Zarlin, puisqu’ils conviennent toûjours que toute dissonance doit être preparée sans distinction, pendant que par l’experience ils sont convaincus du contraire ; comme nous le prouvent ces passages de Messieurs de Brossard & Masson, que l’on peut même autoriser par des Exemples de Zarlin. Si la Basse syncope (ce qui cependant étoit défendu autrefois, & qu’on pratique aujourd’huy sans scrupule) (A) pour lors on sauve naturellement la Septiéme, de l’Octave, quelquefois de la Cinquiéme ou de la Sixiéme, &c.", "english": "As for the major dissonance, although it always occurs with the minor, the two must not be confused. To resolve one, it must ascend; to resolve the other, it must descend. The latter favors preparation, while the former never requires this precaution. Zarlino recognizes no major dissonance except the tritone, and mentions even that only in passing. Later authors cite others, but none points out their origin in the major third of the fundamental sound of a seventh chord, just as the seventh itself is the origin of every minor dissonance. This lack of attention prevented those later authors from changing Zarlino's rules: they continue to agree that every dissonance must be prepared without distinction, while experience convinces them otherwise. The following passages from Messieurs de Brossard and Masson prove this, and can themselves be supported by Zarlino's examples: “If the bass is syncopated”—formerly forbidden, though now practiced without scruple—“the seventh is then naturally resolved by the octave, sometimes by the fifth or sixth, and so forth.” (A)", "sources": [ { "pdf_page": 114, "source_image": "source-pages/bnf-114.png", "printed_page": 82, "bbox_pixels": [ 425, 645, 2140, 1480 ], "crop_image": "assets/II.13-005.png" } ] }, { "id": "II.13-006", "type": "paragraph", "section": "II.13", "lesson": 28, "exercise": 28, "reading_order": 744, "original": "Remarquez que ce qui étoit défendu autrefois ne l’étoit pas du moins du temps de Zarlin, * & que cet Auteur ajoûte que les plus Anciens ont pratiqué la fausse-Quinte, conformément à l’exemple suivant qu’il en donne ; desorte que faire syncoper la Basse pour la fausse-Quinte ou pour la Septiéme, c’est la même chose.", "english": "Observe that what was formerly forbidden was at least not forbidden in Zarlino's time.* He adds that the most ancient musicians used the diminished fifth in accordance with the following example. Syncopating the bass for the diminished fifth or for the seventh is therefore the same thing.", "sources": [ { "pdf_page": 114, "source_image": "source-pages/bnf-114.png", "printed_page": 82, "bbox_pixels": [ 440, 2125, 2125, 395 ], "crop_image": "assets/II.13-006.png" } ] }, { "id": "II.13-007", "type": "heading", "section": "II.13", "lesson": 28, "exercise": 28, "reading_order": 745, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 114, "source_image": "source-pages/bnf-114.png", "printed_page": 82, "bbox_pixels": [ 710, 2600, 295, 80 ], "crop_image": "assets/II.13-007.png" } ] }, { "id": "II.13-008", "type": "paragraph", "section": "II.13", "lesson": 28, "exercise": 28, "reading_order": 746, "original": "Terza Parte Cap. 30. fol. 209, & 210.", "english": "Third part, chapter 30, fols. 209 and 210.", "sources": [ { "pdf_page": 114, "source_image": "source-pages/bnf-114.png", "printed_page": 82, "bbox_pixels": [ 710, 2745, 325, 165 ], "crop_image": "assets/II.13-008.png" } ] }, { "id": "II.13-009", "type": "music", "section": "II.13", "lesson": 28, "exercise": 28, "reading_order": 747, "original": "Exemple de Zarlin — fausse-Quinte", "english": "Zarlino's Example: Diminished Fifth", "sources": [ { "pdf_page": 114, "source_image": "source-pages/bnf-114.png", "printed_page": 82, "bbox_pixels": [ 1030, 2520, 760, 620 ], "crop_image": "assets/II.13-009.png" } ], "original_title": "Exemple de Zarlin — fausse-Quinte", "english_title": "Zarlino's Example: Diminished Fifth", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.13-009" ], "music_asset_refs": [ "II.13-009" ] }, { "id": "II.13-010", "type": "paragraph", "section": "II.13", "lesson": 28, "exercise": 28, "reading_order": 748, "original": "La Quinte peut être suivie d’une autre Quinte, pourvû qu’elle soit, ou diminuée ou superfluë.", "english": "A fifth may be followed by another fifth, provided the latter is diminished or augmented.", "sources": [ { "pdf_page": 114, "source_image": "source-pages/bnf-114.png", "printed_page": 82, "bbox_pixels": [ 470, 3140, 2090, 150 ], "crop_image": "assets/II.13-010.png" } ] }, { "id": "II.13-011", "type": "paragraph", "section": "II.13", "lesson": 28, "exercise": 28, "reading_order": 749, "original": "La Septiéme se pratique encore, pourvû qu’elle soit préparée par la Basse. (B)", "english": "The seventh is also used, provided it is prepared by the bass. (B)", "sources": [ { "pdf_page": 114, "source_image": "source-pages/bnf-114.png", "printed_page": 82, "bbox_pixels": [ 540, 3300, 2020, 90 ], "crop_image": "assets/II.13-011.png" } ] }, { "id": "II.13-012", "type": "footnote", "section": "II.13", "lesson": 28, "exercise": 28, "reading_order": 750, "original": "(A) De Brossard, Dictionaire de Musique p. 110.", "english": "(A) De Brossard, Dictionaire de Musique, p. 110.", "sources": [ { "pdf_page": 114, "source_image": "source-pages/bnf-114.png", "printed_page": 82, "bbox_pixels": [ 520, 3400, 1620, 70 ], "crop_image": "assets/II.13-012.png" } ] }, { "id": "II.13-013", "type": "footnote", "section": "II.13", "lesson": 28, "exercise": 28, "reading_order": 751, "original": "(B) Masson, Traité de Comp. p. 77.", "english": "(B) Masson, Traité de Composition, p. 77.", "sources": [ { "pdf_page": 114, "source_image": "source-pages/bnf-114.png", "printed_page": 82, "bbox_pixels": [ 520, 3455, 1370, 75 ], "crop_image": "assets/II.13-013.png" } ] }, { "id": "II.13-014", "type": "heading", "section": "II.13", "lesson": 28, "exercise": 28, "reading_order": 752, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 115, "source_image": "source-pages/bnf-115.png", "printed_page": 83, "bbox_pixels": [ 1100, 390, 690, 95 ], "crop_image": "assets/II.13-014.png" } ] }, { "id": "II.13-015", "type": "music", "section": "II.13", "lesson": 28, "exercise": 28, "reading_order": 753, "original": "Exemples de la Septiéme A, B, C", "english": "Seventh Examples A, B, C", "sources": [ { "pdf_page": 115, "source_image": "source-pages/bnf-115.png", "printed_page": 83, "bbox_pixels": [ 400, 510, 2110, 630 ], "crop_image": "assets/II.13-015.png" } ], "original_title": "Exemples de la Septiéme A, B, C", "english_title": "Seventh Examples A, B, C", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.13-015" ], "music_asset_refs": [ "II.13-015" ] }, { "id": "II.13-016", "type": "paragraph", "section": "II.13", "lesson": 28, "exercise": 28, "reading_order": 754, "original": "On peut faire deux Quintes de suite, sçavoir une juste & une diminuée, &c.", "english": "Two fifths may occur consecutively, namely a perfect fifth and a diminished fifth, and so forth.", "sources": [ { "pdf_page": 115, "source_image": "source-pages/bnf-115.png", "printed_page": 83, "bbox_pixels": [ 390, 1190, 2130, 150 ], "crop_image": "assets/II.13-016.png" } ] }, { "id": "II.13-017", "type": "heading", "section": "II.13", "lesson": 28, "exercise": 28, "reading_order": 755, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 115, "source_image": "source-pages/bnf-115.png", "printed_page": 83, "bbox_pixels": [ 1070, 1340, 735, 90 ], "crop_image": "assets/II.13-017.png" } ] }, { "id": "II.13-018", "type": "paragraph", "section": "II.13", "lesson": 28, "exercise": 28, "reading_order": 756, "original": "L’on trouve dans Zarlin, une suite d’accords pareille à celle de B ; Terza Parte, Cap. 61. fol. 294. entre le Canto & le Tenore du troisiéme Exemple.", "english": "A chord succession like B is found in Zarlino, third part, chapter 61, fol. 294, between the Canto and Tenore in the third example.", "sources": [ { "pdf_page": 115, "source_image": "source-pages/bnf-115.png", "printed_page": 83, "bbox_pixels": [ 385, 1580, 430, 435 ], "crop_image": "assets/II.13-018.png" } ] }, { "id": "II.13-019", "type": "music", "section": "II.13", "lesson": 28, "exercise": 28, "reading_order": 757, "original": "Exemples de deux Quintes", "english": "Examples of Two Fifths", "sources": [ { "pdf_page": 115, "source_image": "source-pages/bnf-115.png", "printed_page": 83, "bbox_pixels": [ 845, 1430, 1665, 690 ], "crop_image": "assets/II.13-019.png" } ], "original_title": "Exemples de deux Quintes", "english_title": "Examples of Two Fifths", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.13-019" ], "music_asset_refs": [ "II.13-019" ] }, { "id": "II.13-020", "type": "paragraph", "section": "II.13", "lesson": 28, "exercise": 28, "reading_order": 758, "original": "Remarquez, s’il vous plaît, que toutes ces differentes Nottes marquées d’un C, sont contenues dans un même accord, étant inutile de donner des Exemples de la liberté que l’on a de passer sur tous les Sons d’un accord, lorsqu’il ne s’agit pas de cela ; puisque Masson prétend parler icy de deux accords differents.", "english": "Please observe that all the different notes marked C belong to the same chord. Examples of the freedom to pass through all the sounds of one chord are irrelevant here, since Masson intends to discuss two different chords.", "sources": [ { "pdf_page": 115, "source_image": "source-pages/bnf-115.png", "printed_page": 83, "bbox_pixels": [ 390, 2120, 2120, 365 ], "crop_image": "assets/II.13-020.png" } ] }, { "id": "II.13-021", "type": "paragraph", "section": "II.13", "lesson": 28, "exercise": 28, "reading_order": 759, "original": "Pour revenir à nôtre sujet, il faut d’abord réünir les deux premiers Exemples de la Septiéme A, & B, avec celuy de la Quinte B ; en donnant une finale naturelle aux Exemples de la Septiéme, ainsi :", "english": "To return to our subject, we must first combine the first two seventh examples, A and B, with fifth example B, giving the seventh examples a natural ending, thus:", "sources": [ { "pdf_page": 115, "source_image": "source-pages/bnf-115.png", "printed_page": 83, "bbox_pixels": [ 390, 2490, 2120, 225 ], "crop_image": "assets/II.13-021.png" } ] }, { "id": "II.13-022", "type": "music", "section": "II.13", "lesson": 28, "exercise": 28, "reading_order": 760, "original": "Réünion des Exemples", "english": "Combination of the Examples", "sources": [ { "pdf_page": 115, "source_image": "source-pages/bnf-115.png", "printed_page": 83, "bbox_pixels": [ 1670, 2710, 840, 820 ], "crop_image": "assets/II.13-022.png" } ], "original_title": "Réünion des Exemples", "english_title": "Combination of the Examples", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.13-022" ], "music_asset_refs": [ "II.13-022" ] }, { "id": "II.13-023", "type": "paragraph", "section": "II.13", "lesson": 28, "exercise": 28, "reading_order": 761, "original": "De sorte que par cette réünion, nous allons voir que ces differentes progressions ne proviennent que d’un même principe.", "english": "Through this combination we shall see that these different progressions arise from a single principle.", "sources": [ { "pdf_page": 115, "source_image": "source-pages/bnf-115.png", "printed_page": 83, "bbox_pixels": [ 390, 3250, 1255, 260 ], "crop_image": "assets/II.13-023.png" } ] }, { "id": "II.13-024", "type": "heading", "section": "II.13", "lesson": 28, "exercise": 28, "reading_order": 762, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 116, "source_image": "source-pages/bnf-116.png", "printed_page": 84, "bbox_pixels": [ 1225, 470, 690, 110 ], "crop_image": "assets/II.13-024.png" } ] }, { "id": "II.13-025", "type": "music", "section": "II.13", "lesson": 28, "exercise": 28, "reading_order": 763, "original": "Basses de Masson, finale naturelle & Basse fondamentale", "english": "Masson's Basses, Natural Ending, and Fundamental Bass", "sources": [ { "pdf_page": 116, "source_image": "source-pages/bnf-116.png", "printed_page": 84, "bbox_pixels": [ 460, 610, 1380, 2650 ], "crop_image": "assets/II.13-025.png" } ], "original_title": "Basses de Masson, finale naturelle & Basse fondamentale", "english_title": "Masson's Basses, Natural Ending, and Fundamental Bass", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.13-025" ], "music_asset_refs": [ "II.13-025" ] }, { "id": "II.13-026", "type": "paragraph", "section": "II.13", "lesson": 28, "exercise": 28, "reading_order": 764, "original": "Toutes ces parties font ensemble un bon effet, excepté celles qui forment entr’elles deux Octaves consecutives, comme D. F, & G. H : ne les ayant mises que pour faire voir par les differentes progressions des Consonances, tous les Chants que l’on peut en tirer sans changer le fond de l’Harmonie, en faisant même servir de Basse, telle Partie que l’on voudra ; le tout pouvant se renverser, & tirant son origine de la Basse fondamentale, qui procéde de la Notte tonique à sa dominante, & de celle-cy à la premiere : Au reste nous n’avons pas épuisé tous les Chants qui pourroient être tirez de cette suite d’Harmonie ; mais on y verra toûjours que si l’on peut ne point preparer la Dissonance, soit dans la Septiéme, dans la fausse-Quinte, dans le Triton, & dans la petite Sixte, cela ne provient que du renversement de la progression naturelle de la Basse, qui au lieu de descendre de Quinte, monte de Quinte S. T. (Remarquez-icy que nous ne parlerons que d’un renversement d’Intervales, & non pas de celuy où ces intervales ont rapport ensemble par le moyen de l’Octave) & de cette maniere la Dissonance mineure, ny la majeure ne sont point preparées ; mais que l’on prepare la Dissonance mineure dans toutes les regles, on n’y trouvera jamais la majeure preparée.", "english": "All these parts sound well together except those forming two consecutive octaves, such as D–F and G–H. We included them only to show, through the different progressions of consonances, all the melodies obtainable without changing the substance of harmony, even when any chosen part serves as the bass. Everything can be inverted and originates in the fundamental bass, which proceeds from the tonic to its dominant and back again. We have not exhausted every melody that this harmonic succession could yield. Yet it always shows that, if preparation of the dissonance may be omitted in the seventh, diminished fifth, tritone, or small-sixth chord, this arises only from reversing the bass's natural progression: instead of descending a fifth, it ascends a fifth, S–T. Note that we speak here only of reversing intervals' direction, not of their relationship through the octave. In this way neither the minor nor the major dissonance is prepared. But prepare the minor dissonance according to every rule, and the major will still never be found prepared.", "sources": [ { "pdf_page": 117, "source_image": "source-pages/bnf-117.png", "printed_page": 85, "bbox_pixels": [ 440, 425, 2140, 1480 ], "crop_image": "assets/II.13-026.png" } ] }, { "id": "II.13-027", "type": "heading", "section": "II.13", "lesson": 28, "exercise": 28, "reading_order": 765, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 118, "source_image": "source-pages/bnf-118.png", "printed_page": 86, "bbox_pixels": [ 1160, 580, 700, 110 ], "crop_image": "assets/II.13-027.png" } ] }, { "id": "II.13-028", "type": "music", "section": "II.13", "lesson": 28, "exercise": 28, "reading_order": 766, "original": "Dissonances mineures preparées A & B ; majeure C", "english": "Prepared Minor Dissonances A and B; Major Dissonance C", "sources": [ { "pdf_page": 118, "source_image": "source-pages/bnf-118.png", "printed_page": 86, "bbox_pixels": [ 1080, 720, 800, 890 ], "crop_image": "assets/II.13-028.png" } ], "original_title": "Dissonances mineures preparées A & B ; majeure C", "english_title": "Prepared Minor Dissonances A and B; Major Dissonance C", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.13-028" ], "music_asset_refs": [ "II.13-028" ] }, { "id": "II.13-029", "type": "paragraph", "section": "II.13", "lesson": 28, "exercise": 28, "reading_order": 767, "original": "A. & B ; Dissonances mineures preparées ; C, Dissonance majeure qui ne peut être preparée.", "english": "A and B: prepared minor dissonances. C: a major dissonance that cannot be prepared.", "sources": [ { "pdf_page": 118, "source_image": "source-pages/bnf-118.png", "printed_page": 86, "bbox_pixels": [ 440, 1635, 2120, 155 ], "crop_image": "assets/II.13-029.png" } ] }, { "id": "II.13-030", "type": "paragraph", "section": "II.13", "lesson": 28, "exercise": 28, "reading_order": 768, "original": "Tel qui pense que la Dissonance doit être preparée, sans exception dans les mauvais temps de la mesure pourra se détromper icy, puisque cela ne peut s’observer à A ; ou bien il faudroit détruire l’un des plus beaux ornemens de l’Harmonie, qui est de la suspendre par plusieurs Dissonances, qui se trouvent preparées par les Consonances qui accompagnent ces Dissonances mêmes ; & il vaut mieux dire que cela ne doit s’observer qu’à l’égard de la premiere Dissonance, comme à B. si l’on fait monter la Basse de Tierce ou de Septiéme, de même que nous l’avons faite monter de Quinte ; l’on trouvera que la Dissonance ne pourra pas non plus y être preparée.", "english": "Anyone believing that dissonance must invariably be prepared on weak beats can correct that belief here, since the rule cannot be observed at A. Otherwise one of harmony's finest ornaments would have to be destroyed: its suspension through several dissonances, prepared by consonances accompanying those very dissonances. It is better to say that the rule applies only to the first dissonance, as at B. If we make the bass ascend a third or seventh, as we previously made it ascend a fifth, we find that the dissonance cannot be prepared there either.", "sources": [ { "pdf_page": 118, "source_image": "source-pages/bnf-118.png", "printed_page": 86, "bbox_pixels": [ 435, 1800, 2140, 755 ], "crop_image": "assets/II.13-030.png" } ] }, { "id": "II.13-031", "type": "heading", "section": "II.13", "lesson": 28, "exercise": 28, "reading_order": 769, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 119, "source_image": "source-pages/bnf-119.png", "printed_page": 87, "bbox_pixels": [ 1140, 475, 715, 110 ], "crop_image": "assets/II.13-031.png" } ] }, { "id": "II.13-032", "type": "music", "section": "II.13", "lesson": 28, "exercise": 28, "reading_order": 770, "original": "Septiéme non preparée, Tierce & Septiéme ascendantes", "english": "Unprepared Seventh; Ascending Third and Seventh", "sources": [ { "pdf_page": 119, "source_image": "source-pages/bnf-119.png", "printed_page": 87, "bbox_pixels": [ 440, 625, 2140, 1435 ], "crop_image": "assets/II.13-032.png" } ], "original_title": "Septiéme non preparée, Tierce & Septiéme ascendantes", "english_title": "Unprepared Seventh; Ascending Third and Seventh", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.13-032" ], "music_asset_refs": [ "II.13-032" ] }, { "id": "II.13-033", "type": "paragraph", "section": "II.13", "lesson": 28, "exercise": 28, "reading_order": 771, "original": "La Septiéme non preparée à J. lorsque la Basse fondamentale monte de Tierce, & à L. lorsqu’elle monte de Septiéme, ou descend diatoniquement, pouvant tirer de ces progressions celles des autres Dissonances qui se rencontrent dans chaque Partie, en les faisant servir de Basse, chacune à leur tour.", "english": "The seventh is unprepared at J, where the fundamental bass ascends a third, and at L, where it ascends a seventh or descends diatonically. From these progressions we may derive those of the other dissonances occurring in each part, by making each part serve as the bass in turn.", "sources": [ { "pdf_page": 119, "source_image": "source-pages/bnf-119.png", "printed_page": 87, "bbox_pixels": [ 440, 2090, 2130, 375 ], "crop_image": "assets/II.13-033.png" } ] }, { "id": "II.13-034", "type": "paragraph", "section": "II.13", "lesson": 28, "exercise": 28, "reading_order": 772, "original": "Les Guidons marquent les differentes progressions que l’on peut donner aux Parties, en y conformant pour lors celles des autres Parties, selon l’ordre Harmonique qu’elles tiennent dans l’Exemple.", "english": "The custodes indicate alternative progressions that may be given to the parts; the other parts must then be adjusted accordingly, following their harmonic order in the example.", "sources": [ { "pdf_page": 119, "source_image": "source-pages/bnf-119.png", "printed_page": 87, "bbox_pixels": [ 440, 2470, 2130, 235 ], "crop_image": "assets/II.13-034.png" } ] }, { "id": "II.14-001", "type": "heading", "section": "II.14", "lesson": 29, "exercise": 29, "reading_order": 773, "original": "CHAPITRE QUATORZIEME.\nRemarques sur la progression des Tierces & des Sixtes.", "english": "CHAPTER FOURTEEN.\nObservations on the Progression of Thirds and Sixths.", "sources": [ { "pdf_page": 119, "source_image": "source-pages/bnf-119.png", "printed_page": 87, "bbox_pixels": [ 410, 2810, 2200, 275 ], "crop_image": "assets/II.14-001.png" } ], "correction_refs": [ "supplement-111", "supplement-113", "supplement-116", "supplement-117", "supplement-118" ] }, { "id": "II.14-002", "type": "paragraph", "section": "II.14", "lesson": 29, "exercise": 29, "reading_order": 774, "original": "Les Tierces participent de la Consonance & de la Dissonance, en ce qu’elles sont consonantes d’elles-mêmes, & en ce que les Dissonances en proviennent, puisque le Ton majeur & le mineur se forment de la division de la Tierce majeure, & que la Septiéme se forme de l’addition d’une Tierce mineure à l’un des deux accords parfaits ; le renversement de la Septiéme produisant le Ton, de même que celuy du Ton produit la Septiéme, d’où nous tirons toutes les dissonances Harmoniques ; ainsi nous ne fixons point la progression de ces Tierces, ny celle des Sixtes qui les representent, lorsqu’elles ne sont pas suivies d’une consonance plus parfaite, parce que tout roule pour lors sur elles ; mais dès que l’Octave ou la Quinte doivent paroître immediatement après ; ces dernieres Consonances dont les autres tirent leur origine, deviennent les arbitres de leur progression ; l’Octave comme la plus parfaite, veut être précédée de la Tierce majeure, qui a aussi quelque chose de plus parfait que la mineure, & celle-cy est reservée pour précéder la Quinte qui est moins parfaite que l’Octave ; la Tierce majeure montant pour lors sur l’Octave, & la mineure descendant sur la Quinte, selon leur proprieté naturelle ; progression qui leur est déterminée, (comme Zarlin l’a fort bien remarqué) par le semi-Ton dont elles approchent le plus, & qui fait tout l’ornement de l’Harmonie & de la Melodie : A l’égard des Sixtes, l’on sçait déja que la majeure doit suivre la proprieté de la Tierce majeure, de même que la mineure doit suivre celle de la Tierce mineure.", "english": "Thirds partake of both consonance and dissonance: they are consonant in themselves, and dissonances arise from them. The major and minor whole tones are formed by dividing the major third, and the seventh by adding a minor third to either perfect chord. Inverting the seventh produces the whole tone, just as inverting the whole tone produces the seventh, from which we derive every harmonic dissonance. Thus we do not fix the progression of thirds or of the sixths representing them when no more perfect consonance follows, because everything then depends upon them. But as soon as the octave or fifth must follow immediately, these latter consonances, from which the others originate, govern their progression. The octave, being most perfect, requires the major third before it, since that too has something more perfect than the minor. The minor third is reserved to precede the fifth, which is less perfect than the octave. The major third then ascends to the octave and the minor descends to the fifth according to their natural properties. As Zarlino rightly observed, this progression is determined by the nearest semitone, which supplies all the ornament of harmony and melody. As for sixths, we already know that the major follows the major third's properties, and the minor the minor third's.", "sources": [ { "pdf_page": 119, "source_image": "source-pages/bnf-119.png", "printed_page": 87, "bbox_pixels": [ 410, 3110, 2200, 420 ], "crop_image": "assets/II.14-002.png" }, { "pdf_page": 120, "source_image": "source-pages/bnf-120.png", "printed_page": 88, "bbox_pixels": [ 410, 360, 2200, 1440 ], "crop_image": "assets/II.14-003.png" } ] }, { "id": "II.14-004", "type": "heading", "section": "II.14", "lesson": 29, "exercise": 29, "reading_order": 775, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 120, "source_image": "source-pages/bnf-120.png", "printed_page": 88, "bbox_pixels": [ 410, 1860, 2200, 100 ], "crop_image": "assets/II.14-004.png" } ] }, { "id": "II.14-120", "type": "music", "section": "II.14", "lesson": 29, "exercise": 29, "reading_order": 776, "original": "A. Tierce maj. qui monte sur l’Octave.\nB. Sixte majeure qui monte sur l’Octave.\nC. Tierce mineure qui descend sur la Sixte.\nD. Sixte min. qui descend sur la Quinte.", "english": "A. Major third ascending to the octave.\nB. Major sixth ascending to the octave.\nC. Minor third descending to the sixth.\nD. Minor sixth descending to the fifth.", "sources": [ { "pdf_page": 120, "source_image": "source-pages/bnf-120.png", "printed_page": 88, "bbox_pixels": [ 400, 1965, 2195, 850 ], "crop_image": "assets/II.14-005.png" } ], "original_title": "Progression des Tierces et des Sixtes.", "english_title": "Progression of Thirds and Sixths.", "format": "preformatted", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.14-120" ], "music_asset_refs": [ "II.14-120" ] }, { "id": "II.14-006", "type": "paragraph", "section": "II.14", "lesson": 29, "exercise": 29, "reading_order": 777, "original": "A. Nous represente une cadence parfaite, qui se trouve renversée à B ; & C. Nous represente une cadence irreguliere, qui se trouve renversée à D ; nos regles pouvant s’épuiser toûjours (comme l’on voit) dans les Cadences principales, où l’on est forcé de faire monter & descendre d’un semi-Ton les Tierces & les Sixtes qui s’y rencontrent : De plus, si l’on remarque que la Septiéme & la Sixte majeure peuvent avoir lieu dans le premier accord de chacune de ces Cadences, l’on verra que les Tierces qui en font partie deviennent dissonantes par rapport à ces nouveaux Sons ajoûtez, formant ensemble l’intervale de la fausse-Quinte ou du Triton, dans lesquels intervales la Dissonance majeure & la mineure se trouvent renfermées ; de sorte que si ces Tierces ne sont point en effet dissonantes, elles le deviennent par rapport aux autres Sons qui servent à rendre l’accord complet, & doivent avoir par consequent une progression déterminée : Aussi nous voyons que la Septiéme qui provient d’une Tierce mineure ajoûtée à l’accord parfait, descend d’un semi-Ton, & que la Sixte majeure ajoûtée à l’accord parfait, monte d’un semi-Ton, comme c’est leur propre, ce qui est marqué par des Guidons", "english": "A represents a perfect cadence, inverted at B; C represents an irregular cadence, inverted at D. As we see, our rules can always be fully contained in the principal cadences, where the thirds and sixths must ascend or descend by a semitone. Moreover, if we observe that a seventh or major sixth can occur in the first chord of each cadence, we see that its thirds become dissonant against these added sounds. Together they form a diminished fifth or tritone, containing the major and minor dissonances. Thus, even if these thirds are not themselves dissonant, they become so in relation to the other sounds completing the chord, and must consequently have a determined progression. We also see that the seventh, arising from a minor third added to the perfect chord, descends a semitone, while the major sixth added to the perfect chord ascends a semitone, according to their properties, as marked by custodes", "sources": [ { "pdf_page": 120, "source_image": "source-pages/bnf-120.png", "printed_page": 88, "bbox_pixels": [ 410, 2825, 2200, 710 ], "crop_image": "assets/II.14-006.png" }, { "pdf_page": 121, "source_image": "source-pages/bnf-121.png", "printed_page": 89, "bbox_pixels": [ 410, 350, 2200, 725 ], "crop_image": "assets/II.14-007.png" } ] }, { "id": "II.14-008", "type": "image", "section": "II.14", "lesson": 29, "exercise": 29, "reading_order": 778, "original": "Signes des guidons imprimés dans la phrase.", "english": "Printed Cue Signs within the Sentence.", "sources": [ { "pdf_page": 121, "source_image": "source-pages/bnf-121.png", "printed_page": 89, "bbox_pixels": [ 2200, 960, 250, 115 ], "crop_image": "assets/II.14-008.png" } ], "original_title": "Signes des guidons imprimés dans la phrase.", "english_title": "Printed Cue Signs within the Sentence.", "asset_refs": [ "II.14-008" ] }, { "id": "II.14-009", "type": "paragraph", "section": "II.14", "lesson": 29, "exercise": 29, "reading_order": 779, "original": "; c’est de-là qu’on a établi la regle de ne jamais monter de la Tierce mineure ny de la Sixte mineure à l’Octave ; mais toutes ces regles qui sont établies sur l’Harmonie fondamentale, n’ont pas été suivies à la lettre dans le renversement de cette Harmonie, parce que la plûpart des Auteurs les ont mal appliquées. Par exemple, Zarlin, * & plusieurs autres qui ont dit, que la Tierce mineure devoit descendre sur l’Unisson ou sur l’Octave, se sont trompez, en ce que cela ne se rencontre que dans une Harmonie renversée, de celle où la Quinte & la fausse-Quinte descendent en ce cas sur l’Octave.", "english": "; hence the rule never to ascend from a minor third or minor sixth to the octave. But these rules, founded on fundamental harmony, have not been followed literally in its inversion, because most authors have misapplied them. For example, Zarlino* and several others erred in saying that the minor third should descend to the unison or octave. This occurs only in an inversion of the harmony in which the fifth and diminished fifth descend to the octave.", "sources": [ { "pdf_page": 121, "source_image": "source-pages/bnf-121.png", "printed_page": 89, "bbox_pixels": [ 410, 1000, 2200, 745 ], "crop_image": "assets/II.14-009.png" } ] }, { "id": "II.14-010", "type": "heading", "section": "II.14", "lesson": 29, "exercise": 29, "reading_order": 780, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 121, "source_image": "source-pages/bnf-121.png", "printed_page": 89, "bbox_pixels": [ 410, 1790, 2200, 110 ], "crop_image": "assets/II.14-010.png" } ] }, { "id": "II.14-121", "type": "music", "section": "II.14", "lesson": 29, "exercise": 29, "reading_order": 781, "original": "Cadence parfaite où la Quinte descend sur l’Octave.\nCadence parfaite renversée, où la Tierce mineure descend sur l’Octave.\nCadence parfaite évitée, où la fausse Quinte descend sur l’Octave.\nRenversement de la Cadence évitée, où la Tierce mineure descend sur l’Octave.", "english": "Perfect cadence in which the fifth descends to the octave.\nInverted perfect cadence in which the minor third descends to the octave.\nAvoided perfect cadence in which the diminished fifth descends to the octave.\nInversion of the avoided cadence in which the minor third descends to the octave.", "sources": [ { "pdf_page": 121, "source_image": "source-pages/bnf-121.png", "printed_page": 89, "bbox_pixels": [ 400, 1930, 2200, 835 ], "crop_image": "assets/II.14-011.png" } ], "original_title": "Cadences parfaites et leurs renversements.", "english_title": "Perfect Cadences and Their Inversions.", "format": "preformatted", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.14-121" ], "music_asset_refs": [ "II.14-121" ] }, { "id": "II.14-012", "type": "paragraph", "section": "II.14", "lesson": 29, "exercise": 29, "reading_order": 782, "original": "L’erreur de l’application de Zarlin ne provient que de ce qu’il n’envisageoit que deux Parties à la fois dans l’établissement de ses regles, & cela se trouve presque par tout ; comme quand il dit encore au même endroit, que la Tierce majeure monte ordinairement sur la Quinte, ce qui ne provient toûjours que d’une Harmonie renversée, où cette Tierce peut monter sur la Septiéme ; encore cette progression n’est-elle point tirée de l’Harmonie la plus naturelle.", "english": "Zarlino's mistaken application arises only because he considered two parts at a time when establishing his rules. This occurs almost everywhere—for instance, when he says in the same place that the major third ordinarily ascends to the fifth. That too arises only from inverted harmony, in which this third may ascend to the seventh; even that progression is not drawn from the most natural harmony.", "sources": [ { "pdf_page": 121, "source_image": "source-pages/bnf-121.png", "printed_page": 89, "bbox_pixels": [ 410, 2805, 2200, 535 ], "crop_image": "assets/II.14-012.png" } ] }, { "id": "II.14-013", "type": "footnote", "section": "II.14", "lesson": 29, "exercise": 29, "reading_order": 783, "original": "* Terza Parte Cap. 10. fol. 182.", "english": "* Third part, chapter 10, fol. 182.", "sources": [ { "pdf_page": 121, "source_image": "source-pages/bnf-121.png", "printed_page": 89, "bbox_pixels": [ 410, 3340, 2200, 80 ], "crop_image": "assets/II.14-013.png" } ] }, { "id": "II.14-014", "type": "heading", "section": "II.14", "lesson": 29, "exercise": 29, "reading_order": 784, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 122, "source_image": "source-pages/bnf-122.png", "printed_page": 90, "bbox_pixels": [ 410, 450, 2200, 100 ], "crop_image": "assets/II.14-014.png" } ] }, { "id": "II.14-122a", "type": "music", "section": "II.14", "lesson": 29, "exercise": 29, "reading_order": 785, "original": "Cadence irreguliere évitée par la Septiéme ajoûtée à l’Accord parfait de la seconde Notte, où la Tierce majeure monte sur la Septiéme.\nRenversement de la Cadence évitée, où la Tierce majeure monte sur la Quinte.", "english": "Irregular cadence avoided by adding a seventh to the second note's perfect chord, in which the major third ascends to the seventh.\nInversion of the avoided cadence, in which the major third ascends to the fifth.", "sources": [ { "pdf_page": 122, "source_image": "source-pages/bnf-122.png", "printed_page": 90, "bbox_pixels": [ 930, 610, 1100, 905 ], "crop_image": "assets/II.14-015.png" } ], "original_title": "Cadence irreguliere évitée et renversement.", "english_title": "Avoided Irregular Cadence and Its Inversion.", "format": "preformatted", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.14-122a" ], "music_asset_refs": [ "II.14-122a" ] }, { "id": "II.14-016", "type": "paragraph", "section": "II.14", "lesson": 29, "exercise": 29, "reading_order": 786, "original": "L’on pourroit bien donner simplement l’Accord parfait ou celuy de la Septiéme à la Notte, dont la Quinte suit la Tierce majeure ; mais cela ne peut se faire que par licence ; car nous avons remarqué dans l’Harmonie naturelle, que la progression de la Basse fondamentale devoit être consonante ; ce qui ne se trouveroit point icy.", "english": "We could simply give the perfect or seventh chord to the note whose fifth follows the major third, but only by license: we observed that in natural harmony the fundamental bass must move by consonant intervals, which would not occur here.", "sources": [ { "pdf_page": 122, "source_image": "source-pages/bnf-122.png", "printed_page": 90, "bbox_pixels": [ 410, 1545, 2200, 385 ], "crop_image": "assets/II.14-016.png" } ] }, { "id": "II.14-017", "type": "paragraph", "section": "II.14", "lesson": 29, "exercise": 29, "reading_order": 787, "original": "D’ailleurs nous devons remarquer, qu’outre la progression naturelle aux Tierces, la majeure doit descendre sur la Quinte dans une Cadence irreguliere d’un Mode majeur, parce que ne formant pas pour lors, Dissonance avec la Sixte qui peut luy être jointe, sa progression n’est limitée que par la Consonance dont elle approche le plus, qui est la Quinte en ce cas.", "english": "Moreover, besides the natural progression of thirds, observe that the major third must descend to the fifth in an irregular cadence in a major mode. It does not then form a dissonance with the sixth that may accompany it, so its progression is limited only by the nearest consonance, here the fifth.", "sources": [ { "pdf_page": 122, "source_image": "source-pages/bnf-122.png", "printed_page": 90, "bbox_pixels": [ 410, 1930, 2200, 460 ], "crop_image": "assets/II.14-017.png" } ] }, { "id": "II.14-018", "type": "heading", "section": "II.14", "lesson": 29, "exercise": 29, "reading_order": 788, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 122, "source_image": "source-pages/bnf-122.png", "printed_page": 90, "bbox_pixels": [ 410, 2450, 2200, 100 ], "crop_image": "assets/II.14-018.png" } ] }, { "id": "II.14-122b", "type": "music", "section": "II.14", "lesson": 29, "exercise": 29, "reading_order": 789, "original": "Tierce majeure descendant dans une cadence irreguliere.", "english": "Major Third Descending in an Irregular Cadence.", "sources": [ { "pdf_page": 122, "source_image": "source-pages/bnf-122.png", "printed_page": 90, "bbox_pixels": [ 1200, 2580, 630, 555 ], "crop_image": "assets/II.14-019.png" } ], "original_title": "Tierce majeure descendant dans une cadence irreguliere.", "english_title": "Major Third Descending in an Irregular Cadence.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.14-122b" ], "music_asset_refs": [ "II.14-122b" ] }, { "id": "II.14-020", "type": "paragraph", "section": "II.14", "lesson": 29, "exercise": 29, "reading_order": 790, "original": "Il faut bien prendre garde au vray sens de la Regle, qui ne défend pas de faire monter la Tierce mineure, ny de faire descendre la majeure, mais qui dit seulement, que le propre & la nature de celle-cy est de monter sur l’Octave, &c.", "english": "Take care to understand the rule correctly. It does not forbid a minor third to ascend or a major third to descend; it says only that the latter's property and nature are to ascend to the octave, and so forth.", "sources": [ { "pdf_page": 122, "source_image": "source-pages/bnf-122.png", "printed_page": 90, "bbox_pixels": [ 410, 3145, 2200, 325 ], "crop_image": "assets/II.14-020.png" } ] }, { "id": "II.14-021", "type": "paragraph", "section": "II.14", "lesson": 29, "exercise": 29, "reading_order": 791, "original": "Les regles qui tirent leur origine d’une Harmonie fondamentale subsistent toûjours dans les accords qui en dérivent ; de sorte que l’intervale déterminé par la regle, n’est tel qu’à l’égard de l’accord sur lequel elle est fondée, & non pas à l’égard de celuy qui en dérive ; ainsi la Tierce, la Quinte ou l’Octave pouvant devenir Sixte, Quarte, &c. dans un accord renversé, l’on ne doit plus regarder cette Sixte ny cette Quarte comme telles ; mais comme representant les intervales premiers sur lesquels la regle a été établie. Aussi dès que la regle est une fois posée, nous ne devons plus nous guider que par la Modulation, où l’on apperçoit facilement qu’une telle suite d’accords provient d’une telle autre ; & que par consequent les intervales renversez doivent y suivre toûjours la progression déterminée à ceux qu’ils representent, & que nous avons proposez pour principe, sinon l’on pourroit dire que cette suite d’accords ne vaut rien, parce que la Sixte mineure y monte sur l’Octave.", "english": "Rules originating in fundamental harmony always remain valid in its derived chords. An interval specified by the rule is such only with reference to the chord on which the rule is based, not to its derivative. Thus a third, fifth, or octave may become a sixth, fourth, and so forth in inversion. We should no longer regard this sixth or fourth as such, but as representing the original intervals on which the rule was established. Once the rule is laid down, modulation must guide us. It readily shows that one chord succession derives from another, and consequently that inverted intervals must always follow the progression assigned to those they represent and which we proposed as the principle. Otherwise one might say the following succession is worthless because its minor sixth ascends to the octave.", "sources": [ { "pdf_page": 122, "source_image": "source-pages/bnf-122.png", "printed_page": 90, "bbox_pixels": [ 410, 3450, 2200, 95 ], "crop_image": "assets/II.14-021.png" }, { "pdf_page": 123, "source_image": "source-pages/bnf-123.png", "printed_page": 91, "bbox_pixels": [ 410, 350, 2200, 1060 ], "crop_image": "assets/II.14-022.png" } ] }, { "id": "II.14-023", "type": "heading", "section": "II.14", "lesson": 29, "exercise": 29, "reading_order": 792, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 123, "source_image": "source-pages/bnf-123.png", "printed_page": 91, "bbox_pixels": [ 410, 1425, 2200, 100 ], "crop_image": "assets/II.14-023.png" } ] }, { "id": "II.14-123a", "type": "music", "section": "II.14", "lesson": 29, "exercise": 29, "reading_order": 793, "original": "Sixte mineure montant sur l’Octave.", "english": "Minor Sixth Ascending to the Octave.", "sources": [ { "pdf_page": 123, "source_image": "source-pages/bnf-123.png", "printed_page": 91, "bbox_pixels": [ 1100, 1510, 675, 280 ], "crop_image": "assets/II.14-024.png" } ], "original_title": "Sixte mineure montant sur l’Octave.", "english_title": "Minor Sixth Ascending to the Octave.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.14-123a" ], "music_asset_refs": [ "II.14-123a" ] }, { "id": "II.14-025", "type": "paragraph", "section": "II.14", "lesson": 29, "exercise": 29, "reading_order": 794, "original": "Mais selon l’Harmonie fondamentale, ce n’est plus la Sixte, & c’est l’Octave qui monte sur la Quinte.", "english": "But in fundamental harmony it is no longer the sixth; it is the octave ascending to the fifth.", "sources": [ { "pdf_page": 123, "source_image": "source-pages/bnf-123.png", "printed_page": 91, "bbox_pixels": [ 410, 1790, 2200, 175 ], "crop_image": "assets/II.14-025.png" } ] }, { "id": "II.14-026", "type": "heading", "section": "II.14", "lesson": 29, "exercise": 29, "reading_order": 795, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 123, "source_image": "source-pages/bnf-123.png", "printed_page": 91, "bbox_pixels": [ 410, 1965, 2200, 100 ], "crop_image": "assets/II.14-026.png" } ] }, { "id": "II.14-123b", "type": "music", "section": "II.14", "lesson": 29, "exercise": 29, "reading_order": 796, "original": "Basse fondamentale d’une Cadence irreguliere A. B. & d’une parfaite B. C.", "english": "Fundamental bass of an irregular cadence A–B and a perfect cadence B–C.", "sources": [ { "pdf_page": 123, "source_image": "source-pages/bnf-123.png", "printed_page": 91, "bbox_pixels": [ 1070, 2060, 765, 740 ], "crop_image": "assets/II.14-027.png" } ], "original_title": "Basse fondamentale : cadences irreguliere et parfaite.", "english_title": "Fundamental Bass: Irregular and Perfect Cadences.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.14-123b" ], "music_asset_refs": [ "II.14-123b" ] }, { "id": "II.14-028", "type": "paragraph", "section": "II.14", "lesson": 29, "exercise": 29, "reading_order": 797, "original": "L’on ne voudroit pas encore souffrir que la Tierce mineure montât sur l’Octave de cette façon.", "english": "One might also refuse to allow the minor third to ascend to the octave in this manner.", "sources": [ { "pdf_page": 123, "source_image": "source-pages/bnf-123.png", "printed_page": 91, "bbox_pixels": [ 410, 2805, 2200, 155 ], "crop_image": "assets/II.14-028.png" } ] }, { "id": "II.14-123c", "type": "music", "section": "II.14", "lesson": 29, "exercise": 29, "reading_order": 798, "original": "Tierce mineure montant sur l’Octave.", "english": "Minor Third Ascending to the Octave.", "sources": [ { "pdf_page": 123, "source_image": "source-pages/bnf-123.png", "printed_page": 91, "bbox_pixels": [ 1115, 2975, 590, 390 ], "crop_image": "assets/II.14-029.png" } ], "original_title": "Tierce mineure montant sur l’Octave.", "english_title": "Minor Third Ascending to the Octave.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.14-123c" ], "music_asset_refs": [ "II.14-123c" ] }, { "id": "II.14-030", "type": "paragraph", "section": "II.14", "lesson": 29, "exercise": 29, "reading_order": 799, "original": "Cependant ce n’est pas la Tierce, & c’est la Quinte qui monte sur la Tierce ; selon l’Harmonie fondamentale.", "english": "Yet according to fundamental harmony, it is not the third but the fifth ascending to the third.", "sources": [ { "pdf_page": 123, "source_image": "source-pages/bnf-123.png", "printed_page": 91, "bbox_pixels": [ 410, 3370, 2200, 170 ], "crop_image": "assets/II.14-030.png" } ] }, { "id": "II.14-031", "type": "heading", "section": "II.14", "lesson": 29, "exercise": 29, "reading_order": 800, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 124, "source_image": "source-pages/bnf-124.png", "printed_page": 92, "bbox_pixels": [ 410, 490, 2200, 100 ], "crop_image": "assets/II.14-031.png" } ] }, { "id": "II.14-124a", "type": "music", "section": "II.14", "lesson": 29, "exercise": 29, "reading_order": 801, "original": "Basse fondamentale d’une Cadence parfaite.", "english": "Fundamental bass of a perfect cadence.", "sources": [ { "pdf_page": 124, "source_image": "source-pages/bnf-124.png", "printed_page": 92, "bbox_pixels": [ 1200, 610, 640, 675 ], "crop_image": "assets/II.14-032.png" } ], "original_title": "Basse fondamentale d’une Cadence parfaite.", "english_title": "Fundamental Bass of a Perfect Cadence.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.14-124a" ], "music_asset_refs": [ "II.14-124a" ] }, { "id": "II.14-033", "type": "paragraph", "section": "II.14", "lesson": 29, "exercise": 29, "reading_order": 802, "original": "Il ne faut pas moins se regler sur la Modulation, que sur le lieu fixe que doit occuper un Interval déterminé par la regle, dans un Accord fondamental ; car si je monte de la Tierce mineure à l’Octave dans le Ton de La, ou de Re, ainsi :", "english": "We must be guided as much by modulation as by the fixed place occupied in a fundamental chord by the interval specified in the rule. For if I ascend from a minor third to the octave in the key of A or D, thus:", "sources": [ { "pdf_page": 124, "source_image": "source-pages/bnf-124.png", "printed_page": 92, "bbox_pixels": [ 410, 1325, 2200, 315 ], "crop_image": "assets/II.14-033.png" } ] }, { "id": "II.14-124b", "type": "music", "section": "II.14", "lesson": 29, "exercise": 29, "reading_order": 803, "original": "Tierce mineure et Octave dans le Ton de La ou de Re.", "english": "Minor Third and Octave in A or D.", "sources": [ { "pdf_page": 124, "source_image": "source-pages/bnf-124.png", "printed_page": 92, "bbox_pixels": [ 1255, 1660, 590, 305 ], "crop_image": "assets/II.14-034.png" } ], "original_title": "Tierce mineure et Octave dans le Ton de La ou de Re.", "english_title": "Minor Third and Octave in A or D.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.14-124b" ], "music_asset_refs": [ "II.14-124b" ] }, { "id": "II.14-035", "type": "paragraph", "section": "II.14", "lesson": 29, "exercise": 29, "reading_order": 804, "original": "Cela ne vaudra rien ; parce que l’Accord parfait sur qui la regle est établie, s’entendra en effet dans chaque Notte de la Basse, au lieu que je puis le faire dans le Ton de Fa, ou de Si♭ ; parce que l’Accord de Sixte qui est renversé du parfait, sera employé sur chaque Notte de cette Basse, l’Accord parfait y étant sous-entendu, ou pour lors ce ne sera plus la Tierce mineure, mais la Quinte qui montera. Ceux qui auront de la peine à se rendre sur cet article, n’ont qu’à examiner le premier exemple de la Sixte mineure, qui monte sur l’Octave dans le Ton de Fa, ou d’Ut, que tous les habiles gens pratiquent sans scrupule, en remarquant que cela ne vaudroit rien dans le Ton de Sol : & le tout, pour les raisons que nous venons d’alleguer.", "english": "This will be worthless, because the perfect chord on which the rule is founded will actually sound on each bass note. But I may do it in F or B♭, because each bass note will bear a sixth chord inverted from the perfect chord, which remains implied. It will then be the fifth, no longer the minor third, that ascends. Anyone reluctant to accept this need only examine the first example of a minor sixth ascending to the octave in F or C, which every skillful musician uses without scruple. Observe that it would be worthless in G, for precisely the reasons just given.", "sources": [ { "pdf_page": 124, "source_image": "source-pages/bnf-124.png", "printed_page": 92, "bbox_pixels": [ 410, 1975, 2200, 920 ], "crop_image": "assets/II.14-035.png" } ] }, { "id": "II.14-036", "type": "paragraph", "section": "II.14", "lesson": 29, "exercise": 29, "reading_order": 805, "original": "De plus, si la Tierce mineure, ou la Sixte mineure se trouvent doublées dans un Accord, l’on peut donner à l’une des Tierces, ou à l’une des Sixtes une progression contraire à celle qui leur est naturelle, pourvû que celle de l’autre Tierce & de l’autre Sixte soit conforme à la regle :", "english": "Furthermore, if a minor third or minor sixth is doubled in a chord, one of the thirds or sixths may move contrary to its natural progression, provided the other follows the rule:", "sources": [ { "pdf_page": 124, "source_image": "source-pages/bnf-124.png", "printed_page": 92, "bbox_pixels": [ 410, 2895, 2200, 390 ], "crop_image": "assets/II.14-036.png" } ] }, { "id": "II.14-037", "type": "heading", "section": "II.14", "lesson": 29, "exercise": 29, "reading_order": 806, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 125, "source_image": "source-pages/bnf-125.png", "printed_page": 93, "bbox_pixels": [ 410, 460, 2200, 110 ], "crop_image": "assets/II.14-037.png" } ] }, { "id": "II.14-125", "type": "music", "section": "II.14", "lesson": 29, "exercise": 29, "reading_order": 807, "original": "Tierces et Sixtes doublées, exemples A et B.", "english": "Doubled Thirds and Sixths, Examples A and B.", "sources": [ { "pdf_page": 125, "source_image": "source-pages/bnf-125.png", "printed_page": 93, "bbox_pixels": [ 940, 605, 1120, 490 ], "crop_image": "assets/II.14-038.png" } ], "original_title": "Tierces et Sixtes doublées, exemples A et B.", "english_title": "Doubled Thirds and Sixths, Examples A and B.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.14-125" ], "music_asset_refs": [ "II.14-125" ] }, { "id": "II.14-039", "type": "paragraph", "section": "II.14", "lesson": 29, "exercise": 29, "reading_order": 808, "original": "A. La Tierce mineure descend ici comme elle le doit, aussi-bien que la Sixte mineure à B. après que celle-ci a resté sur le même degré pour former la Septiéme qui suit : mais leurs repliques doivent absolument monter, sans quoi l’on auroit de la peine à y éviter deux Octaves consécutives ; d’ailleurs la satisfaction que nous recevons du côté où l’Interval suit sa progression naturelle, est tellement parfaite, que sa replique ne nous paroît plus que comme un Son surnumeraire, qui se dérobe à nôtre attention. Cependant comme la Dissonance ne peut jamais être doublée, les Tierces doivent subir la même loi aux endroits où elles representent la Dissonance, sur tout la Tierce majeure ; & si la mineure peut en être exceptée, cela ne se souffre que dans des Pieces à plus de 3. parties, ou bien lorsque le sujet le demande absolument, soit par rapport au beau chant, à la Fugue, ou à de certaines imitations, qui font une partie de la beauté de la Musique.", "english": "At A the minor third descends as it should, as does the minor sixth at B after remaining on the same degree to form the following seventh. Their replications, however, must ascend; otherwise two consecutive octaves would be difficult to avoid. Moreover, the satisfaction obtained where the interval follows its natural progression is so complete that its replication seems only a supernumerary sound escaping our attention. Yet since a dissonance can never be doubled, thirds must obey the same law wherever they represent dissonance, especially the major third. If the minor third can be excepted, this is tolerated only in pieces of more than three parts, or when the subject absolutely requires it, whether for beautiful melody, fugue, or certain imitations contributing to music's beauty.", "sources": [ { "pdf_page": 125, "source_image": "source-pages/bnf-125.png", "printed_page": 93, "bbox_pixels": [ 410, 1115, 2200, 1145 ], "crop_image": "assets/II.14-039.png" } ] }, { "id": "II.15-001", "type": "heading", "section": "II.15", "lesson": 30, "exercise": 30, "reading_order": 809, "original": "CHAPITRE QUINZIÉME.", "english": "CHAPTER FIFTEEN.", "sources": [ { "pdf_page": 125, "source_image": "source-pages/bnf-125.png", "printed_page": 93, "bbox_pixels": [ 419, 2372, 2171, 99 ], "crop_image": "assets/II.15-001.png" } ], "correction_refs": [ "supplement-126" ] }, { "id": "II.15-002", "type": "heading", "section": "II.15", "lesson": 30, "exercise": 30, "reading_order": 810, "original": "Des occasions où la Septiéme doit être retranchée de l’Accord de la Neuviéme.", "english": "On Occasions When the Seventh Must Be Removed from the Ninth Chord.", "sources": [ { "pdf_page": 125, "source_image": "source-pages/bnf-125.png", "printed_page": 93, "bbox_pixels": [ 419, 2522, 2171, 185 ], "crop_image": "assets/II.15-002.png" } ] }, { "id": "II.15-003", "type": "paragraph", "section": "II.15", "lesson": 30, "exercise": 30, "reading_order": 811, "original": "QUoique, selon nos remarques du Chap. X. il semble que la Septiéme doive toûjours faire partie de l’Accord de la Neuviéme, cependant elle n’y convient point, lorsque cet Accord de Neuviéme se fait sur une Notte tonique ; & en voicy la raison.", "english": "Although our observations in Chapter X suggest that the seventh should always be part of the ninth chord, it is nevertheless unsuitable when that ninth chord occurs on a tonic. Here is the reason.", "sources": [ { "pdf_page": 125, "source_image": "source-pages/bnf-125.png", "printed_page": 93, "bbox_pixels": [ 419, 2752, 2171, 329 ], "crop_image": "assets/II.15-003.png" } ] }, { "id": "II.15-004", "type": "paragraph", "section": "II.15", "lesson": 30, "exercise": 30, "reading_order": 812, "original": "La Neuviéme ne peut se faire sur une Notte tonique, sans que celle-cy n’ait été précedée de sa Notte sensible, soit dans la Basse, soit dans les Accords : Si cette Notte sensible se trouve dans la Basse, l’on sçait qu’elle ne peut souffrir sa replique, puisque sa progression est limitée ; sinon, cette replique monteroit également, & formeroit deux Octaves consécutives, quand même elle ne monteroit qu’après la Basse ; car la Dissonance qui est une fois entenduë, fait souhaiter un certain Son après elle, où il faut qu’elle passe absolument ; & si la replique reste sur le même degré, pour passer ensuite à cet autre Son, c’est une suspension qui choque infiniment l’oreille, puisque cela détruit la satisfaction qu’elle devoit recevoir de la Consonance, qui a suivi en premier lieu la Dissonance proposée. Mais si cette replique descend, comme c’est le propre de la Septiéme, au lieu que la Notte sensible doit monter, pour lors la Notte tonique prétenduë n’est plus telle, & le Ton change ; de sorte que cela peut se faire dans les Tons majeurs seulement : car dans un Ton mineur, la Tierce mineure d’une Notte qui porteroit une pareille Septiéme, formeroit avec celle-cy un intervale de Quinte superfluë, dont il faut que le Son grave soit absolument audessous de tous les autres ; au lieu que la Tierce mineure qui fait ce Son grave, seroit icy audessus, & que dans le renversement, cela formeroit encore un intervale de Quarte diminuée, qui doit être absolument exclu de l’Harmonie ; parce que tout intervale par supposition, comme est celuy de la Quinte superfluë, ne peut se renverser, d’autant qu’il a lieu dans un Accord qui excede l’étenduë de l’Octave, & dont le Son grave ne peut changer de lieu.", "english": "A ninth cannot occur on a tonic unless the tonic has been preceded by its leading note, either in the bass or in the chords. If the leading note is in the bass, we know that it cannot tolerate duplication, since its progression is fixed. Otherwise its duplicate would also ascend, producing two consecutive octaves even if it rose only after the bass. Once a dissonance has sounded, it makes us desire a particular following sound, to which it must absolutely pass. If its duplicate remains on the same degree before proceeding to that sound, the resulting suspension deeply offends the ear, destroying the satisfaction that should have come from the consonance that first followed the dissonance. But if the duplicate descends, as a seventh properly does, while the leading note must ascend, the supposed tonic ceases to be tonic and the key changes. This is possible only in major keys. In a minor key, the minor third of a note bearing such a seventh would form an augmented fifth with it. The lower sound of that interval must lie beneath every other sound; here, however, the minor third forming that lower sound would lie above. In inversion this would also form a diminished fourth, which must be completely excluded from harmony. An interval by supposition, such as the augmented fifth, cannot be inverted, because it occurs in a chord extending beyond an octave whose lowest sound cannot change position.", "sources": [ { "pdf_page": 125, "source_image": "source-pages/bnf-125.png", "printed_page": 93, "bbox_pixels": [ 419, 3070, 2171, 460 ], "crop_image": "assets/II.15-004.png" }, { "pdf_page": 126, "source_image": "source-pages/bnf-126.png", "printed_page": 94, "bbox_pixels": [ 419, 365, 2171, 1579 ], "crop_image": "assets/II.15-005.png" } ] }, { "id": "II.15-006", "type": "paragraph", "section": "II.15", "lesson": 30, "exercise": 30, "reading_order": 813, "original": "Si la Notte sensible se trouve dans les Accords, ou dans le Dessus, elle peut rester pour lors sur le même degré, pour former la Septiéme de la Notte tonique, qui paroît ensuite dans la Basse : mais remarquez que cette Septiéme est toûjours superfluë ; & que comme telle, ce n’est point l’Accord de la Neuviéme qui y subsiste, & c’est celuy de la Onziéme, où la Tierce ne peut avoir lieu : car si la Tierce prend la place de cette Onziéme, l’Accord de la Neuviéme y est pour lors sous-entendu, & la Septiéme ne doit plus être prise pour superfluë, en ce qu’elle ne peut plus subsister comme telle, que dans l’Accord de la Onziéme, devant être regardée pour lors comme une Septiéme ordinaire, qui doit descendre ; mais le Ton change toûjours en ce cas, puisqu’une Notte tonique n’est point telle, dèslors qu’elle porte un Accord de Neuviéme, ou de Septiéme, n’y ayant que le parfait, & celuy de la Septiéme superfluë qui puissent lui être appropriez.", "english": "If the leading note lies in the chords or soprano, it may remain on the same degree to form the seventh of the tonic subsequently appearing in the bass. But observe that this seventh is always augmented. As such, the chord is not a ninth chord but an eleventh chord, in which the third cannot occur. If the third replaces this eleventh, a ninth chord is then implied, and the seventh must no longer be considered augmented: it can retain that status only within the eleventh chord. It must instead be regarded as an ordinary seventh, which must descend. But the key always changes in this case, since a note is no longer tonic once it bears a ninth or seventh chord. Only the perfect chord and augmented-seventh chord can belong to it.", "sources": [ { "pdf_page": 126, "source_image": "source-pages/bnf-126.png", "printed_page": 94, "bbox_pixels": [ 419, 1944, 2171, 1141 ], "crop_image": "assets/II.15-006.png" } ] }, { "id": "II.15-007", "type": "paragraph", "section": "II.15", "lesson": 30, "exercise": 30, "reading_order": 814, "original": "Si l’on peut donc faire entendre un Accord de Neuviéme audessus d’une Notte tonique, il faut toûjours éviter d’y joindre la Septiéme, qui ne peut être que superfluë en ce cas, & qui par consequent ne s’accorderoit pas avec le reste.", "english": "Thus, if a ninth chord is sounded above a tonic, we must always avoid including the seventh. In that case it could only be augmented, and consequently would not agree with the rest.", "sources": [ { "pdf_page": 126, "source_image": "source-pages/bnf-126.png", "printed_page": 94, "bbox_pixels": [ 419, 3085, 2171, 312 ], "crop_image": "assets/II.15-007.png" } ] }, { "id": "II.15-008", "type": "heading", "section": "II.15", "lesson": 30, "exercise": 30, "reading_order": 815, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 127, "source_image": "source-pages/bnf-127.png", "printed_page": 95, "bbox_pixels": [ 419, 462, 2171, 95 ], "crop_image": "assets/II.15-008.png" } ] }, { "id": "II.15-009", "type": "music", "section": "II.15", "lesson": 30, "exercise": 30, "reading_order": 816, "original": "Exemples A. et B. — Septiéme retranchée de l’Accord de Neuviéme.", "english": "Examples A and B: Seventh Removed from the Ninth Chord.", "sources": [ { "pdf_page": 127, "source_image": "source-pages/bnf-127.png", "printed_page": 95, "bbox_pixels": [ 462, 595, 2156, 887 ], "crop_image": "assets/II.15-009.png" } ], "original_title": "Exemples A. et B. — Septiéme retranchée de l’Accord de Neuviéme.", "english_title": "Examples A and B: Seventh Removed from the Ninth Chord.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.15-009" ], "music_asset_refs": [ "II.15-009" ] }, { "id": "II.15-010", "type": "paragraph", "section": "II.15", "lesson": 30, "exercise": 30, "reading_order": 817, "original": "L’Exemple A. est bon, & celuy de B. ne vaut rien à l’endroit où la Notte sensible est doublée à C. montant à D. de côté & d’autre, & formant une Quinte superfluë entre C. & F. où l’on trouveroit encore une Quarte diminuée, en mettant C. audessus d’F. & si cela peut se souffrir dans un Ton majeure, en ajoûtant pour lors un ♯ à la Notte F. remarquez que le Ton changeroit, & que la Notte tonique prétendue deviendroit pour lors Quatriéme Notte, comme cela se prouve par l’experience ; ainsi sa Notte sensible ne seroit plus telle, & deviendroit une Septiéme ordinaire, qui descendroit pour lors, au lieu qu’elle monte à D. comme Septiéme superfluë.", "english": "Example A is good; B is bad where the leading note is doubled at C and ascends to D in both parts, forming an augmented fifth between C and F. Putting C above F would also produce a diminished fourth. If this can be tolerated in a major key by adding a ♯ to note F, observe that the key would change: the supposed tonic would become the fourth note, as experience proves. Its leading note would cease to be such and become an ordinary seventh, descending instead of ascending to D as an augmented seventh.", "sources": [ { "pdf_page": 127, "source_image": "source-pages/bnf-127.png", "printed_page": 95, "bbox_pixels": [ 462, 1549, 2161, 825 ], "crop_image": "assets/II.15-010.png" } ] }, { "id": "II.16-001", "type": "heading", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 818, "original": "CHAPITRE SEIZIÉME.", "english": "CHAPTER SIXTEEN.", "sources": [ { "pdf_page": 127, "source_image": "source-pages/bnf-127.png", "printed_page": 95, "bbox_pixels": [ 419, 2559, 2171, 114 ], "crop_image": "assets/II.16-001.png" } ], "correction_refs": [ "supplement-126", "supplement-127", "supplement-128", "supplement-129" ] }, { "id": "II.16-002", "type": "heading", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 819, "original": "Des consonances Dissonantes, où il est parlé de la Quarte, & de la fausse idée qu’on y a attachée par des Regles hors d’œuvres.", "english": "On Dissonant Consonances, Discussing the Fourth and the False Idea Attached to It through Irrelevant Rules.", "sources": [ { "pdf_page": 127, "source_image": "source-pages/bnf-127.png", "printed_page": 95, "bbox_pixels": [ 419, 2703, 2171, 290 ], "crop_image": "assets/II.16-002.png" } ] }, { "id": "II.16-003", "type": "paragraph", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 820, "original": "TOut Accord dissonant ne peut être composé que de l’union des Consonances ; & c’est de la comparaison que l’on fait de deux Consonances prises en particulier dans un Accord, que se forme la Dissonance : ainsi dans l’Accord de la Septiéme, composé de l’union de deux Quintes, & de trois Tierces, l’on trouvera que les deux Sons extrêmes seront Dissonans entr’eux, puisqu’ils ne sont ni Quinte, ni Tierce ensemble, & qu’ils font au contraire Septiéme, ou Seconde par renversement.", "english": "Every dissonant chord can be composed only by uniting consonances. Dissonance arises from comparing two consonances considered separately within a chord. Thus the seventh chord, composed of two fifths and three thirds united, has two outer sounds dissonant with one another: they form neither a fifth nor a third together, but a seventh, or a second by inversion.", "sources": [ { "pdf_page": 127, "source_image": "source-pages/bnf-127.png", "printed_page": 95, "bbox_pixels": [ 462, 3046, 2161, 505 ], "crop_image": "assets/II.16-003.png" }, { "pdf_page": 128, "source_image": "source-pages/bnf-128.png", "printed_page": 96, "bbox_pixels": [ 419, 344, 2171, 172 ], "crop_image": "assets/II.16-004.png" } ] }, { "id": "II.16-005", "type": "paragraph", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 821, "original": "C’est ici où la plûpart des Musiciens se trompent, en ce qu’ils n’examinent souvent que les intervales qui se trouvent entre la Basse & les autres Sons d’un Accord, sans avoir égard aux differens Intervales que tous les Sons peuvent former ensemble, en les comparant les uns aux autres ; desorte qu’ils prennent quelquefois pour Consonant, un Son qui est en effet Dissonant : Par exemple, dans l’Accord de la petite Sixte, il ne s’y trouve que trois Consonances, qui sont la Tierce, la Quarte, & la Sixte ; mais si l’on confronte la Tierce avec la Quarte, l’on trouvera que ces deux Sons forment Dissonance ensemble ; pareillement dans l’Accord de la grande Sixte, il s’y trouve trois Consonances, qui sont la Tierce, la Quinte, & la Sixte, où l’on trouvera encore une Dissonance entre la Quinte & la Sixte : Donc ces Consonances sont Dissonantes entr’elles, & il ne reste plus qu’à sçavoir distinguer celle qui forme la Dissonance, ce qui est facile, en rapportant ces Accords à leur fondement, où l’on verra que dans l’Accord de la petite Sixte, c’est la Tierce qui forme la Dissonance ; & que dans celuy de la grande Sixte, c’est la Quinte, puisque cette Tierce, & cette Quinte, sont en effet la Septiéme du Son fondamental de l’Accord de la Septiéme, dont ces deux derniers dérivent.", "english": "Here most musicians go wrong: they often examine only the intervals between the bass and the other sounds of a chord, without considering all the intervals formed by comparing its sounds with one another. They therefore sometimes take a genuinely dissonant sound for a consonant one. For example, the small-sixth chord contains only three consonances above its bass: third, fourth, and sixth. But compare the third with the fourth, and these sounds form a dissonance together. Likewise, the great-sixth chord contains three consonances—third, fifth, and sixth—but another dissonance lies between fifth and sixth. These consonances are therefore dissonant with one another. We need only determine which sound forms the dissonance. This is easy when the chords are related to their foundation: in the small-sixth chord it is the third, and in the great-sixth chord the fifth. Both are actually the seventh above the fundamental sound of the seventh chord from which these two chords derive.", "sources": [ { "pdf_page": 128, "source_image": "source-pages/bnf-128.png", "printed_page": 96, "bbox_pixels": [ 419, 513, 2171, 1508 ], "crop_image": "assets/II.16-005.png" } ] }, { "id": "II.16-006", "type": "heading", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 822, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 128, "source_image": "source-pages/bnf-128.png", "printed_page": 96, "bbox_pixels": [ 419, 2039, 2171, 105 ], "crop_image": "assets/II.16-006.png" } ] }, { "id": "II.16-007", "type": "music", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 823, "original": "Septiéme, grande Sixte et petite Sixte rapportées au Son fondamental.", "english": "Seventh, Great Sixth, and Small Sixth Related to the Fundamental Sound.", "sources": [ { "pdf_page": 128, "source_image": "source-pages/bnf-128.png", "printed_page": 96, "bbox_pixels": [ 419, 2159, 2204, 827 ], "crop_image": "assets/II.16-007.png" } ], "original_title": "Septiéme, grande Sixte et petite Sixte rapportées au Son fondamental.", "english_title": "Seventh, Great Sixth, and Small Sixth Related to the Fundamental Sound.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.16-007" ], "music_asset_refs": [ "II.16-007" ] }, { "id": "II.16-008", "type": "paragraph", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 824, "original": "La Notte Sol forme toûjours la Septiéme du Son fondamental La ; & s’il est permis de renverser le premier Accord de Septiéme, l’on voit que ceux qui en proviennent, ne sont composez que des mêmes Sons ; & qu’en les rapportant à leur fondement, c’est toûjours la Notte Sol qui fait la Dissonance. Cette preuve est d’autant plus évidente, que de quelque façon que l’on dispose le premier Accord de Septiéme, soit en un Accord de petite Sixte, soit en un Accord de grande Sixte, le Son qui fait la Dissonance proposée, sera toûjours préparé, & sauvé ; de même que la Septiéme qui en est l’origine, sans que cela introduise aucune alteration dans le fond de l’Harmonie.", "english": "G always forms the seventh above the fundamental sound A. Invert the original seventh chord, and the resulting chords contain only the same sounds; referred to their foundation, G always forms the dissonance. The proof is still clearer because, however the original seventh chord is arranged, as a small-sixth or great-sixth chord, the sound forming the dissonance is always prepared and resolved just like the seventh from which it originates, without any alteration in the substance of harmony.", "sources": [ { "pdf_page": 128, "source_image": "source-pages/bnf-128.png", "printed_page": 96, "bbox_pixels": [ 419, 2995, 2171, 544 ], "crop_image": "assets/II.16-008.png" }, { "pdf_page": 129, "source_image": "source-pages/bnf-129.png", "printed_page": 97, "bbox_pixels": [ 419, 296, 2171, 301 ], "crop_image": "assets/II.16-009.png" } ] }, { "id": "II.16-010", "type": "paragraph", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 825, "original": "Il y a icy une exception à faire à l’égard de l’Accord de la grande Sixte, formé d’une Sixte ajoûtée au premier Accord parfait d’une Cadence irreguliere, où pour lors nous ne devons avoir que l’Accord parfait pour objet, & non pas celuy de la Septiéme, qui n’a point lieu dans cette Cadence ; de sorte que la Dissonance est formée, en ce cas, de la Sixte ajoûtée : ce qui s’éclaircira encore davantage par la suite. Voyez le Chap. XVII. Art. III. & le Chap. XVIII.", "english": "An exception must be made for the great-sixth chord formed by adding a sixth to the first perfect chord of an irregular cadence. There we must consider only the perfect chord, not the seventh chord, which does not occur in that cadence. In this case the added sixth forms the dissonance. This will become clearer later. See Chapter XVII, Article III, and Chapter XVIII.", "sources": [ { "pdf_page": 129, "source_image": "source-pages/bnf-129.png", "printed_page": 97, "bbox_pixels": [ 419, 597, 2171, 599 ], "crop_image": "assets/II.16-010.png" } ] }, { "id": "II.16-011", "type": "paragraph", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 826, "original": "Il n’y a pas long-temps que ces Accords de petite & de grande Sixte sont en usage ; il y a même encore des Musiciens qui ne veulent point les recevoir ; abandonnant ainsi ce que l’experience leur offre, pour se soûmettre à des Regles, que l’on peut appeller fausses ; en ce que d’un côté il y est dit sans distinction, que la Quarte est une Dissonance ; & de l’autre, que l’on peut faire syncoper la Basse sous cette Quarte, toûjours prise pour Dissonance, de même que sous toute autre Dissonance ; ce qui induit dans une infinité d’erreurs, dont il est à propos de nous relever. Or comme nous avons à combattre icy des opinions presque generalement reçûës, nous ne pouvons nous dispenser de ramener chaque chose à son principe, pour arriver ensuite au but que nous nous proposons : & l’exacte recherche que nous allons faire du principe, servira même à prouver, que ce qui paroît de nouveau dans nos Regles, n’est qu’une suite de celles que nous voulons détruire icy, lesqu’elles n’ont été fondées que sur les differentes proprietez de la Dissonance, qui proviennent chacune d’une source differente, & qui demandent par consequent chacune une Regle particuliere ; ce que nous allons distribuer par Articles, pour en donner une intelligence plus distincte.", "english": "Small- and great-sixth chords have not long been in use; some musicians still refuse to accept them. They thus abandon what experience offers in submission to rules that may be called false. On one hand those rules declare without distinction that the fourth is dissonant; on the other they allow the bass to be syncopated beneath this supposedly dissonant fourth, as beneath any other dissonance. This leads to countless errors from which we should free ourselves. Since we must oppose opinions almost universally accepted, we cannot avoid returning everything to its principle before reaching our intended goal. This precise inquiry will even show that what seems new in our rules follows from the very rules we seek to overturn. Those rules were founded only upon different properties of dissonance, each arising from a different source and consequently requiring its own rule. We shall divide the discussion into articles to make it clearer.", "sources": [ { "pdf_page": 129, "source_image": "source-pages/bnf-129.png", "printed_page": 97, "bbox_pixels": [ 419, 1197, 2171, 1414 ], "crop_image": "assets/II.16-011.png" } ] }, { "id": "II.16-012", "type": "heading", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 827, "original": "ARTICLE PREMIER", "english": "ARTICLE ONE", "sources": [ { "pdf_page": 129, "source_image": "source-pages/bnf-129.png", "printed_page": 97, "bbox_pixels": [ 419, 2649, 2171, 103 ], "crop_image": "assets/II.16-012.png" } ] }, { "id": "II.16-013", "type": "heading", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 828, "original": "DU PRINCIPE DE LA DISSONANCE ;", "english": "ON THE PRINCIPLE OF DISSONANCE;", "sources": [ { "pdf_page": 129, "source_image": "source-pages/bnf-129.png", "printed_page": 97, "bbox_pixels": [ 419, 2771, 2171, 90 ], "crop_image": "assets/II.16-013.png" } ] }, { "id": "II.16-014", "type": "heading", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 829, "original": "Lequel des deux Sons d’un Intervale doit estre pris pour Dissonant, & pour lequel de ces deux Sons la Regle de préparer, & de sauver la Dissonance a été établie.", "english": "Which Sound of an Interval Must Be Considered Dissonant, and to Which Sound the Rule of Preparing and Resolving Dissonance Applies.", "sources": [ { "pdf_page": 129, "source_image": "source-pages/bnf-129.png", "printed_page": 97, "bbox_pixels": [ 419, 2857, 2171, 281 ], "crop_image": "assets/II.16-014.png" } ] }, { "id": "II.16-015", "type": "paragraph", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 830, "original": "Le même principe qui engendre les Consonances, engendre également les Dissonances ; c’est à ce Son premier, & fondamental que tout se rapporte ; c’est de sa division que s’engendrent tous les Intervales, qui ne sont tels, que par rapport à ce premier Son. Les Intervales de Tierce, de Quinte, & de Septiéme qui les comprennent tous (comme nous l’avons fait assez sentir au premier Livre, & comme nous l’expliquons encore au Chap. XIX de ce Livre) prennent leur source à ce premier Son ; donc il est le principe de la Dissonance, puisque la Septiéme n’est formée que de la comparaison d’un Son engendré à ce premier Son ; & puisque nous remarquons que toute autre Dissonance (n’étant question icy que de la Dissonance que nous distinguons en Mineure) ne peut être formée que d’un Intervale de Septiéme, ou de celui de la seconde qui en est renversé ; les Intervales de Neuviéme, & de Onziéme, dite Quarte, ne pouvant détruire cette proposition, puisqu’en retranchant le Son surnumeraire des Accords où ces Intervales ont lieu, il n’y reste plus pour toute Dissonance, que celuy de la Septiéme, ou de la Seconde.", "english": "The same principle that generates consonances also generates dissonances. Everything refers to this first, fundamental sound. Its division generates every interval, and intervals are such only in relation to it. Third, fifth, and seventh, which comprise all the others—as sufficiently shown in Book I and further explained in Chapter XIX of this book—originate in this first sound. It is therefore the principle of dissonance, since the seventh is formed only by comparing a generated sound with this first sound. Every other dissonance—here we mean only what we distinguish as minor dissonance—can be formed only from a seventh, or its inversion, the second. Ninths and elevenths, the latter called fourths, do not invalidate this proposition: remove the supernumerary sound from their chords, and the only dissonance remaining is a seventh or second.", "sources": [ { "pdf_page": 129, "source_image": "source-pages/bnf-129.png", "printed_page": 97, "bbox_pixels": [ 419, 3180, 2171, 249 ], "crop_image": "assets/II.16-015.png" }, { "pdf_page": 130, "source_image": "source-pages/bnf-130.png", "printed_page": 98, "bbox_pixels": [ 419, 387, 2171, 1128 ], "crop_image": "assets/II.16-016.png" } ] }, { "id": "II.16-017", "type": "paragraph", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 831, "original": "Nous ne pouvons conclure autre chose de ces remarques, sinon, que la Dissonance n’a qu’un principe : car la Tierce, & la Quinte qui composent l’Accord de la Septiéme, ne peuvent servir icy de principe à la Dissonance ; puisque ces Intervales comparez à la Septiéme, ne forment point de nouvelles Dissonances mineures, & forment au contraire les mêmes Intervales, c’est-à-dire, la Tierce, & la Quinte avec cette Septiéme ; observation qui nous servira dans la suite.", "english": "These observations allow only one conclusion: dissonance has a single principle. The third and fifth composing the seventh chord cannot serve as its principle, because comparison with the seventh forms no new minor dissonances. Instead they form those same intervals, third and fifth, with the seventh. This observation will serve us later.", "sources": [ { "pdf_page": 130, "source_image": "source-pages/bnf-130.png", "printed_page": 98, "bbox_pixels": [ 419, 1515, 2171, 599 ], "crop_image": "assets/II.16-017.png" } ] }, { "id": "II.16-018", "type": "paragraph", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 832, "original": "Nous conclurons de plus, que le principe étant parfait par luy-même, & étant également la source des Consonances, & des Dissonances, ne peut être regardé comme Dissonant ; & que par consequent, la Dissonance ne peut resider que dans le Son qui luy est comparé : verité d’autant plus évidente, que la regle de Préparer la Dissonance en la faisant Syncoper ; & de la Sauver en la faisant descendre ensuite, ne regarde que le Son aigu de la Septiéme, & non pas le Son grave qui en est le principe ; où l’on s’aperçoit en même temps que lorsque cette Septiéme est renversée dans un Accord de Seconde, & que le principe occupe pour lors l’aigu, pendant que le Son qui regarde la Regle, occupe le grave ; c’est ce Son grave qui doit Syncoper, & descendre ensuite ; preuve que cette Regle n’a lieu qu’à l’égard du Son dissonant, & non pas à l’égard de son principe ; de sorte que si l’on doit donner pour regle de faire syncoper la Basse, ce ne peut être que dans cette seule occasion : car si elle peut syncoper ailleurs, cela provient d’un autre principe, qu’il faut expliquer avant que d’en faire mention. Par exemple, lorsque la Tierce, ou la Quinte syncopent pendant qu’elles accompagnent la Septiéme, cela provient de la progression naturelle aux Consonances, & non pas de la Regle établie pour les Dissonances ; de même que lorsque nous faisons syncoper à nôtre gré une Consonance quelconque, cela dépend du goût, & non pas de la Regle, à laquelle il n’y a que les Dissonances qui doivent s’assujettir ; ainsi lorsque la Basse syncope sous la seconde, c’est que le Son de cette Basse est en effet le Son dissonant, qui doit s’assujettir à la Regle. Mais prenez garde icy que le principe de ce Son dissonant reside uniquement dans le son aigu de la Seconde, qui selon l’ordre naturel, est le grave de la Septiéme, & non pas dans les autres Sons qui accompagnent cette Seconde ; de même que le principe de la Septiéme réside uniquement dans le Son grave de cet Intervale, & non pas dans les autres Sons qui l’accompagnent, & qui peuvent syncoper au gré du Compositeur, ou conformément à la progression qu’ils doivent tenir par rapport à celle de la Basse ; par consequent le Son grave de la Seconde ne syncope pas à l’égard de la Quarte, ni de la Sixte, mais à l’égard du Son aigu de cette Seconde qui est le principe de la Dissonance ; sinon, il s’y trouveroit autant de principes, que de Sons à l’égard desquels on prétendroit que la Dissonance dût syncoper. Si l’on veut au contraire que les Sons aigus de la Seconde & de la Quarte soient icy dissonans. Voyez dans combien d’erreurs cette fausse idée nous jettera : la Regle n’aura plus de solidité ; ce ne sera plus le Son dissonant qui devra syncoper, & l’on pourra, dans l’incertitude, faire syncoper à son gré tel Son que l’on voudra ; la Septiéme ne sera plus l’objet de toutes les Dissonances, & son principe y sera pour lors confondu.", "english": "We further conclude that the principle, perfect in itself and equally the source of consonances and dissonances, cannot be considered dissonant. Dissonance must therefore reside only in the sound compared with it. This is especially clear because the rule of preparing dissonance through syncopation and resolving it by subsequent descent concerns only the seventh's upper sound, not its lower sound, which is its principle. When that seventh is inverted into a second chord, the principle lies above and the sound governed by the rule below. This lower sound must then syncopate and descend. Thus the rule concerns only the dissonant sound, not its principle. A rule prescribing bass syncopation can apply only in this one circumstance; if the bass may syncopate elsewhere, that arises from another principle, which must first be explained. For example, when a third or fifth syncopates while accompanying a seventh, this arises from the natural progression of consonances, not the rule governing dissonances. Likewise, choosing to syncopate any consonance depends on taste, not on the rule to which only dissonances must submit. When the bass syncopates beneath a second, then, the bass sound is itself the dissonance governed by the rule. But observe that the principle of this dissonant sound lies solely in the second's upper sound, naturally the seventh's lower sound, not in the other sounds accompanying the second. Likewise the seventh's principle lies solely in its lower sound, not in accompanying sounds, which may syncopate at the composer's pleasure or according to their required progression relative to the bass. Consequently, the lower sound of the second syncopates in relation not to the fourth or sixth but to the second's upper sound, the principle of the dissonance. Otherwise there would be as many principles as sounds against which the dissonance was said to syncopate. Suppose instead that the upper sounds of the second and fourth were considered dissonant here. See how many errors follow: the rule loses its firmness; the dissonant sound is no longer the one required to syncopate; uncertainty allows any sound to syncopate at will; the seventh ceases to be the object of every dissonance, and its principle becomes confused.", "sources": [ { "pdf_page": 130, "source_image": "source-pages/bnf-130.png", "printed_page": 98, "bbox_pixels": [ 419, 2114, 2171, 1452 ], "crop_image": "assets/II.16-018.png" }, { "pdf_page": 131, "source_image": "source-pages/bnf-131.png", "printed_page": 99, "bbox_pixels": [ 419, 367, 2171, 1873 ], "crop_image": "assets/II.16-019.png" } ] }, { "id": "II.16-020", "type": "heading", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 833, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 131, "source_image": "source-pages/bnf-131.png", "printed_page": 99, "bbox_pixels": [ 419, 2295, 2171, 103 ], "crop_image": "assets/II.16-020.png" } ] }, { "id": "II.16-021", "type": "music", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 834, "original": "Syncopes de Consonances et de Dissonances — A. B. C. D. E.", "english": "Syncopations of Consonances and Dissonances: A, B, C, D, E.", "sources": [ { "pdf_page": 131, "source_image": "source-pages/bnf-131.png", "printed_page": 99, "bbox_pixels": [ 419, 2434, 2204, 703 ], "crop_image": "assets/II.16-021.png" } ], "original_title": "Syncopes de Consonances et de Dissonances — A. B. C. D. E.", "english_title": "Syncopations of Consonances and Dissonances: A, B, C, D, E.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.16-021" ], "music_asset_refs": [ "II.16-021" ] }, { "id": "II.16-022", "type": "paragraph", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 835, "original": "Si la Quinte syncope à (A,) cela provient de la suite naturelle des Consonances, & de la fantaisie du Compositeur de faire entendre la Quinte plûtôt qu’une autre Consonance ; mais cela ne s’observe point pour s’assujettir à la regle qui concerne la Dissonance : Et si la Basse syncope sous la Quarte à (B), cela ne provient que du renversement de cette Quinte syncopée : Si la Quinte syncope encore à (C), c’est toûjours pour les raisons que nous venons d’alleguer ; mais si la Septiéme syncope en même temps, c’est parce qu’on y est forcé par la regle qui l’ordonne : Si la Septiéme syncope encore à (D,) c’est toûjours par rapport à la regle, où l’on voit que la Tierce qui est une Consonance, ne syncope point ; & lorsque la Basse syncope à (F), c’est qu’elle represente le Son aigu de cette Septiéme que regarde la Regle ; mais la Quarte qui s’y trouve, ne syncope point, parce qu’elle est consonante, & que selon l’Harmonie fondamentale elle represente la Tierce de l’Accord (D) : Ainsi, de même que la Septiéme syncope à (D.) par rapport à son principe qui est dans la Basse, de même aussi la Basse de la Seconde syncope à (F.) par rapport à son principe, qui par renversement est dans le Dessus, où il forme le Son aigu de cette Seconde ; & non pas par rapport à la Quarte qui n’y sert que d’accompagnement ; de même que la Septiéme n’a point syncopé à (C.) par rapport à la Quinte, ni à (D.) par rapport à la Tierce.", "english": "If the fifth syncopates at (A), this arises from the natural succession of consonances and the composer's choice to sound the fifth rather than another consonance, not from obedience to the dissonance rule. If the bass syncopates beneath the fourth at (B), this comes only from inversion of that syncopated fifth. The fifth at (C) syncopates for the same reasons; but the seventh syncopating with it does so because the rule requires it. At (D), the seventh again syncopates according to the rule, while the consonant third does not. At (F), the bass syncopates because it represents the upper sound of that seventh governed by the rule. The fourth there does not syncopate, since it is consonant and represents, in fundamental harmony, the third of chord (D). Just as the seventh at (D) syncopates relative to its principle in the bass, the bass of the second at (F) syncopates relative to its principle, now inverted into the upper part as the second's upper sound. It does not syncopate relative to the fourth, which merely accompanies it, just as the seventh at (C) did not syncopate relative to the fifth, nor at (D) relative to the third.", "sources": [ { "pdf_page": 131, "source_image": "source-pages/bnf-131.png", "printed_page": 99, "bbox_pixels": [ 419, 3190, 2171, 320 ], "crop_image": "assets/II.16-022.png" }, { "pdf_page": 132, "source_image": "source-pages/bnf-132.png", "printed_page": 100, "bbox_pixels": [ 419, 372, 2171, 1362 ], "crop_image": "assets/II.16-023.png" } ] }, { "id": "II.16-024", "type": "paragraph", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 836, "original": "Pour juger sainement de cecy, il n’y a qu’à remarquer que toute Dissonance mineure ne peut être formée que d’un Intervale de Septiéme, ou de Seconde par renversement ; ce qui est infaillible dans les Accords complets ; car ce qui ne se rencontrera pas entre une partie & la Basse, se trouvera pour lors entre deux parties superieures ; en se souvenant que la Regle regarde uniquement que le Son aigu de la Septiéme, lequel, par renversement, devient le grave de la Seconde.", "english": "To judge this correctly, observe that every minor dissonance can be formed only by a seventh or its inversion, a second. This is infallibly true in complete chords: what is absent between a part and the bass will occur between two upper parts. Remember that the rule concerns only the seventh's upper sound, which becomes the second's lower sound through inversion.", "sources": [ { "pdf_page": 132, "source_image": "source-pages/bnf-132.png", "printed_page": 100, "bbox_pixels": [ 419, 1734, 2171, 608 ], "crop_image": "assets/II.16-024.png" } ] }, { "id": "II.16-025", "type": "heading", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 837, "original": "ARTICLE SECOND.", "english": "ARTICLE TWO.", "sources": [ { "pdf_page": 132, "source_image": "source-pages/bnf-132.png", "printed_page": 100, "bbox_pixels": [ 419, 2389, 2171, 103 ], "crop_image": "assets/II.16-025.png" } ] }, { "id": "II.16-026", "type": "heading", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 838, "original": "Quel est l’Accord original de tous les Accords dissonans ; La quantité des Dissonances, & des Sons qu’il contient ; Et quelles en sont les bornes.", "english": "Which Chord Is the Source of All Dissonant Chords; How Many Dissonances and Sounds It Contains; and What Its Bounds Are.", "sources": [ { "pdf_page": 132, "source_image": "source-pages/bnf-132.png", "printed_page": 100, "bbox_pixels": [ 419, 2531, 2171, 294 ], "crop_image": "assets/II.16-026.png" } ] }, { "id": "II.16-027", "type": "paragraph", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 839, "original": "Si la Septiéme est l’origine de toutes les dissonances, pareillement l’Accord de la Septiéme est l’origine de tous les Accords dissonans.", "english": "Just as the seventh is the origin of every dissonance, the seventh chord is the origin of every dissonant chord.", "sources": [ { "pdf_page": 132, "source_image": "source-pages/bnf-132.png", "printed_page": 100, "bbox_pixels": [ 419, 2864, 2171, 230 ], "crop_image": "assets/II.16-027.png" } ] }, { "id": "II.16-028", "type": "paragraph", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 840, "original": "Cet Accord ne contient que quatre Sons differens dans sa construction, il ne s’y trouve qu’une dissonance mineure, qui est la Septiéme, & le tout est renfermé dans les bornes de l’Octave.", "english": "This chord contains only four different sounds and only one minor dissonance, the seventh. Everything lies within the bounds of the octave.", "sources": [ { "pdf_page": 132, "source_image": "source-pages/bnf-132.png", "printed_page": 100, "bbox_pixels": [ 419, 3094, 2171, 232 ], "crop_image": "assets/II.16-028.png" } ] }, { "id": "II.16-029", "type": "paragraph", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 841, "original": "Comme l’Accord de la Septiéme n’est formé que d’une Septiéme ajoûtée à l’Accord parfait ; par consequent cet Accord parfait doit toûjours subsister dans celuy de la Septiéme : Or si le Son grave & fondamental d’un Accord parfait peut porter indifferemment une Tierce majeure, ou mineure, nous devons nous appercevoir que lorsqu’il porte la Tierce majeure, cette Tierce forme souvent une nouvelle dissonance avec la Septiéme ajoûtée, laquelle Tierce devient pour lors l’origine de toutes les dissonances, que nous distinguons en Majeures. Mais la progression imposée par la regle à la dissonance mineure, qui est toûjours la Septiéme en question, ne change-point pour cela : Ainsi cette nouvelle dissonance majeure ne doit point nous arrêter icy, puisque les Accords étant complets, on y trouvera toûjours l’intervale de Septiéme, ou de Seconde, dont on sçait à présent le Son qui doit se soûmettre à la regle : Car la Tierce, qui ne peut être separée de l’Accord parfait, n’empêche point à la dissonance de suivre son cours naturelle ; & bien que cette Tierce étant majeure puisse former une nouvelle dissonance avec la Septiéme, elle n’en est point absolument le principe, qui réside, sur tout, dans le Son grave & fondamental de cette Tierce, & de cette Septiéme.", "english": "The seventh chord consists only of a seventh added to the perfect chord; the perfect chord must therefore always remain within it. The lowest, fundamental sound of a perfect chord may bear either a major or minor third. When it bears a major third, that third often forms a new dissonance with the added seventh, becoming the origin of every dissonance distinguished as major. Yet the rule's prescribed progression of the minor dissonance, always the seventh in question, does not change. This new major dissonance need not detain us: in complete chords we always find the seventh or second, and we now know which sound must obey the rule. The third, inseparable from the perfect chord, does not prevent the dissonance from following its natural course. Although the third, when major, can form a new dissonance with the seventh, it is not absolutely its principle. That principle resides above all in the lowest, fundamental sound of both the third and seventh.", "sources": [ { "pdf_page": 132, "source_image": "source-pages/bnf-132.png", "printed_page": 100, "bbox_pixels": [ 419, 3326, 2171, 241 ], "crop_image": "assets/II.16-029.png" }, { "pdf_page": 133, "source_image": "source-pages/bnf-133.png", "printed_page": 101, "bbox_pixels": [ 419, 393, 2171, 1280 ], "crop_image": "assets/II.16-030.png" } ] }, { "id": "II.16-031", "type": "paragraph", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 842, "original": "Pour se convaincre de l’origine de tous les Accords dissonans dans celuy de la Septiéme, nous n’avons qu’à considerer si tous ceux qui proviennent de son renversement, contiennent un moindre, ou un plus grand nombre de Sons, & de Dissonances, s’ils sont renfermez dans les mêmes bornes, & de plus s’ils alterent en aucune façon la Modulation ; de sorte que si nous trouvons par tout un rapport exact, nous ne pouvons plus douter de leur origine dans celuy de la Septiéme, qui est le premier dissonant que les raisons harmoniques puissent nous offrir. Et si l’on voit en effet que les Accords de Seconde, de fausse-Quinte, & de Triton, reçûs unanimement de tous les Musiciens, tirent leur principe de cet Accord de Septiéme, dans toute la regularité que nous venons de le dire ; pourquoi ne recevra-t-on pas également ceux de petite & de grande Sixte, qui peuvent joüir sans difficulté des mêmes privileges : Car si chacun de ces Accords renversez ne peut être formé que de la liberté que l’on a de prendre pour Basse l’un des Sons de cet Accord de Septiéme ; nous ne voyons pas pourquoy l’on peut prendre pour Basse la Tierce, ou la Septiéme du Son grave de cet Accord de Septiéme, pour en former ceux de fausse-Quinte, de grande Sixte, de Seconde, & de Triton ; pendant que l’on ne pourra prendre pour Basse la Quinte du Son grave de ce même Accord de Septiéme, pour en former celuy de la petite Sixte majeure, ou mineure, ayant confondu icy celuy de la grande Sixte avec celuy de la fausse-Quinte ; parce qu’ils ont un Son grave, commun par rapport à l’Accord fondamental dont ils dérivent, où il n’y a de difference que du majeur au mineur, de même que dans les Accords de Seconde, & de Triton. La dissonance mineure se trouve par tout dans l’Intervale de Septiéme, ou de Seconde, elle y est formée du Son aigu de la Septiéme, ou du grave de la Seconde, & elle y suit toûjours la progression qui luy est fixée par la regle.", "english": "To establish that every dissonant chord originates in the seventh chord, we need only ask whether its inversions contain fewer or more sounds and dissonances, whether they lie within the same bounds, and whether they alter modulation in any way. Exact correspondence throughout leaves no doubt of their origin in the seventh chord, the first dissonant chord harmonic ratios offer us. The second, diminished-fifth, and tritone chords, unanimously accepted by musicians, derive from it with precisely this regularity. Why, then, should the small- and great-sixth chords not be equally accepted, since they can enjoy the same privileges? Each inversion is formed merely by freely choosing one sound of the seventh chord as bass. Why may its third or seventh serve as bass, producing diminished-fifth, great-sixth, second, and tritone chords, while its fifth may not serve as bass to produce a major or minor small-sixth chord? We have grouped the great-sixth and diminished-fifth chords here because they share the same lowest sound relative to the fundamental chord from which they derive, differing only as major differs from minor, as do the second and tritone chords. Everywhere the minor dissonance lies in a seventh or second, formed by the seventh's upper sound or second's lower sound, and always follows the progression fixed by the rule.", "sources": [ { "pdf_page": 133, "source_image": "source-pages/bnf-133.png", "printed_page": 101, "bbox_pixels": [ 419, 1674, 2171, 1893 ], "crop_image": "assets/II.16-031.png" }, { "pdf_page": 134, "source_image": "source-pages/bnf-134.png", "printed_page": 102, "bbox_pixels": [ 419, 389, 2171, 378 ], "crop_image": "assets/II.16-032.png" } ] }, { "id": "II.16-033", "type": "paragraph", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 843, "original": "Seroit-ce, parce que Zarlin, ou quelques autres Auteurs, n’ont point fait mention de ces Accords de petite & de grande Sixte, ou parce que la Quarte se rencontre dans l’Accord de la petite Sixte ; que l’on n’auroit point voulu recevoir ces Accords ? Cependant Zarlin n’a point parlé de l’Accord de la Septiéme, où la Tierce majeure forme une nouvelle dissonance avec cette Septiéme, bien qu’il ait parlé de ceux de la fausse-Quinte, & du Triton qui en dérivent ; & cela n’a pas empêché qu’on n’ait pratiqué ce dernier Accord de Septiéme ; ainsi de plusieurs autres Accords qui ne sont venus à nôtre connoissance que par succession de temps. Ce seroit donc se contredire, que de rapporter une pareille autorité : Pour ce qui est de la Quarte qui se rencontre dans l’accord de la petite Sixte, la raison pour laquelle elle n’est point dissonante dans l’accord de la Seconde (comme nous avons tâché de le prouver dans l’article précedent) est encore la même icy ; mais de plus, l’on doit y remarquer que si la Dissonance reside dans le Son aigu de la Septiéme, ou dans le grave de la Seconde, cette Quarte jointe à la Tierce y forme l’un ou l’autre de ces deux Intervales, selon leur differente disposition, & que par consequent c’est la Tierce qui forme la Dissonance, & non pas la Quarte ; de même que dans l’accord de la Seconde, c’est la Basse qui forme cette dissonance, que dans l’accord de la grande Sixte, c’est la Quinte jointe à la Sixte, qui forme toûjours cette dissonance, & que dans l’accord de la Onziéme, dite Quarte, c’est cette Quarte jointe à la Quinte qui forme encore cette dissonance ; de sorte que par ce juste examen, il est facile de revenir de la fausse idée qu’on a eu jusqu’à présent de la Quarte.", "english": "Have these small- and great-sixth chords been rejected because Zarlino or other authors did not mention them, or because the fourth occurs in the small-sixth chord? Yet Zarlino did not discuss the seventh chord whose major third forms a new dissonance with its seventh, although he discussed the diminished-fifth and tritone chords derived from it. This did not prevent that seventh chord from being used, nor many other chords that became known only gradually. Invoking such authority would therefore be self-contradictory. As for the fourth in the small-sixth chord, the reason it is not dissonant in the second chord, as we tried to prove in the preceding article, applies here as well. Moreover, since dissonance resides in the seventh's upper sound or second's lower sound, this fourth together with the third forms one of those intervals according to their arrangement; the third therefore forms the dissonance, not the fourth. Likewise, the bass forms it in the second chord; the fifth joined to the sixth forms it in the great-sixth chord; and in the eleventh chord, called the fourth, that fourth joined to the fifth again forms it. This careful examination readily corrects the false idea of the fourth held until now.", "sources": [ { "pdf_page": 134, "source_image": "source-pages/bnf-134.png", "printed_page": 102, "bbox_pixels": [ 419, 767, 2171, 1959 ], "crop_image": "assets/II.16-033.png" } ] }, { "id": "II.16-034", "type": "paragraph", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 844, "original": "Remarquons en passant que tous ces Accords peuvent se reduire en celuy de la Septiéme dans une division par Tierces, excepté celuy de la Onziéme, d’où nous sommes obligez de donner ce nom à ce dernier intervale, parce que la reduction par Tierces ne peut s’y faire qu’en retranchant le Son de la Basse, avec lequel pour lors le Son aigu forme une Onziéme, & non pas une Quarte, lors que l’accord est arrangé selon sa division naturelle ; au lieu que la Quarte dans les Accords de la Seconde & de la petite Sixte est renfermée dans les bornes de l’Octave, tous les Sons des Accords ainsi renfermez dans les bornes de l’Octave, pouvant se renverser au gré du Compositeur ; mais l’on ne peut en faire autant du Son grave des Accords de Neuviéme & de Onziéme, qui ne doit jamais changer de lieu.", "english": "Observe in passing that all these chords can be reduced to the seventh chord through division into thirds, except the eleventh chord. This obliges us to call that last interval an eleventh: reduction into thirds is possible only after removing the bass sound, with which the upper sound forms an eleventh, not a fourth, when the chord is arranged according to its natural division. By contrast, the fourth in second and small-sixth chords lies within the octave. Every sound in chords thus confined to an octave may be inverted at the composer's pleasure; the same cannot be done with the lowest sound of ninth and eleventh chords, which must never change position.", "sources": [ { "pdf_page": 134, "source_image": "source-pages/bnf-134.png", "printed_page": 102, "bbox_pixels": [ 419, 2726, 2171, 836 ], "crop_image": "assets/II.16-034.png" }, { "pdf_page": 135, "source_image": "source-pages/bnf-135.png", "printed_page": 103, "bbox_pixels": [ 419, 322, 2171, 95 ], "crop_image": "assets/II.16-035.png" } ] }, { "id": "II.16-036", "type": "paragraph", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 845, "original": "Au reste, si l’on ne peut plus disconvenir que l’accord de la Seconde ne soit renversé de celuy de la Septiéme, & que par consequent la seconde ne soit renversée de la Septiéme, il faut convenir en même temps que la Quarte est renversée de la Quinte, &c. mais pour une plus grande assurance, ne consultons plus un accord dérivé, lorsque nous pouvons en trouver toutes les proprietez dans son accord fondamental, & nous sçaurons pour lors à quoy nous en tenir, en ne considerant point les intervales dans eux-mêmes, mais dans ceux qu’ils representent, & qui ne consistent que dans la Tierce, la Quinte & la Septiéme, dont les Accords fondamentaux qui sont le parfait, & celuy de la septiéme sont composez, & dont la progression n’est déterminée que par celle du Son grave de l’un de ces deux Accords.", "english": "If it can no longer be denied that the second chord is an inversion of the seventh chord, and consequently the second an inversion of the seventh, we must likewise admit that the fourth is an inversion of the fifth, and so forth. For greater certainty, let us cease examining a derived chord when all its properties can be found in its fundamental chord. We shall then know where we stand, considering intervals not in themselves but in those they represent: third, fifth, and seventh, which compose the fundamental perfect and seventh chords. Their progression is determined only by that of the lowest sound of one of these two chords.", "sources": [ { "pdf_page": 135, "source_image": "source-pages/bnf-135.png", "printed_page": 103, "bbox_pixels": [ 419, 410, 2171, 969 ], "crop_image": "assets/II.16-036.png" } ] }, { "id": "II.16-037", "type": "heading", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 846, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 135, "source_image": "source-pages/bnf-135.png", "printed_page": 103, "bbox_pixels": [ 419, 1379, 2171, 84 ], "crop_image": "assets/II.16-037.png" } ] }, { "id": "II.16-038", "type": "paragraph", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 847, "original": "Ces Accords servent pour chaque Basse.", "english": "These chords serve for each bass.", "sources": [ { "pdf_page": 135, "source_image": "source-pages/bnf-135.png", "printed_page": 103, "bbox_pixels": [ 419, 1502, 2171, 79 ], "crop_image": "assets/II.16-038.png" } ] }, { "id": "II.16-039", "type": "music", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 848, "original": "Accords communs aux Basses des Accords renversez, à la Basse fondamentale et aux Basses des Accords par supposition.", "english": "Shared Chords for Inverted-Chord Basses, the Fundamental Bass, and Basses by Supposition.", "sources": [ { "pdf_page": 135, "source_image": "source-pages/bnf-135.png", "printed_page": 103, "bbox_pixels": [ 419, 1598, 2204, 1805 ], "crop_image": "assets/II.16-039.png" } ], "original_title": "Accords communs aux Basses des Accords renversez, à la Basse fondamentale et aux Basses des Accords par supposition.", "english_title": "Shared Chords for Inverted-Chord Basses, the Fundamental Bass, and Basses by Supposition.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.16-039" ], "music_asset_refs": [ "II.16-039" ] }, { "id": "II.16-040", "type": "paragraph", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 849, "original": "L’on trouvera icy que les seuls Accords parfaits, & de Septiéme qui regnent dans la Basse fondamentale forment tous les autres ; que la dissonance est par tout la même ; qu’elle suit toûjours la même progression ; que les Accords contiennent par tout une même quantité de Sons renfermez dans l’étenduë de l’Octave, à l’exception des Sons surnumeraires des Basses qui portent des Accords par supposition, où la Neuviéme se trouve d’un côté, & la Onziéme de l’autre ; & que la Modulation n’est aucunement alterée, de quelque Basse, & de quelques Accords que l’on se serve ; d’ailleurs il faut retrancher dans les Accords dissonans l’Octave de chaque Basse dont on fait la preuve ; autant que cela sera necessaire pour éviter les deux Octaves consecutives.", "english": "Here the perfect and seventh chords alone, prevailing in the fundamental bass, form all the others. The dissonance is everywhere the same and follows the same progression. All chords contain the same number of sounds within an octave, except for the extra sounds in basses carrying chords by supposition, where the ninth appears on one side and the eleventh on the other. Modulation is not altered in any way, whatever bass or chords are used. In the dissonant chords, however, the octave of each bass being tested must be removed as far as necessary to avoid consecutive octaves.", "sources": [ { "pdf_page": 135, "source_image": "source-pages/bnf-135.png", "printed_page": 103, "bbox_pixels": [ 419, 3397, 2171, 101 ], "crop_image": "assets/II.16-040.png" }, { "pdf_page": 136, "source_image": "source-pages/bnf-136.png", "printed_page": 104, "bbox_pixels": [ 419, 365, 2171, 827 ], "crop_image": "assets/II.16-041.png" } ] }, { "id": "II.16-042", "type": "paragraph", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 850, "original": "Les Nottes liées par un demi cercle ⌢ marquent les dissonances préparées par la Syncope ; & la petite ligne ╲ qui les suit, marque comme elles se sauvent en descendant, où l’on pourra remarquer que la Tierce dans l’Accord de la petite Sixte, la Quinte dans celuy de la grande Sixte, & la Basse dans l’Accord de la Seconde forment toûjours la dissonance representée par la Septiéme de la Basse fondamentale ; la même Septiéme formant également cette dissonance dans les Accords par supposition en retranchant le Son surnumeraire de leurs Basses.", "english": "Notes joined by a semicircle ⌢ mark dissonances prepared through syncopation. The short following line ╲ shows their descending resolution. Observe that the third in the small-sixth chord, the fifth in the great-sixth chord, and the bass in the second chord always form the dissonance represented by the seventh above the fundamental bass. That same seventh also forms the dissonance in chords by supposition once their extra bass sound is removed.", "sources": [ { "pdf_page": 136, "source_image": "source-pages/bnf-136.png", "printed_page": 104, "bbox_pixels": [ 419, 1192, 2171, 672 ], "crop_image": "assets/II.16-042.png" } ] }, { "id": "II.16-043", "type": "image", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 851, "original": "Demi cercle : ⌢ ; petite ligne descendante : ╲.", "english": "Semicircle: ⌢; short descending line: ╲.", "sources": [ { "pdf_page": 136, "source_image": "source-pages/bnf-136.png", "printed_page": 104, "bbox_pixels": [ 1569, 1177, 443, 183 ], "crop_image": "assets/II.16-043.png" } ], "original_title": "Signes de liaison et de résolution cités dans le texte", "english_title": "Tie and Resolution Signs Cited in the Text", "asset_refs": [ "II.16-043" ] }, { "id": "II.16-044", "type": "heading", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 852, "original": "ARTICLE TROISIÉME.", "english": "ARTICLE THREE.", "sources": [ { "pdf_page": 136, "source_image": "source-pages/bnf-136.png", "printed_page": 104, "bbox_pixels": [ 419, 1925, 2171, 107 ], "crop_image": "assets/II.16-044.png" } ] }, { "id": "II.16-045", "type": "heading", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 853, "original": "Que si l’on traite la Quarte de dissonance, lorsque la Basse syncope, l’on détruit la regle la plus belle, & la plus générale qu’il y ait dans la Musique.", "english": "Treating the Fourth as Dissonant When the Bass Syncopates Destroys Music's Finest and Most General Rule.", "sources": [ { "pdf_page": 136, "source_image": "source-pages/bnf-136.png", "printed_page": 104, "bbox_pixels": [ 419, 2084, 2171, 279 ], "crop_image": "assets/II.16-045.png" } ] }, { "id": "II.16-046", "type": "paragraph", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 854, "original": "La regle de preparer toute dissonance par une consonance est si générale, qu’elle ne souffre point d’exceptions ; cependant si l’on vouloit que la Quarte fut dissonante lorsque la Basse syncope, cette regle seroit fausse, puisque la Basse descendant diatoniquement après la syncope, comme cela se doit naturellement, la Quarte y prepare toûjours la fausse-Quinte, ou la Quinte dissonante dans un Accord de grande Sixte.", "english": "The rule of preparing every dissonance with a consonance is so general that it admits no exceptions. Yet if the fourth were dissonant when the bass syncopates, this rule would be false: as the bass descends diatonically after the syncopation, as it naturally should, the fourth always prepares the diminished fifth or the dissonant fifth of a great-sixth chord.", "sources": [ { "pdf_page": 136, "source_image": "source-pages/bnf-136.png", "printed_page": 104, "bbox_pixels": [ 419, 2454, 2171, 535 ], "crop_image": "assets/II.16-046.png" } ] }, { "id": "II.16-047", "type": "heading", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 855, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 137, "source_image": "source-pages/bnf-137.png", "printed_page": 105, "bbox_pixels": [ 419, 438, 2171, 97 ], "crop_image": "assets/II.16-047.png" } ] }, { "id": "II.16-048", "type": "music", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 856, "original": "Suite naturelle d’Harmonie — Basse qui syncope et Basse fondamentale.", "english": "Natural Harmonic Succession: Syncopated Bass and Fundamental Bass.", "sources": [ { "pdf_page": 137, "source_image": "source-pages/bnf-137.png", "printed_page": 105, "bbox_pixels": [ 587, 580, 1989, 924 ], "crop_image": "assets/II.16-048.png" } ], "original_title": "Suite naturelle d’Harmonie — Basse qui syncope et Basse fondamentale.", "english_title": "Natural Harmonic Succession: Syncopated Bass and Fundamental Bass.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.16-048" ], "music_asset_refs": [ "II.16-048" ] }, { "id": "II.16-049", "type": "paragraph", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 857, "original": "Cette suite d’Harmonie est la plus naturelle, & l’on ne peut objecter icy que l’imperfection de la premiere syncope, qui ne commence pas dans le temps mauvais ; mais pour y être obligé, il faut pour lors que la Seconde fasse partie de l’accord de Sixte-Quarte, ou qu’elle y soit sous-entenduë ; car cette Seconde étant, en ce cas, l’objet de la Dissonance, l’on ne peut se dispenser de faire commencer la syncope dans le temps mauvais, en la faisant finir dans le temps bon ; supposé qu’il ne se trouve pas une autre Dissonance immediatement auparavant, laquelle aura syncopé selon la regle. Lorsque nous disons que toute Dissonance doit être preparée par une consonance, cela ne doit s’entendre qu’autant que la Dissonance peut être preparée.", "english": "This harmonic succession is the most natural. The only possible objection is the imperfection of the first syncopation, which does not begin on a weak beat. For that requirement to apply, however, a second must belong to the sixth–fourth chord or be implied in it. The second then being the object of the dissonance, its syncopation must begin on the weak beat and end on the strong—provided no other dissonance immediately precedes it, already syncopated according to the rule. When we say every dissonance must be prepared by a consonance, this is to be understood only insofar as the dissonance can be prepared.", "sources": [ { "pdf_page": 137, "source_image": "source-pages/bnf-137.png", "printed_page": 105, "bbox_pixels": [ 419, 1525, 2171, 894 ], "crop_image": "assets/II.16-049.png" } ] }, { "id": "II.16-050", "type": "heading", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 858, "original": "ARTICLE QUATRIÉME.", "english": "ARTICLE FOUR.", "sources": [ { "pdf_page": 137, "source_image": "source-pages/bnf-137.png", "printed_page": 105, "bbox_pixels": [ 419, 2415, 2171, 99 ], "crop_image": "assets/II.16-050.png" } ] }, { "id": "II.16-051", "type": "heading", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 859, "original": "Du défaut des Auteurs dans l’établissement des Regles de l’Harmonie : Des differents principes de ces regles, & des erreurs qu’elles sement.", "english": "Authors' Failings in Establishing Rules of Harmony: The Rules' Different Principles and the Errors They Spread.", "sources": [ { "pdf_page": 137, "source_image": "source-pages/bnf-137.png", "printed_page": 105, "bbox_pixels": [ 419, 2554, 2171, 286 ], "crop_image": "assets/II.16-051.png" } ] }, { "id": "II.16-052", "type": "paragraph", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 860, "original": "Tous ceux qui ont voulu nous prescrire des regles de l’Harmonie, en ont abandonné le principe ; le premier Son & le premier Accord qui se sont offerts à eux, n’y ont eu aucun privilege ; tout y a été égal ? Nous a-t-on parlé de l’ordre de la perfection des consonances, ce n’a été que pour déterminer celles qui devoient être preferées dans un remplissage d’Accords ? Nous a-t-on voulu donner quelques raisons de la progression particuliere aux Tierces & aux Sixtes, ce n’a été que par des comparaisons ? en est-on venu enfin aux dissonances, tout y a été confondu, la Seconde, la Septiéme, la Neuviéme ; & si l’on dit qu’elles doivent être toûjours preparées, l’on donne des regles du contraire ; si l’on dit qu’elles doivent être preparées & sauvées d’une consonance, l’on se contredit ailleurs ; l’on ne dit pas pourquoy les unes veulent monter, & les autres descendre ; l’on nous en cache le principe, & chacun selon sa portée nous en dit ce que l’experience luy apprend. Or bien que l’experience soit seule capable de convaincre ; il n’en est pas de la Musique comme de plusieurs autres Sciences, où les sens nous font appercevoir les choses d’une façon que nous ne pouvons plus en douter ; ce qui dépend de l’œil est moins susceptible d’illusion, que ce qui dépend de l’oreille, tel approuvera un Accord, qui déplaît à un autre ; d’où vient cette contrarieté de sentimens parmi les Musiciens, chacun s’obstine à soûtenir ce que son imagination, ou ce que son peu d’experience luy fournit, & l’autorité entr’eux l’emporte presque toûjours sur la raison & sur l’experience ; mais surquoy est fondée cette autorité ; quel est celuy qui a appuyé ses raisons sur un principe solide, & qui pourra nous répondre de la parfaite justesse des organes de celuy qui osera se vanter d’avoir une experience consommée ? L’on voit que tout au contraire, la raison ny l’experience n’ont pû guider ceux qui nous ont donné des regles de la Musique ; car à commencer depuis Zarlin, ils ne se sont attachez qu’à chaque intervale en particulier ; de sorte que le principe subsistant uniquement dans le Son premier & fondamental, & ensuite dans l’accord qu’il doit porter, l’on ne pouvoit déterminer les proprietez d’un intervale, que préalablement l’on n’eût déterminé celles de ce Son fondamental, & ensuite celles de l’accord complet dont il doit être accompagné, & sans lequel l’Harmonie est imparfaite ; sinon la raison & l’experience sont d’un foible secours ; la raison n’a plus de force, dès qu’on s’éloigne du principe, & l’experience ne peut que nous tromper dans cette conjoncture : Si nous examinons un intervale en particulier, nous ne pourrons jamais en définir les proprietez, si nous n’examinons en même temps tous les differents Accords où il peut avoir lieu ; icy l’un des Sons de cet intervale doit descendre, là il doit monter, icy sa progression est conjointe, là elle est disjointe, icy il est dissonant, là il est consonant, icy il doit syncoper, là il ne le peut : & voilà justement le sujet de l’obscurité des regles qu’on nous en a données. Par exemple, on nous dit que toute Dissonance doit être preparée en syncopant ; & ensuite que la Basse peut aussi syncoper sous une Dissonance ; en quoy il se trouve une contradiction ; car, ou la Dissonance peut n’être point preparée en syncopant, ou la Basse qui syncope forme elle-même la Dissonance ; cette conclusion est la plus juste que l’on puisse tirer de ces deux Regles opposées ; & peut-être qu’on n’y a jamais pensé ; il est donc à propos de s’expliquer là-dessus.", "english": "All who have sought to prescribe rules of harmony have abandoned its principle. The first sound and first chord presented to them received no privilege; everything was equal. When they discussed the relative perfection of consonances, it was only to determine which should be preferred in filling out chords. When they offered reasons for the particular progression of thirds and sixths, they used only comparisons. On reaching dissonances, they confused everything—second, seventh, ninth. They say these must always be prepared, then give rules to the contrary; they say dissonances must be prepared and resolved by a consonance, then contradict themselves elsewhere. They do not explain why some must ascend and others descend. They conceal the principle, each reporting, according to his ability, what experience teaches him. Yet although experience alone can convince, music differs from sciences in which our senses reveal things beyond doubt. What depends on sight is less subject to illusion than what depends on hearing. One person approves a chord that displeases another. Hence musicians disagree, each stubbornly defending what imagination or limited experience supplies, while authority nearly always prevails over reason and experience. But on what does that authority rest? Who has founded his reasoning on a solid principle? Who can guarantee the perfect accuracy of the senses of anyone claiming consummate experience? On the contrary, neither reason nor experience seems to have guided the writers of musical rules. Beginning with Zarlino, they have considered each interval separately. But the principle resides solely in the first, fundamental sound and then in the chord it must bear. No interval's properties can be determined before those of the fundamental sound and its complete accompanying chord, without which harmony is imperfect. Otherwise reason and experience offer little help. Reason loses its force when removed from the principle, and experience can only deceive in these circumstances. Examining an interval alone can never define its properties unless we also examine every chord in which it occurs. Here one sound must descend, there ascend; here it moves by step, there by leap; here it is dissonant, there consonant; here it must syncopate, there it cannot. This is precisely the source of obscurity in the rules. For example, we are told that every dissonance must be prepared through syncopation, then that the bass may also syncopate beneath a dissonance. This is contradictory: either the dissonance need not be prepared through syncopation, or the syncopated bass itself forms the dissonance. This is the soundest conclusion from the two opposed rules, though perhaps it has never been considered. We must therefore explain it.", "sources": [ { "pdf_page": 137, "source_image": "source-pages/bnf-137.png", "printed_page": 105, "bbox_pixels": [ 419, 2900, 2171, 634 ], "crop_image": "assets/II.16-052.png" }, { "pdf_page": 138, "source_image": "source-pages/bnf-138.png", "printed_page": 106, "bbox_pixels": [ 419, 402, 2171, 3141 ], "crop_image": "assets/II.16-053.png" }, { "pdf_page": 139, "source_image": "source-pages/bnf-139.png", "printed_page": 107, "bbox_pixels": [ 419, 372, 2171, 230 ], "crop_image": "assets/II.16-054.png" } ] }, { "id": "II.16-055", "type": "paragraph", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 861, "original": "1°. La Basse, ou une autre partie peuvent syncoper indifferemment, lorsque l’on fait passer une ou plusieurs Dissonances pour le goût du chant ; mais cet objet ne doit point nous arrêter icy.", "english": "1. The bass or any other part may equally be syncopated when one or more dissonances are introduced for melodic taste; but that subject need not detain us here.", "sources": [ { "pdf_page": 139, "source_image": "source-pages/bnf-139.png", "printed_page": 107, "bbox_pixels": [ 419, 602, 2171, 232 ], "crop_image": "assets/II.16-055.png" } ] }, { "id": "II.16-056", "type": "paragraph", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 862, "original": "2°. Comme la Tierce majeure naturelle à l’Accord parfait ne peut en être separée, lorsque la Septiéme ajoûtée à cet Accord parfait syncope ; il se trouve pour lors que cette Septiéme syncope également par rapport à cette Tierce majeure, & par rapport au Son fondamental de l’Accord ; de sorte que cette Tierce majeure devenant en ce cas l’objet de toutes les Dissonances majeures & superfluës, si elle se trouve dans un Accord renversé, où la Dissonance mineure qui est cette Septiéme, occupe le grave ; cette Dissonance mineure syncopera toûjours, si elle doit être preparée, & ce n’est donc icy que par rapport à la Dissonance majeure que la Basse syncope, mais bien plus précisément encore par rapport au Son fondamental qui subsiste dans l’Accord complet ; cependant il est bon de faire sentir cette espece d’exception, pour ne point laisser de doutes ; & de plus, parce que nous avons un Accord par supposition, où le Son surnumeraire ajoûté à la Basse étant bien plus dissonant que les autres, doit syncoper lorsque la Dissonance majeure qui forme pour lors une Septiéme superfluë, se trouve dans le Dessus, * à quoy Mr. de Brossard n’a point fait attention, bien qu’il eût pû s’appercevoir dans la Table d’Angelo Berardi qu’il rapporte dans son Dictionaire, que la Septiéme où la Basse syncope est superfluë, puisqu’il n’y a que cette Septiéme qui puisse se sauver naturellement de l’Octave, en ce cas, comme cela y est précisément marqué, pour ce qui est de la Quarte où la Basse syncope, Berardi s’y est trompé aussi-bien que les autres, puisque cette Quarte n’est point dissonante en ce cas.", "english": "2. The major third naturally belonging to the perfect chord cannot be removed when the seventh added to it syncopates. The seventh therefore syncopates both against this major third and against the chord's fundamental sound. Since the major third then becomes the object of every major and augmented dissonance, an inverted chord may place the minor dissonance—the seventh—in the lowest position. That minor dissonance always syncopates if it is to be prepared. It is therefore only in relation to the major dissonance that the bass syncopates here, and still more precisely in relation to the fundamental sound remaining in the complete chord. This apparent exception should be clarified to remove doubt. Moreover, we have a chord by supposition in which the extra sound added in the bass, being far more dissonant than the others, must syncopate when the major dissonance, then forming an augmented seventh, lies in the soprano.* Monsieur de Brossard overlooked this, although Angelo Berardi's table, reproduced in his Dictionary, could have shown him that the seventh over a syncopated bass is augmented. Only this seventh can naturally resolve to the octave in that case, exactly as indicated there. As for the fourth over a syncopated bass, Berardi erred like the others, since that fourth is not dissonant in this case.", "sources": [ { "pdf_page": 139, "source_image": "source-pages/bnf-139.png", "printed_page": 107, "bbox_pixels": [ 419, 831, 2171, 1779 ], "crop_image": "assets/II.16-056.png" } ] }, { "id": "II.16-057", "type": "paragraph", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 863, "original": "3°. Lorsque la Dissonance ne peut pas être preparée (selon ce que nous en avons dit au Chap. XIII.) La Basse syncope souvent, mais seulement dans une Harmonie renversée, pour recevoir cette Dissonance après avoir porté une consonance, conformément à cet Exemple de Masson. Pag. 77.", "english": "3. When dissonance cannot be prepared, as explained in Chapter XIII, the bass often syncopates, but only in inverted harmony, to receive the dissonance after having borne a consonance, as in this example by Masson, p. 77.", "sources": [ { "pdf_page": 139, "source_image": "source-pages/bnf-139.png", "printed_page": 107, "bbox_pixels": [ 419, 2604, 2171, 385 ], "crop_image": "assets/II.16-057.png" } ] }, { "id": "II.16-058", "type": "music", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 864, "original": "Exemple de Masson. Pag. 77.", "english": "Example by Masson, p. 77.", "sources": [ { "pdf_page": 139, "source_image": "source-pages/bnf-139.png", "printed_page": 107, "bbox_pixels": [ 2036, 2814, 559, 481 ], "crop_image": "assets/II.16-058.png" } ], "original_title": "Exemple de Masson. Pag. 77.", "english_title": "Example by Masson, p. 77.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.16-058" ], "music_asset_refs": [ "II.16-058" ] }, { "id": "II.16-059", "type": "paragraph", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 865, "original": "4°. La Basse syncope autant que l’on veut, lorsque l’on ne fait passer au dessus d’elle, que des Sons contenus dans l’Accord de la premiere Notte qui commence la syncope, conformément à cet Exemple de Zarlin.", "english": "4. The bass may syncopate as much as desired when the sounds passing above it all belong to the chord of the first note beginning the syncopation, as in this example by Zarlino.", "sources": [ { "pdf_page": 139, "source_image": "source-pages/bnf-139.png", "printed_page": 107, "bbox_pixels": [ 419, 3298, 2171, 88 ], "crop_image": "assets/II.16-059.png" }, { "pdf_page": 140, "source_image": "source-pages/bnf-140.png", "printed_page": 108, "bbox_pixels": [ 419, 393, 2171, 226 ], "crop_image": "assets/II.16-061.png" } ] }, { "id": "II.16-060", "type": "footnote", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 866, "original": "* Monsieur de Brossard, p. 133.", "english": "* Monsieur de Brossard, p. 133.", "sources": [ { "pdf_page": 139, "source_image": "source-pages/bnf-139.png", "printed_page": 107, "bbox_pixels": [ 419, 3425, 2171, 82 ], "crop_image": "assets/II.16-060.png" } ] }, { "id": "II.16-062", "type": "paragraph", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 867, "original": "Terza parte, cap. 30. fol. 210.", "english": "Third part, chapter 30, fol. 210.", "sources": [ { "pdf_page": 140, "source_image": "source-pages/bnf-140.png", "printed_page": 108, "bbox_pixels": [ 494, 690, 694, 135 ], "crop_image": "assets/II.16-062.png" } ] }, { "id": "II.16-063", "type": "music", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 868, "original": "Exemple de Zarlin. Terza parte, cap. 30. fol. 210.", "english": "Example by Zarlino: Third Part, Chapter 30, fol. 210.", "sources": [ { "pdf_page": 140, "source_image": "source-pages/bnf-140.png", "printed_page": 108, "bbox_pixels": [ 1236, 556, 490, 531 ], "crop_image": "assets/II.16-063.png" } ], "original_title": "Exemple de Zarlin. Terza parte, cap. 30. fol. 210.", "english_title": "Example by Zarlino: Third Part, Chapter 30, fol. 210.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.16-063" ], "music_asset_refs": [ "II.16-063" ] }, { "id": "II.16-064", "type": "paragraph", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 869, "original": "Voilà les differens principes de la Regle qui permet de faire syncoper la Basse ; mais si on ne les explique point, on nous laisse toûjours dans l’erreur, on ne sçait plus si c’est la dissonance ou la consonance qui doit syncoper, on ignore par consequent la route que doit tenir ensuite la Notte syncopée, &c. Ainsi l’embarras où nous jette cette Regle se trouve développé dans la simplicité de ces principes, que nous reduisons en deux Regles certaines & sans exception ; la premiere de preparer par une consonance toute dissonance qui peut être preparée ; & la seconde de faire entendre après une consonance, soit en descendant, soit en montant, la dissonance qui ne peut être preparée ; ces deux regles se puisant dans la progression de nôtre Basse fondamentale sous les Accords fondamentaux ; le reste ne dépendant que du goût, puisqu’on est libre de choisir pour Basse tel Son que l’on veut d’un accord ; de sorte que ce Son faisant partie d’un accord consonant, & d’un accord dissonant qui suit, ou pour lors la Dissonance ne peut être preparée, l’on voit bien que ce Son doit syncoper en ce cas, ou rester sur le même degré, ce qui est à peu-près la même chose ; à plus forte raison, si l’on ne change point le fond de l’Accord, en faisant seulement passer plusieurs Sons de ce même accord les uns après les autres, pendant que la Basse reste sur le même degré ou syncope ; & la regle de faire syncoper la Basse, en ce cas est hors d’œuvre, vû que cela est libre ; cependant ce n’est que sur ces differentes proprietez que l’experience a fait entrevoir, que cette Regle a été établie ; mais pour ne vouloir point toucher à la regle de faire syncoper toute Dissonance, on l’a détruit presqu’entierement par celle de faire syncoper la Basse sous la Quarte, sous la Septiéme, &c. puisque selon la premiere regle, la Basse est dissonante lorsqu’elle syncope, & par consequent la Quarte & la Septiéme ne le sont plus ; on n’en convient pas, & cependant on le laisse à entendre : Qu’étoit-il donc necessaire, nous le repetons encore, de faire mention de cette syncope de la Basse, puisque si elle syncope sous la Seconde, sous le Triton, & sous la Septiéme superfluë, c’est en se soûmettant toûjours à nôtre premiere Regle de faire syncoper la Dissonance mineure ; & si elle syncope ailleurs, cela n’est plus du ressort de cette Regle, cela dépend uniquement de la fantaisie, ou de la progression naturelle aux consonances, par rapport à celle de la Basse fondamentale dans les Accords fondamentaux, comme de faire syncoper la Quinte, ou toute autre consonance ; ainsi pour s’être rendu trop esclaves de la syncope, on en a poussé les dépendances trop loin.", "english": "These are the different principles behind the rule permitting bass syncopation. Without explanation, the rule leaves us in error: we do not know whether consonance or dissonance must syncopate, and consequently do not know the syncopated note's subsequent course. The confusion is resolved by these simple principles, reduced to two certain rules without exception: first, prepare with a consonance every dissonance capable of preparation; second, introduce after a consonance, whether descending or ascending, any dissonance that cannot be prepared. Both rules come from the progression of our fundamental bass beneath fundamental chords. The rest depends only on taste, since any chord sound may be chosen as bass. If that sound belongs both to a consonant chord and to the following dissonant chord, where preparation is impossible, it plainly must syncopate or remain on the same degree, which amounts to nearly the same thing. Still more so when the chord's substance does not change and several of its sounds merely pass in succession above a stationary or syncopated bass. A rule prescribing bass syncopation is superfluous here, since the choice is free. Yet the rule was established only from these different properties glimpsed through experience. Unwilling to alter the rule requiring every dissonance to syncopate, writers almost entirely destroyed it through the rule permitting bass syncopation beneath fourths, sevenths, and so forth. According to the first rule, the syncopated bass is dissonant, and consequently the fourth and seventh no longer are. They refuse to admit this yet imply it. Why, we repeat, mention bass syncopation at all? Beneath the second, tritone, and augmented seventh, the bass always obeys our first rule requiring the minor dissonance to syncopate. Elsewhere its syncopation falls outside that rule and depends solely on choice or the consonances' natural progression relative to the fundamental bass under fundamental chords—like syncopating the fifth or any other consonance. Excessive slavery to syncopation has carried its implications too far.", "sources": [ { "pdf_page": 140, "source_image": "source-pages/bnf-140.png", "printed_page": 108, "bbox_pixels": [ 419, 1143, 2171, 2423 ], "crop_image": "assets/II.16-064.png" }, { "pdf_page": 141, "source_image": "source-pages/bnf-141.png", "printed_page": 109, "bbox_pixels": [ 419, 393, 2171, 606 ], "crop_image": "assets/II.16-065.png" } ] }, { "id": "II.16-066", "type": "paragraph", "section": "II.16", "lesson": 31, "exercise": 31, "reading_order": 870, "original": "Il y a encore un autre défaut dans les regles, qui est de ne point donner à connoître assez précisément la progression que chaque Partie doit tenir, lorsqu’on dit que la Sixte doit suivre la Quinte, que la Septiéme doit être sauvée de la Tierce, de la Quinte ou de la Sixte, &c. Car tantôt l’une des parties doit rester sur le même degré, & tantôt chacun doit se mouvoir, tantôt l’une doit monter ou descendre, &c. au lieu que nous applanissons tous ces doutes, en donnant d’abord des regles si précises & si intelligibles de la Modulation qui doit nous guider par tout, que l’on ne peut s’y tromper, & en disant ensuite que toute dissonance mineure doit descendre diatoniquement, & que toute dissonance majeure doit monter d’un semi-Ton, quelque route que tienne la Basse, ces Dissonances étant faciles à reconnoître dans leur origine ; mais comme nous nous expliquons ailleurs sur ce sujet, nous n’en dirons pas d’avantage à present.", "english": "Another defect in the rules is their failure to specify each part's progression precisely enough when saying that the sixth should follow the fifth, or that the seventh should resolve by the third, fifth, or sixth, and so forth. Sometimes one part must remain on the same degree; sometimes both must move; sometimes one must ascend or descend. We remove these doubts by first giving such precise and intelligible rules of modulation, our guide everywhere, that mistakes are impossible, and then stating that every minor dissonance must descend diatonically and every major dissonance ascend a semitone, whatever course the bass takes. These dissonances are easily recognized in their origin. Since we explain this elsewhere, we shall say no more now.", "sources": [ { "pdf_page": 141, "source_image": "source-pages/bnf-141.png", "printed_page": 109, "bbox_pixels": [ 419, 1003, 2171, 1048 ], "crop_image": "assets/II.16-066.png" } ] }, { "id": "II.17-001", "type": "heading", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 871, "original": "CHAPITRE DIX-SEPTIÉME.", "english": "CHAPTER SEVENTEEN.", "sources": [ { "pdf_page": 141, "source_image": "source-pages/bnf-141.png", "printed_page": 109, "bbox_pixels": [ 480, 2170, 2040, 115 ], "crop_image": "assets/II.17-001.png" } ], "correction_refs": [ "supplement-130", "supplement-131", "supplement-133", "supplement-134", "supplement-135", "supplement-136", "supplement-137", "supplement-138" ] }, { "id": "II.17-002", "type": "heading", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 872, "original": "De la Licence.", "english": "On license.", "sources": [ { "pdf_page": 141, "source_image": "source-pages/bnf-141.png", "printed_page": 109, "bbox_pixels": [ 480, 2330, 2040, 115 ], "crop_image": "assets/II.17-002.png" } ] }, { "id": "II.17-003", "type": "heading", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 873, "original": "ARTICLE PREMIER.", "english": "FIRST ARTICLE.", "sources": [ { "pdf_page": 141, "source_image": "source-pages/bnf-141.png", "printed_page": 109, "bbox_pixels": [ 480, 2480, 2040, 115 ], "crop_image": "assets/II.17-003.png" } ] }, { "id": "II.17-004", "type": "heading", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 874, "original": "De l’Origine de la Licence.", "english": "The origin of license.", "sources": [ { "pdf_page": 141, "source_image": "source-pages/bnf-141.png", "printed_page": 109, "bbox_pixels": [ 480, 2630, 2040, 115 ], "crop_image": "assets/II.17-004.png" } ] }, { "id": "II.17-005", "type": "paragraph", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 875, "original": "C’Est toûjours du même principe que nous devons tirer nos consequences, c’est-à-dire, de la progression de la Basse fondamentale dont on est déja instruit ; mais si cette progression que nous supposons ici consonante n’a pas été bornée dans les Accords consonans, il n’en est pas de même pour les dissonans, bien qu’elle y augmente d’un nouvel intervale dont se forme la dissonance ; cette dissonance tire son principe de l’Accord parfait, auquel elle a été ajoûtée, & ne peut subsister sans luy ; pareillement l’Accord parfait tire son principe du Son qui en est le plus grave, & qui sert par consequent de fondement à cet Accord, de même qu’à la dissonance qui lui a été ajoûtée ; aussi nous remarquons dans l’Harmonie la plus naturelle, que lorsqu’il s’agit de faire entendre, & de sauver la Dissonance ; la Basse fondamentale procede toûjours du côté de ce Son grave, comme ayant besoin de cet appuy pour se fortifier contre la dureté de cette Dissonance ; si le principe se perd dans la dissonance, la Basse fondamentale le cherche avec plus d’attention dans sa progression, elle descend de Tierce ou de Quinte en pareil cas ; encore la Dissonance n’y est-elle sauvée agréablement que dans la progression de Quinte, cet intervale étant le premier de tous, quant à l’Harmonie, puisque l’Octave n’y est regardée que comme une replique ; mais dès que cette Basse descend de Septiéme ou monte de Seconde, on commence à s’y appercevoir de la Licence, quoique la Dissonance puisse y être preparée & sauvée d’une consonance ; preuve de la verité qui vient d’être proposée, en ce que la Basse s’approche toûjours de son principe en descendant de Septiéme ; cependant cet intervale devant son origine au bon goût plus qu’à la nature, puisqu’il ne se trouve point dans les operations les plus naturelles, faisant partie du corps Harmonique, de même que les autres intervales qui composent l’Accord parfait ; c’est aussi de lui seul que provient la Licence ; en quoy ceux qui disent que nous ne devons la Licence qu’au bon goût, sont bien plus excusables, que ceux qui sans écouter la raison ni l’experience, rejettent toutes les Licences qui ne tombent point sous leurs sens. C’est donc dans cette derniere progression de la Basse fondamentale en descendant de Septiéme, ou en montant de Seconde, que la Licence commence à s’appercevoir, puisque la Cadence rompuë en est formée ; interruption qui choque l’oreille en quelque façon ; car c’est dans le même moment où la conclusion desirée semble devoir se faire sentir par une Cadence parfaite, que l’oreille est surprise par cette interruption. Or cette surprise ne provient que de ce qu’on s’éloigne du naturel, & l’on ne peut s’en éloigner que par Licence. De plus, si la progression naturelle à la Basse fondamentale est de descendre de Tierce, de Quinte & même de Septiéme, pour faire entendre la Dissonance preparée & sauvée ; nous devons encore attribuer à la Licence les progressions renversées de ces premieres, où la Dissonance peut être entenduë sans preparation. En un mot, tout ce qui s’écarte de ce principe naturel, soit dans les premieres progressions, soit dans la supposition ou dans l’emprunt du Son fondamental, soit dans l’alteration de l’un de nos deux Accords fondamentaux ; tout cela, dis-je, ne peut être attribué qu’à la Licence ; mais en même temps, ce seroit donner des bornes trop étroites à l’Harmonie, de vouloir la restreindre à ce qu’elle a de plus naturel ; ce seroit lui ravir ses droits, de ne pas se soûmettre à toutes ses proprietez ; ce seroit enfin vouloir se priver de l’usage de ses sens, & s’éloigner absolument de la raison, de ne pas recevoir tout ce que cette Harmonie nous offre dans son principe, qui subsiste uniquement dans les intervales de Tierce, de Quinte & de Septiéme, dont se forment les Accords fondamentaux, & la progression de la Basse fondamentale ; aussi n’avons-nous aucune Licence à proposer qui ne provienne de cette source.", "english": "Our conclusions must always come from the same principle: the fundamental-bass progression already explained. We suppose this progression consonant here. Though unrestricted with consonant chords, it is restricted with dissonant chords, even though a new interval—the dissonance—extends its resources. Dissonance arises from the perfect chord to which it was added and cannot exist without it. Likewise, the perfect chord arises from its lowest sound, the foundation of both chord and added dissonance. In the most natural harmony, when sounding and resolving dissonance, the fundamental bass always proceeds toward that lower sound, as though needing its support against the dissonance’s harshness. If the principle is lost in dissonance, the bass seeks it more attentively in its progression, descending a third or fifth. Even then the dissonance resolves pleasantly only through the fifth, harmony’s first interval, since the octave counts only as repetition. Once the bass descends a seventh or rises a second, license begins to appear, although consonance may prepare and resolve the dissonance. This confirms our claim, since descending a seventh still brings the bass toward its principle. Yet the seventh owes its origin more to taste than nature: it does not arise in the most natural operations as a component of the harmonic body, as the perfect chord’s intervals do. License therefore comes from it alone. Those who attribute license only to taste are more excusable than those who, ignoring reason and experience, reject every license they cannot comprehend. License first becomes perceptible in the fundamental bass’s descending seventh or ascending second, which forms the interrupted cadence. The interruption somewhat offends the ear: just when the desired conclusion seems about to arrive through a perfect cadence, the ear is surprised. This surprise comes only from departing from nature, and such departure requires license. Furthermore, if descending thirds, fifths, and even sevenths naturally allow prepared and resolved dissonance, the inverted forms of these progressions, allowing unprepared dissonance, must also be attributed to license. In short, every departure from the natural principle—in these progressions, in supposition or borrowing of the fundamental sound, or in altering either fundamental chord—is license. Yet confining harmony to its most natural forms would limit it too narrowly. Refusing its full properties would deny its rights; rejecting what its principle offers would mean abandoning reason and our senses. That principle lies solely in the thirds, fifths, and sevenths forming fundamental chords and fundamental-bass progression. Every license we propose comes from this source.", "sources": [ { "pdf_page": 141, "source_image": "source-pages/bnf-141.png", "printed_page": 109, "bbox_pixels": [ 425, 2775, 2140, 790 ], "crop_image": "assets/II.17-005.png" }, { "pdf_page": 142, "source_image": "source-pages/bnf-142.png", "printed_page": 110, "bbox_pixels": [ 425, 390, 2140, 3160 ], "crop_image": "assets/II.17-006.png" }, { "pdf_page": 143, "source_image": "source-pages/bnf-143.png", "printed_page": 111, "bbox_pixels": [ 425, 365, 2140, 545 ], "crop_image": "assets/II.17-007.png" } ] }, { "id": "II.17-008", "type": "paragraph", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 876, "original": "Il y a déja quelque tems que l’on ne s’attache plus à satisfaire la raison sur la Musique, nos grands Maîtres se contentent seulement de plaire, faisant peu de cas de la critique de certains scrupuleux, qui trop esclaves du sentiment d’un Auteur, bornent leur raison, & toute leur experience à le suivre. Ceux-ci, par exemple reçoivent la Cadence rompuë, pendant qu’ils rejettent plusieurs suites d’Accords engendrées de son renversement & le renversement leur est inconnu ici, pendant qu’ils l’observent dans les Accords de Sixte, de Seconde, de Triton, de fausse-Quinte, &c. Zarlin d’un autre côté admet l’accord de la Neuviéme, pendant qu’il oublie la Quinte superfluë, sans laquelle cet Accord, & même celui de la Septiéme ne peuvent subsister sur la mediante des Tons mineurs ; il admet ensuite les Accords de Triton & de fausse-Quinte, pendant qu’il en oublie le fondement ; parce qu’il ne pouvoit s’imaginer autrement qu’un accord de Septiéme pût contenir de pareilles dissonances, & lorsqu’il parle d’un autre accord de Septiéme, il perd de vûë ceux de petite & de grande Sixte, qui en sont renversez, bien que les Accords de Seconde, de Triton & de fausse-Quinte soient également renversez de celui de la Septiéme, & que la difference de l’accord de la grande Sixte à celui de la fausse-Quinte ne consiste que dans celle de la Tierce majeure ou mineure, dont on accompagne indifferemment le Son grave d’un accord de Septiéme. Jugez de-là s’ils sont bien fondez, & si la critique de ceux qui se gouvernent sur de pareils principes, merite quelques attention ; si on leur demande des raisons, ils citent l’autorité des Regles ; & si pour les convaincre du mauvais sens qu’ils donnent à ces Regles, ou des exceptions qu’elles peuvent souffrir, on les prie d’entendre, & de s’en remettre à l’effet que produit une Musique composée en apparence contre ces Regles, ils deviennent sourds. Voilà en quoi consiste le genie de la cabale, qui s’est élevée contre tous les habiles gens de ce Siecle. Vous aurez beau trouver une Musique charmante, elle ne vaudra rien selon eux.", "english": "For some time musicians have ceased trying to satisfy reason. Our great masters seek only to please, disregarding scrupulous critics who enslave themselves to one author and confine all reason and experience to following him. Such critics accept the interrupted cadence but reject chord progressions produced by its inversion. Here they fail to recognize inversion, though they observe it in sixth, second, tritone, and diminished-fifth chords. Zarlin accepts the ninth chord but forgets the augmented fifth, without which neither ninth nor seventh chords can exist on the mediant of minor keys. He accepts tritone and diminished-fifth chords but overlooks their foundation, unable otherwise to imagine a seventh chord containing such dissonances. Discussing another seventh chord, he loses sight of its small- and great-sixth inversions, although second, tritone, and diminished-fifth chords are equally inversions of the seventh. Great-sixth and diminished-fifth chords differ only through the major or minor third accompanying the seventh chord’s lowest sound. Judge whether these principles are sound and whether critics relying on them deserve attention. Asked for reasons, they cite rules’ authority. Asked to listen to music apparently breaking those rules, so as to discover their mistaken interpretation or possible exceptions, they become deaf. Such is the spirit of the faction raised against every accomplished musician of this century. However charming you find the music, they declare it worthless.", "sources": [ { "pdf_page": 143, "source_image": "source-pages/bnf-143.png", "printed_page": 111, "bbox_pixels": [ 425, 910, 2140, 2390 ], "crop_image": "assets/II.17-008.png" } ] }, { "id": "II.17-009", "type": "paragraph", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 877, "original": "Nous sommes fort heureux de n’avoir que de pareils Sçavans à combattre en soûtenant le parti des gens de bon goût : La raison est le vray moyen de les convaincre ; aussi nous ne nous contentons pas de dire, que toutes les Licences proposées dans la suite de ce Chapitre ayent été pratiquées par tous les meilleurs Maîtres ; que par consequent l’experience doit en autoriser la pratique : nous ajoûtons à cela une preuve tirée d’un principe incontestable, dont même la simplicité nous marque mieux l’évidence, comme on va s’en appercevoir, étant inutile de répeter icy ce qui a été dit aux Chap. VI. & VII. des Cadences rompuës & irregulieres, au Chap. XIII. de la liberté que nous avons de ne point préparer la Dissonance, & aux Chap. X. & XII. des Accords par supposition & par emprunt.", "english": "We are fortunate to face only such scholars in defending people of good taste. Reason is the true means of convincing them. We do not merely say that the best masters have used all the licenses proposed in this chapter, and that experience therefore authorizes them. We add proof from an indisputable principle whose simplicity makes its truth clearer. There is no need to repeat chapters VI and VII on interrupted and irregular cadences, XIII on leaving dissonance unprepared, or X and XII on supposition and borrowing.", "sources": [ { "pdf_page": 143, "source_image": "source-pages/bnf-143.png", "printed_page": 111, "bbox_pixels": [ 425, 3300, 2140, 245 ], "crop_image": "assets/II.17-009.png" }, { "pdf_page": 144, "source_image": "source-pages/bnf-144.png", "printed_page": 112, "bbox_pixels": [ 425, 315, 2140, 700 ], "crop_image": "assets/II.17-010.png" } ] }, { "id": "II.17-011", "type": "heading", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 878, "original": "ARTICLE SECOND.", "english": "SECOND ARTICLE.", "sources": [ { "pdf_page": 144, "source_image": "source-pages/bnf-144.png", "printed_page": 112, "bbox_pixels": [ 480, 1060, 2040, 115 ], "crop_image": "assets/II.17-011.png" } ] }, { "id": "II.17-012", "type": "heading", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 879, "original": "Des Licences tirées de la Cadence rompuë.", "english": "Licenses drawn from the interrupted cadence.", "sources": [ { "pdf_page": 144, "source_image": "source-pages/bnf-144.png", "printed_page": 112, "bbox_pixels": [ 480, 1220, 2040, 115 ], "crop_image": "assets/II.17-012.png" } ] }, { "id": "II.17-013", "type": "paragraph", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 880, "original": "Outre toutes les Licences que peut produire la Cadence rompuë dans son renversement, il y a encore une certaine suite de Sixte, que l’on n’attribuë qu’au bon goût, & que Zarlin * défend précisement, disant, que les Quartes consecutives qui s’y entendent, font à peu près le même effet que plusieurs Quintes, si l’on renverse les Accords, selon l’Exemple qu’il en donne. Cependant nous voyons que, selon nos Regles, cette suite de Sixtes provient de la Cadence rompuë, & de la liberté que nous avons (comme il a été dit au Chapitre XIII.) de ne point préparer la dissonance dans les progressions fondamentales de la Basse, en montant de Tierce, de Quinte, & de Septiéme.", "english": "Besides the licenses created by inverting the interrupted cadence, there is a certain succession of sixths attributed only to good taste. Zarlin* expressly forbids it, saying its consecutive fourths produce much the same effect as consecutive fifths when the chords are inverted, as his example shows. Under our rules, however, these sixths come from the interrupted cadence and our freedom, explained in chapter XIII, to leave dissonance unprepared when the fundamental bass rises a third, fifth, or seventh.", "sources": [ { "pdf_page": 144, "source_image": "source-pages/bnf-144.png", "printed_page": 112, "bbox_pixels": [ 425, 1370, 2140, 840 ], "crop_image": "assets/II.17-013.png" } ] }, { "id": "II.17-014", "type": "heading", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 881, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 144, "source_image": "source-pages/bnf-144.png", "printed_page": 112, "bbox_pixels": [ 480, 2240, 2040, 115 ], "crop_image": "assets/II.17-014.png" } ] }, { "id": "II.17-015", "type": "music", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 882, "original": "Suite de Sixtes — Cadences rompuës", "english": "Succession of sixths—interrupted cadences", "sources": [ { "pdf_page": 144, "source_image": "source-pages/bnf-144.png", "printed_page": 112, "bbox_pixels": [ 450, 2315, 2140, 935 ], "crop_image": "assets/II.17-015.png" } ], "original_title": "Suite de Sixtes — Cadences rompuës", "english_title": "Succession of sixths—interrupted cadences", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.17-015" ], "music_asset_refs": [ "II.17-015" ] }, { "id": "II.17-016", "type": "paragraph", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 883, "original": "Chaque mesure nous représente une Cadence rompuë, à la reserve de la penultiéme, qui en représente une parfaite, évitée par la Sixte ajoûtée à (A) ; cette Sixte préparant une Cadence irreguliere, qui est encore évitée par la Septiéme ajoûtée à (B), où se prépare une Cadence parfaite, que la derniere Notte termine.", "english": "Each measure shows an interrupted cadence except the penultimate, which shows a perfect cadence avoided by the sixth added at A. That sixth prepares an irregular cadence, itself avoided by the seventh added at B, which prepares the perfect cadence completed by the last note.", "sources": [ { "pdf_page": 144, "source_image": "source-pages/bnf-144.png", "printed_page": 112, "bbox_pixels": [ 425, 3260, 2140, 170 ], "crop_image": "assets/II.17-016.png" }, { "pdf_page": 145, "source_image": "source-pages/bnf-145.png", "printed_page": 113, "bbox_pixels": [ 425, 345, 2140, 235 ], "crop_image": "assets/II.17-018.png" } ] }, { "id": "II.17-017", "type": "footnote", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 884, "original": "* Terza parte, cap. 61. f. 291, & 292.", "english": "* Terza parte, chapter 61, folios 291 and 292.", "sources": [ { "pdf_page": 144, "source_image": "source-pages/bnf-144.png", "printed_page": 112, "bbox_pixels": [ 490, 3430, 1420, 75 ], "crop_image": "assets/II.17-017.png" } ] }, { "id": "II.17-019", "type": "paragraph", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 885, "original": "Si l’on renversoit les deux Parties superieures, en mettant au grave celle qui se trouve à l’aigu, l’on y entendroit autant de Quintes qu’il y a de Quartes ; mais l’insipidité de plusieurs Quintes se diminue tellement dans leur renversement, que nous ne devons pas attribuer à la Quarte ce qui ne regarde que la Quinte & l’Octave.", "english": "Inverting the two upper parts, placing the higher below, would produce as many fifths as there are fourths. But successive fifths lose so much of their dullness in inversion that we must not attribute to the fourth what belongs only to fifth and octave.", "sources": [ { "pdf_page": 145, "source_image": "source-pages/bnf-145.png", "printed_page": 113, "bbox_pixels": [ 425, 580, 2140, 445 ], "crop_image": "assets/II.17-019.png" } ] }, { "id": "II.17-020", "type": "heading", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 886, "original": "ARTICLE TROISIÉME.", "english": "THIRD ARTICLE.", "sources": [ { "pdf_page": 145, "source_image": "source-pages/bnf-145.png", "printed_page": 113, "bbox_pixels": [ 480, 1025, 2040, 115 ], "crop_image": "assets/II.17-020.png" } ] }, { "id": "II.17-021", "type": "heading", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 887, "original": "Comment la Dissonance peut être sauvée d’une autre Dissonance.", "english": "How one dissonance may resolve through another.", "sources": [ { "pdf_page": 145, "source_image": "source-pages/bnf-145.png", "printed_page": 113, "bbox_pixels": [ 480, 1165, 2040, 115 ], "crop_image": "assets/II.17-021.png" } ] }, { "id": "II.17-022", "type": "paragraph", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 888, "original": "Nous ne nous sommes pas contenté d’avoir apperçû que la Dissonance aimoit à être préparée & sauvée d’une Consonance ; nous avons remarqué de plus, qu’elle pouvoit être entenduë sans préparation, & nous devons chercher encore si elle ne pourroit pas être sauvée contre la regle generale. Si les Accords fondamentaux, & si la progression fondamentale de la Basse subsistent dans les seuls Intervales de Tierce, de Quinte, & de Septiéme ; donc ces Intervales doivent être aussi regardez comme fondamentaux ; de sorte que pouvant faire entendre ces Intervales dans la Basse, tant en montant, qu’en descendant, aussi-bien que ceux qui proviennent de leur renversement, il ne reste plus que d’examiner dans quelles progressions de cette Basse l’Accord de Septiéme peut être entendu, pour juger si cette Dissonance ne pourroit pas être encore sauvée d’une autre Dissonance.", "english": "We have not stopped at finding that dissonance likes consonant preparation and resolution. We also found it may sound unprepared; now we must ask whether it can resolve contrary to the general rule. Fundamental chords and bass progression consist solely of thirds, fifths, and sevenths, so these intervals must themselves be considered fundamental. They and their inversions can occur in ascending or descending bass movement. We need only examine which such movements admit seventh chords to judge whether one dissonance may resolve through another.", "sources": [ { "pdf_page": 145, "source_image": "source-pages/bnf-145.png", "printed_page": 113, "bbox_pixels": [ 425, 1320, 2140, 1040 ], "crop_image": "assets/II.17-022.png" } ] }, { "id": "II.17-023", "type": "paragraph", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 889, "original": "La Regle se tire du principe, & non pas le principe de la Regle, encore moins du sentiment d’un Auteur, dont la reputation peut nous en imposer. L’obscurité dans les Sciences ne provient que du défaut de pénetration, & de discernement. Les meilleurs Auteurs nous ont bien proposé la Tierce, & la Quinte pour principe, mais ils ont toûjours oublié la Septiéme ; cependant cet Intervale est premier dans son espece. Si la Quinte s’engendre de la division Harmonique de l’Octave, & si la Tierce s’engendre de la division Harmonique de la Quinte, cette Septiéme ne s’engendre-t-elle pas aussi de la division Harmonique de la Tierce majeure, eû égard au renversement ? D’ailleurs elle se forme naturellement de l’addition de deux Quartes, ou de celle d’une Tierce à la Quinte, elle est l’origine de toutes les Dissonances ; de sorte qu’il faut, ou la regarder comme fondamentale, ou en exclure toutes les Dissonances de l’Harmonie : Mais le peu d’attention qu’on a fait jusqu’à present à la justesse, & à la force du renversement, a fait negliger le seul endroit, par où les secrets de l’Harmonie pouvoient se découvrir. En effet, que l’on examine la grande justesse de ce renversement dans tout ce qui a rapport à l’Harmonie, soit dans les nombres, soit dans les divisions, ou dans les multiplications ; soit dans les longueurs d’une corde prise à droite, ou à gauche, soit dans les intervales qui en sont formez, & par consequent dans les differentes progressions que l’on peut en tirer ; soit enfin, dans les Accords composez de ces Intervales, & dans leurs differentes progressions ; l’on ne pourra plus disconvenir après cela, que le renversement ne soit le nœud de cette grande & infinie varieté, que nous remarquons dans l’Harmonie.", "english": "Rules come from the principle, not the principle from rules, still less from the opinion of an author whose reputation may overawe us. Scientific obscurity comes only from inadequate penetration and judgment. The best authors proposed third and fifth as principles but always forgot the seventh, though it is first of its kind. If the fifth comes from harmonic division of the octave, and the third from harmonic division of the fifth, does not the seventh likewise come from harmonic division of the major third, taking inversion into account? It also arises naturally by adding two fourths or a third to a fifth, and is the source of all dissonances. Either regard it as fundamental or exclude all dissonances from harmony. Neglect of inversion’s precision and power has hidden the sole means of discovering harmony’s secrets. Examine its exactness throughout harmony: in numbers, divisions and multiplications, string lengths taken rightward or leftward, the resulting intervals and progressions, and chords made from them with their different progressions. One can no longer deny that inversion is the key to harmony’s vast and infinite variety.", "sources": [ { "pdf_page": 145, "source_image": "source-pages/bnf-145.png", "printed_page": 113, "bbox_pixels": [ 425, 2360, 2140, 1140 ], "crop_image": "assets/II.17-023.png" }, { "pdf_page": 146, "source_image": "source-pages/bnf-146.png", "printed_page": 114, "bbox_pixels": [ 425, 380, 2140, 915 ], "crop_image": "assets/II.17-024.png" } ] }, { "id": "II.17-025", "type": "paragraph", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 890, "original": "Le terme de Licence se prend chez la plûpart des Musiciens pour celuy de Faute : aussi Mʳ. de Brossard n’en fait-il aucune mention dans son Dictionaire, mais que l’on ne s’y trompe pas, la Musique a pardessus les autres Sciences que l’on veut reduire en pratique, le privilege de voir clair par tout : Là l’on ne peut reduire sous des regles précises, des Licences qui en font tout l’ornement ; Icy tout s’apperçoit dans le même principe, & la Licence n’y est autre chose, qu’un renversement évident de ce qui s’offre le premier à nôtre connoissance : De tous les Accords consonans, & dissonans, le parfait, & celuy de la Septiéme s’offrent à nous les premiers ; De toutes les progressions fondamentales de la Basse, celles de Tierce, de Quinte, & de Septiéme ou de Seconde, s’offrent également les premieres, puisque ce sont-là les premiers Intervales qui viennent à nôtre connoissance. Or si la raison ne trouve rien au de-là de ces deux Accords, & de ces trois Intervales, qui n’en provienne, convenez donc avec nous, que tout doit être fondé là-dessus.", "english": "Most musicians use license as though it meant fault; Mr. de Brossard accordingly does not mention it in his dictionary. But music, unlike other sciences reduced to practice, can make everything clear. Elsewhere the licenses forming a subject’s ornament cannot be brought under precise rules. Here everything appears within one principle: license is merely an evident inversion of what first becomes known. Perfect and seventh chords are the first consonant and dissonant chords presented to us; thirds, fifths, and sevenths or seconds are the first fundamental bass progressions, being our first known intervals. If reason finds nothing beyond these two chords and three intervals that does not derive from them, admit that everything must be founded upon them.", "sources": [ { "pdf_page": 146, "source_image": "source-pages/bnf-146.png", "printed_page": 114, "bbox_pixels": [ 425, 1295, 2140, 1205 ], "crop_image": "assets/II.17-025.png" } ] }, { "id": "II.17-026", "type": "paragraph", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 891, "original": "Pour revenir à nôtre sujet, dont nous nous sommes écarté, que pour tâcher de convaincre les esprits prévenus, il est bon de remarquer d’abord que la Dissonance n’est point sauvée par la plus douce des Consonances, & qu’au contraire, elle l’est par la Tierce, qui est une Consonance imparfaite ; qu’ensuite la Septiéme se forme naturellement d’une Tierce ajoûtée à la Quinte ; que la progression naturelle à cette Septiéme est de descendre diatoniquement ; que les seuls Accords fondamentaux sont le parfait, & celuy de la Septiéme ; & que toute la progression de la Basse fondamentale subsiste dans les seuls Intervales de Tierce, de Quinte, & de Septiéme, dont les Accords fondamentaux sont composez ; puis on n’aura plus de peine après cela, à recevoir deux Accords fondamentaux consecutifs, où tout sera conforme à ces remarques, excepté que la Septiéme y sera sauvée d’une autre Septiéme ; & c’est pour que cette Licence ne vous surprenne pas, que nous vous faisons sentir expressément, que la Septiéme se sauvoit sur une Consonance imparfaite, & que cette Septiéme en est formée de toute façon, puisque la Seconde engendrée de la division de la Tierce majeure, n’est qu’une Septiéme renversée : d’ailleurs, l’oreille peut bien tolerer ce petit défaut (comme l’experience nous le prouve) en faveur du principe qui y subsiste d’un autre côté.", "english": "Returning from this digression, intended to persuade prejudiced minds, first notice that dissonance resolves not through the sweetest consonance but through the third, an imperfect consonance. The seventh naturally comes from adding a third to a fifth; its natural movement is diatonically downward; the only fundamental chords are perfect and seventh; and the fundamental bass moves only by the thirds, fifths, and sevenths composing them. We should then readily accept two successive fundamental chords meeting all these conditions except that one seventh resolves through another. To make this license less surprising, we emphasize that the seventh already resolves onto an imperfect consonance and is formed from it in every way: the second generated by dividing the major third is simply an inverted seventh. Experience proves the ear can tolerate this small defect in favor of the principle preserved in other respects.", "sources": [ { "pdf_page": 146, "source_image": "source-pages/bnf-146.png", "printed_page": 114, "bbox_pixels": [ 425, 2500, 2140, 1070 ], "crop_image": "assets/II.17-026.png" }, { "pdf_page": 147, "source_image": "source-pages/bnf-147.png", "printed_page": 115, "bbox_pixels": [ 425, 350, 2140, 530 ], "crop_image": "assets/II.17-027.png" } ] }, { "id": "II.17-028", "type": "paragraph", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 892, "original": "Avant que de donner un Exemple de la Licence proposée, il est bon d’avertir, que, quoique les progressions de Tierce, & de Quinte en montant, soient plus parfaites que celle de Septiéme, sur laquelle nous fondons cette Licence, on ne peut neanmoins tirer aucun avantage de ces deux premieres progressions, pour ce qui est d’y sauver la Dissonance, parce que cette Dissonance ne peut y suivre sa progression naturelle dans les Accords fondamentaux.", "english": "Before the example, note that although ascending thirds and fifths are more perfect than the ascending seventh upon which this license rests, they offer no corresponding way to resolve the dissonance. In fundamental chords, the dissonance cannot follow its natural movement through those first two bass progressions.", "sources": [ { "pdf_page": 147, "source_image": "source-pages/bnf-147.png", "printed_page": 115, "bbox_pixels": [ 425, 885, 2140, 530 ], "crop_image": "assets/II.17-028.png" } ] }, { "id": "II.17-029", "type": "paragraph", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 893, "original": "Exemple de la Septiéme sauvée d’une autre Septiéme.", "english": "Example of a seventh resolved by another seventh.", "sources": [ { "pdf_page": 147, "source_image": "source-pages/bnf-147.png", "printed_page": 115, "bbox_pixels": [ 690, 1430, 1840, 80 ], "crop_image": "assets/II.17-029.png" } ] }, { "id": "II.17-030", "type": "music", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 894, "original": "Septiéme sauvée d’une autre Septiéme", "english": "A seventh resolved by another seventh", "sources": [ { "pdf_page": 147, "source_image": "source-pages/bnf-147.png", "printed_page": 115, "bbox_pixels": [ 620, 1480, 1770, 2040 ], "crop_image": "assets/II.17-030.png" } ], "original_title": "Septiéme sauvée d’une autre Septiéme", "english_title": "A seventh resolved by another seventh", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.17-030" ], "music_asset_refs": [ "II.17-030" ] }, { "id": "II.17-031", "type": "paragraph", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 895, "original": "Toutes ces parties peuvent servir de Basse, pourvû qu’on ne mette jamais la Basse-continue au-dessus de la fondamentale, à cause de l’Accord par supposition qui s’y rencontre, dont le Son grave doit toûjours regner au dessous du fondamental. De plus, la partie ajoûtée ne peut être entendue avec ces deux Basses ; & celles-cy ne doivent point être mises au-dessus des autres parties.", "english": "Any of these parts may serve as bass, provided the continuo is never placed above the fundamental bass: its chord by supposition requires the lowest sound to remain below the fundamental. Furthermore, the added part cannot sound with these two basses, and neither bass may be placed above the other parts.", "sources": [ { "pdf_page": 148, "source_image": "source-pages/bnf-148.png", "printed_page": 116, "bbox_pixels": [ 425, 320, 2140, 470 ], "crop_image": "assets/II.17-031.png" } ] }, { "id": "II.17-032", "type": "paragraph", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 896, "original": "Les Nottes (C. D.) font chacune la Septiéme avec celles de la Basse fondamentale, qui descend diatoniquement, ou monte de Septiéme (A. B.) de sorte que la Dissonance y est sauvée d’une autre Dissonance.", "english": "Notes C and D each make a seventh against the fundamental bass, which descends diatonically or rises a seventh at A and B. One dissonance therefore resolves through another.", "sources": [ { "pdf_page": 148, "source_image": "source-pages/bnf-148.png", "printed_page": 116, "bbox_pixels": [ 425, 790, 2140, 295 ], "crop_image": "assets/II.17-032.png" } ] }, { "id": "II.17-033", "type": "paragraph", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 897, "original": "Les plus agréables suites d’Accords qui proviennent de cette Harmonie fondamentale, sont celles où la Neuviéme est sauvée de la Septiéme entre les Nottes (C. D.) & (F. G.) celle où la Septiéme est sauvée de la fausse-Quinte, entre les Nottes (C. D.) & (H. I.) & celle où la Seconde est sauvée du Triton entre les Nottes (H. I.) & (C. D.) en mettant ces dernieres Nottes (C. D.) au dessus des autres (H. I.)", "english": "The most pleasing successions from this fundamental harmony are the ninth resolved by the seventh between C D and F G; the seventh resolved by the diminished fifth between C D and H I; and the second resolved by the tritone between H I and C D, placing C D above H I.", "sources": [ { "pdf_page": 148, "source_image": "source-pages/bnf-148.png", "printed_page": 116, "bbox_pixels": [ 425, 1085, 2140, 510 ], "crop_image": "assets/II.17-033.png" } ] }, { "id": "II.17-034", "type": "paragraph", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 898, "original": "L’on trouve un Exemple de la Septiéme, sauvée de la fausse-Quinte, dans le Dictionaire de Mʳ. de Brossard, * & dans Masson : De plus, le Triton se trouve encore sauvé dans Masson par la Quinte de la même Notte ; si bien qu’en ajoûtant nôtre Basse fondamentale (A. B.) à son exemple (D.) &c. nous aurions une suite d’Harmonie pareille à celle-cy, avec cette difference, que la Dissonance majeure y aura lieu dans le premier Accord de Septiéme ; & qu’elle n’a lieu icy que dans le second ; outre quelques autres circonstances que cet Auteur n’a pas été obligé de prévoir, parce qu’il ne songeoit pas à la Basse fondamentale.", "english": "Brossard’s dictionary* and Masson contain examples of a seventh resolving to a diminished fifth. Masson also resolves the tritone to the fifth of the same note. Adding our fundamental bass A B to his example D, etc., would yield harmony like this, except that its major dissonance occurs in the first seventh chord rather than the second, with other circumstances he need not have anticipated because he was not considering fundamental bass.", "sources": [ { "pdf_page": 148, "source_image": "source-pages/bnf-148.png", "printed_page": 116, "bbox_pixels": [ 425, 1595, 2140, 760 ], "crop_image": "assets/II.17-034.png" } ] }, { "id": "II.17-035", "type": "paragraph", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 899, "original": "Pour revenir à nôtre Exemple, remarquez qu’il faut porter la Notte (N.) sur le Guidon, lorsque la Basse fondamentale a lieu.", "english": "In our example, move N to the guide-note pitch whenever the fundamental bass is used.", "sources": [ { "pdf_page": 148, "source_image": "source-pages/bnf-148.png", "printed_page": 116, "bbox_pixels": [ 425, 2355, 2140, 155 ], "crop_image": "assets/II.17-035.png" } ] }, { "id": "II.17-036", "type": "paragraph", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 900, "original": "Il se trouve entre les Nottes (L. M.) une Basse fondamentale de la cadence irreguliere évitée par une Septiéme ajoûtée à (M.) surquoi il est à propos de faire quelques Réflexions.", "english": "Between L and M is the fundamental bass of an irregular cadence avoided by a seventh added at M. This invites some reflections.", "sources": [ { "pdf_page": 148, "source_image": "source-pages/bnf-148.png", "printed_page": 116, "bbox_pixels": [ 425, 2510, 2140, 220 ], "crop_image": "assets/II.17-036.png" } ] }, { "id": "II.17-037", "type": "paragraph", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 901, "original": "1°. La Cadence irreguliere est originale d’elle-même ; mais on sous-entend pour lors, que chacune des Nottes de la Basse fondamentale doit porter l’Accord parfait ; car la Sixte que nous ajoûtons au premier Accord, n’est qu’un Son surnumeraire toleré par le bon goût : Ainsi l’Accord qui en est formé n’étant point fondamentale, ne peut profiter du même avantage que le parfait, ni que celuy de la Septiéme ; bien qu’il soit renversé de ce dernier. Toute ce qui est fondé sur l’Accord parfait, ou sur celuy de la Septiéme, peut se tourner de toute façon, parce que ces Accords sont originaux : Mais s’il est permis une fois de les alterer par quelques nouveaux Sons ; ces nouveaux Sons ne peuvent plus changer de lieu ; bien que d’ailleurs ils ne diminuent pas la force de ces premiers Accords, qui participent toûjours du renversement qui leur est naturel. Ainsi cette Sixte ajoûtée dans la Cadence irreguliere, ne faisant point Dissonance avec la Basse, on ne doit jamais renverser l’Accord qui en est formé ; de façon que la dissonance que cette Sixte fait avec la Quinte, devienne-t-elle contre la Basse ; le renversement ne pouvant y avoir lieu pour lors que dans l’Accord de la petite Sixte, où la Dissonance ne s’entend qu’entre les parties : Car si cet Accord pouvoit se reduire en celuy de la Septiéme, dont il tire son origine, l’Accord parfait seul ne seroit plus le principe en ce cas, mais encore celuy de la Septiéme, ce qui ne se pourroit icy, parce que la Septiéme ne peut être sauvée dans une progression de la Basse en montant de Quinte ; & que ce que nous appellons Cadence, nous representant l’idée d’un chant terminé en quelque façon, cette Cadence ne peut se faire sentir que dans une progression consonante de la Basse sous des Accords fondamentaux, dont nous n’alterons icy la perfection que par une Licence autorisée par le bon goût. Il est donc bien à propos de sçavoir faire la difference d’un Accord fondamental, à celuy qui en provient, pour ne pas en confondre les proprietez.", "english": "1. The irregular cadence is original in itself, provided we understand each fundamental-bass note to carry a perfect chord. The sixth added to the first chord is only an extra sound tolerated by taste. The resulting chord is not fundamental and cannot enjoy the same privileges as perfect or seventh chords, although it is an inversion of the latter. Anything founded upon those original chords may be turned in every way. Once extra sounds alter them, however, those sounds may no longer change position, though they do not weaken the original chords, which retain their natural capacity for inversion. The added sixth in an irregular cadence does not dissonate against the bass. Never invert it so that its dissonance with the fifth becomes a dissonance against the bass. Only the small-sixth inversion is available, leaving the dissonance between upper parts. Reducing this chord to its original seventh chord would make the seventh chord, not the perfect chord alone, the principle. That is impossible here, since a seventh cannot resolve when the bass rises a fifth. A cadence implies a melody ending in some fashion; it is perceptible only through consonant bass progression beneath fundamental chords, whose perfection we alter here by a tasteful license. Distinguish fundamental chords from their derivatives carefully so their properties are not confused.", "sources": [ { "pdf_page": 148, "source_image": "source-pages/bnf-148.png", "printed_page": 116, "bbox_pixels": [ 425, 2730, 2140, 675 ], "crop_image": "assets/II.17-037.png" }, { "pdf_page": 149, "source_image": "source-pages/bnf-149.png", "printed_page": 117, "bbox_pixels": [ 425, 375, 2140, 1590 ], "crop_image": "assets/II.17-039.png" } ] }, { "id": "II.17-038", "type": "footnote", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 902, "original": "* De Brossard, p. 131. art. 5. Notte A. Masson, p. 115. [P. 98.]", "english": "* De Brossard, page 131, article 5, note A. Masson, page 115. [Page 98.]", "sources": [ { "pdf_page": 148, "source_image": "source-pages/bnf-148.png", "printed_page": 116, "bbox_pixels": [ 500, 3410, 2020, 85 ], "crop_image": "assets/II.17-038.png" } ] }, { "id": "II.17-040", "type": "paragraph", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 903, "original": "2°. Si une Cadence est évitée par l’addition d’une Dissonance à l’Accord parfait qui la termine ; & si en ce cas on peut en trouver le principe dans les Accords fondamentaux, & dans les progressions fondamentales de la Basse, vû qu’il ne s’y agit plus de Cadence, puisque la conclusion se trouve interrompuë par l’addition de la Dissonance ; pour lors ce principe sera le veritable, comme cela paroît dans la Basse fondamentale de l’Exemple précedent, dont les Accords fondamentaux qu’elle porte, peuvent se renverser au gré du Compositeur, & peuvent de plus profiter de la supposition.", "english": "2. If adding dissonance to the final perfect chord avoids a cadence, and the result has a principle in fundamental chords and fundamental-bass progressions, that principle is the true one. There is no longer a cadence, because the added dissonance interrupts the conclusion. The preceding example’s fundamental bass demonstrates this: its fundamental chords may be inverted at the composer’s will and may also employ supposition.", "sources": [ { "pdf_page": 149, "source_image": "source-pages/bnf-149.png", "printed_page": 117, "bbox_pixels": [ 425, 1965, 2140, 740 ], "crop_image": "assets/II.17-040.png" } ] }, { "id": "II.17-041", "type": "paragraph", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 904, "original": "Ce n’est pas le tout, la suite d’Harmonie qui paroît dans la partie ajoûtée, semble encore choquer davantage que le reste, en ce que la Seconde y est sauvée, contre la regle naturelle. Cependant l’on ne peut recevoir l’un sans l’autre, c’est la Basse fondamentale qui nous regle ; d’ailleurs on peut remarquer que la Licence qui s’y trouve est la même que celle de la Cadence irreguliere, où la Dissonance se sauve en montant sur la Tierce : Mais souvenez-vous bien de la veritable origine de ces differentes progressions, & ne confondez pas le principe avec la Licence de la Cadence irreguliere.", "english": "There is more: the added part’s harmonic succession seems still more offensive because its second resolves against the natural rule. Yet one cannot accept the rest without accepting this; fundamental bass governs us. Its license is the same as the irregular cadence’s upward resolution to a third. Remember the true origins of these different progressions, however, and do not confuse the principle with the irregular cadence’s license.", "sources": [ { "pdf_page": 149, "source_image": "source-pages/bnf-149.png", "printed_page": 117, "bbox_pixels": [ 425, 2705, 2140, 695 ], "crop_image": "assets/II.17-041.png" } ] }, { "id": "II.17-042", "type": "paragraph", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 905, "original": "Au reste, nos raisons sont foibles en comparaison de l’experience qui parle icy en nôtre faveur ; voyez les Ouvrages des plus habiles Maîtres du Siecle, ils vous en rendront encore un nouveau temoignage.", "english": "Our reasons are weak beside the experience supporting us. The works of this century’s finest masters provide further testimony.", "sources": [ { "pdf_page": 149, "source_image": "source-pages/bnf-149.png", "printed_page": 117, "bbox_pixels": [ 425, 3400, 2140, 160 ], "crop_image": "assets/II.17-042.png" }, { "pdf_page": 150, "source_image": "source-pages/bnf-150.png", "printed_page": 118, "bbox_pixels": [ 425, 385, 2140, 165 ], "crop_image": "assets/II.17-043.png" } ] }, { "id": "II.17-044", "type": "paragraph", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 906, "original": "Il n’y a pas de doute que les Licences continuës dans le dernier Exemple ne soient un peu dures ; aussi ne doit-on les employer que très-rarement, & avec tout le discernement dont un habile homme est capable : une preuve même de leur perfection, c’est qu’il est très-difficile de les accompagner correctement, & sans faute. Aussi ne sera-t-il pas inutile aux Compositeurs de voir la maniere dont nous disons qu’il faut s’y prendre en ce cas, parce que nous y préscrivons en même-temps les veritables Accords qui devroient être entendus selon l’Harmonie naturelle.", "english": "The continuous licenses in the last example are undoubtedly somewhat harsh. Use them very rarely and with all an accomplished musician’s judgment. Indeed, a proof of their perfection is the great difficulty of accompanying them correctly without fault. Composers will therefore benefit from our instructions for accompaniment here, since these also prescribe the true chords required by natural harmony.", "sources": [ { "pdf_page": 150, "source_image": "source-pages/bnf-150.png", "printed_page": 118, "bbox_pixels": [ 425, 550, 2140, 680 ], "crop_image": "assets/II.17-044.png" } ] }, { "id": "II.17-045", "type": "heading", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 907, "original": "ARTICLE QUATRIÉME.", "english": "FOURTH ARTICLE.", "sources": [ { "pdf_page": 150, "source_image": "source-pages/bnf-150.png", "printed_page": 118, "bbox_pixels": [ 480, 1320, 2040, 115 ], "crop_image": "assets/II.17-045.png" } ] }, { "id": "II.17-046", "type": "heading", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 908, "original": "Que la Septiéme peut être encore sauvée de l’Octave.", "english": "The seventh may also resolve to the octave.", "sources": [ { "pdf_page": 150, "source_image": "source-pages/bnf-150.png", "printed_page": 118, "bbox_pixels": [ 480, 1480, 2040, 115 ], "crop_image": "assets/II.17-046.png" } ] }, { "id": "II.17-047", "type": "paragraph", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 909, "original": "La Septiéme, qui est la premiere de toutes les Dissonances, s’en distingue en ce qu’elle peut être non seulement préparée par toutes les Consonances, mais en ce qu’elle peut encore en être sauvée, à l’exception de la Quarte renversée de la Quinte, qui ne peut servir qu’à sauver la Seconde dans une Harmonie renversée de celle où cette Septiéme peut être sauvée de la Quinte.", "english": "The seventh, first of all dissonances, differs from the others in admitting not only preparation but resolution by every consonance except the fourth, the fifth’s inversion. The fourth can resolve only the second, in an inversion of harmony where the seventh resolves to the fifth.", "sources": [ { "pdf_page": 150, "source_image": "source-pages/bnf-150.png", "printed_page": 118, "bbox_pixels": [ 425, 1660, 2140, 470 ], "crop_image": "assets/II.17-047.png" } ] }, { "id": "II.17-048", "type": "paragraph", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 910, "original": "La Tierce, la Quinte, & l’Octave préparent la Septiéme ; & la seule Tierce doit la sauver dans une Harmonie fondamentale, & naturelle : Cependant la Licence de la Cadence rompuë, qui introduit une varieté charmante, nous oblige de sauver encore cette Septiéme par la Quinte ; où l’on peut remarquer que ces deux manieres de la sauver, se rencontrent dans les progressions de la Basse en descendant de Quinte, & de Septiéme ; si bien que la progression de cette Basse en descendant de Tierce, étant plus parfaite que celle qui descend de Septiéme, nous sommes obligez de chercher si cette Septiéme ne pourroit pas encore être sauvée par quelques nouvelles Consonances dans cette derniere progression ; aussi nous voyons qu’elle peut fort bien y être sauvée de l’Octave, quoiqu’il s’y rencontre une espece de deux Octaves consécutives ; mais avant que de refuter la fausse-idée que l’on se fait de ces deux Octaves, qui sont simulées en ce cas, nous allons tâcher de prouver cette derniere façon de sauver la Septiéme.", "english": "Third, fifth, and octave prepare the seventh; only the third should resolve it in natural fundamental harmony. Yet the interrupted cadence’s charming variety obliges us to resolve it to a fifth as well. These two resolutions occur when the bass descends a fifth or seventh. Since descending a third is more perfect than descending a seventh, we must investigate whether another consonance can resolve the seventh over that third-descent. The octave can indeed do so, although a kind of consecutive octaves appears. Before refuting that false idea—these octaves are hidden or implied—we shall prove this new resolution.", "sources": [ { "pdf_page": 150, "source_image": "source-pages/bnf-150.png", "printed_page": 118, "bbox_pixels": [ 425, 2130, 2140, 1210 ], "crop_image": "assets/II.17-048.png" } ] }, { "id": "II.17-049", "type": "paragraph", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 911, "original": "Tous les Musiciens conviennent que la Neuviéme peut être sauvée de la Tierce, lorsque la Basse descend de Tierce ; donc la Septiéme qui fait partie de l’Accord de la Neuviéme, ne peut être sauvée en ce cas, que de l’Octave.", "english": "All musicians agree that a ninth may resolve to a third when the bass descends a third. The seventh belonging to the ninth chord can therefore resolve only to the octave in that case.", "sources": [ { "pdf_page": 150, "source_image": "source-pages/bnf-150.png", "printed_page": 118, "bbox_pixels": [ 425, 3340, 2140, 230 ], "crop_image": "assets/II.17-049.png" }, { "pdf_page": 151, "source_image": "source-pages/bnf-151.png", "printed_page": 119, "bbox_pixels": [ 425, 415, 2140, 100 ], "crop_image": "assets/II.17-050.png" } ] }, { "id": "II.17-051", "type": "music", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 912, "original": "Neuviéme, Septiéme & Octave — petit exemple", "english": "Ninth, seventh, and octave—small example", "sources": [ { "pdf_page": 151, "source_image": "source-pages/bnf-151.png", "printed_page": 119, "bbox_pixels": [ 1790, 385, 770, 345 ], "crop_image": "assets/II.17-051.png" } ], "original_title": "Neuviéme, Septiéme & Octave — petit exemple", "english_title": "Ninth, seventh, and octave—small example", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.17-051" ], "music_asset_refs": [ "II.17-051" ] }, { "id": "II.17-052", "type": "paragraph", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 913, "original": "Si l’on rapporte à present cette suite d’Accords à celle dont elle dérive, l’on verra que la Neuviéme, n’est qu’une Septiéme, & que la Septiéme, n’est qu’une Quinte, dont la progression sera conforme à celle qui vient de paroître : Car nous avions remarqué précisement que l’Accord de la Neuviéme ne provenoit que d’un Son ajoûté à la Basse, qui suppose le fondamental qui se trouve immediatement au dessus.", "english": "Refer this chord succession to its source: the ninth is merely a seventh, and the seventh merely a fifth, whose progression agrees with what was just shown. We specifically observed that a ninth chord comes only from adding a bass sound that supposes the fundamental immediately above it.", "sources": [ { "pdf_page": 151, "source_image": "source-pages/bnf-151.png", "printed_page": 119, "bbox_pixels": [ 425, 515, 2140, 575 ], "crop_image": "assets/II.17-052.png" } ] }, { "id": "II.17-053", "type": "heading", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 914, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 151, "source_image": "source-pages/bnf-151.png", "printed_page": 119, "bbox_pixels": [ 480, 1085, 2040, 115 ], "crop_image": "assets/II.17-053.png" } ] }, { "id": "II.17-054", "type": "music", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 915, "original": "Basse fondamentale de deux Cadences parfaites évitées", "english": "Fundamental bass of two avoided perfect cadences", "sources": [ { "pdf_page": 151, "source_image": "source-pages/bnf-151.png", "printed_page": 119, "bbox_pixels": [ 1100, 1220, 730, 470 ], "crop_image": "assets/II.17-054.png" } ], "original_title": "Basse fondamentale de deux Cadences parfaites évitées", "english_title": "Fundamental bass of two avoided perfect cadences", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.17-054" ], "music_asset_refs": [ "II.17-054" ] }, { "id": "II.17-055", "type": "paragraph", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 916, "original": "Le Guidon marque le Son surnumeraire de la Neuviéme au dessus duquel le Son fondamental est représenté par une Notte.", "english": "The guide marks the extra sound of the ninth chord; the fundamental above it is represented by an ordinary note.", "sources": [ { "pdf_page": 151, "source_image": "source-pages/bnf-151.png", "printed_page": 119, "bbox_pixels": [ 425, 1750, 2140, 150 ], "crop_image": "assets/II.17-055.png" } ] }, { "id": "II.17-056", "type": "paragraph", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 917, "original": "Si l’on avoit consideré l’Accord de la Neuviéme dans son tout, pour en fixer la progression ; ou l’on auroit défendu de sauver la Neuviéme de la Tierce, ou l’on auroit permis de sauver la Septiéme de l’Octave, puisque l’un ne peut être sans l’autre : mais bien plus, si l’on avoit consideré cet Accord dans son origine, l’on n’auroit pû se dispenser d’admettre les deux précedentes progressions, puisqu’elles sont les plus naturelles : Donc la Septiéme peut être sauvée de l’Octave, ou l’Accord de la Neuviéme ne doit pas être reçû.", "english": "Had the ninth chord been considered as a whole in fixing its progression, either ninth-to-third resolution would have been forbidden or seventh-to-octave resolution allowed, since one cannot occur without the other. Had its origin also been considered, both preceding progressions would have to be admitted as the most natural. Thus either the seventh may resolve to the octave or the ninth chord must be rejected.", "sources": [ { "pdf_page": 151, "source_image": "source-pages/bnf-151.png", "printed_page": 119, "bbox_pixels": [ 425, 1900, 2140, 605 ], "crop_image": "assets/II.17-056.png" } ] }, { "id": "II.17-057", "type": "paragraph", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 918, "original": "La Septiéme peut se sauver encore de l’Octave dans une Harmonie renversée.", "english": "The seventh can also resolve to the octave in inverted harmony.", "sources": [ { "pdf_page": 151, "source_image": "source-pages/bnf-151.png", "printed_page": 119, "bbox_pixels": [ 425, 2505, 2140, 140 ], "crop_image": "assets/II.17-057.png" } ] }, { "id": "II.17-058", "type": "heading", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 919, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 151, "source_image": "source-pages/bnf-151.png", "printed_page": 119, "bbox_pixels": [ 480, 2580, 2040, 115 ], "crop_image": "assets/II.17-058.png" } ] }, { "id": "II.17-059", "type": "music", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 920, "original": "Basse renversée & Basse fondamentale", "english": "Inverted bass and fundamental bass", "sources": [ { "pdf_page": 151, "source_image": "source-pages/bnf-151.png", "printed_page": 119, "bbox_pixels": [ 1170, 2700, 620, 760 ], "crop_image": "assets/II.17-059.png" } ], "original_title": "Basse renversée & Basse fondamentale", "english_title": "Inverted bass and fundamental bass", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.17-059" ], "music_asset_refs": [ "II.17-059" ] }, { "id": "II.17-060", "type": "paragraph", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 921, "original": "Pour revenir aux deux Octaves, ou aux deux Quintes simulées ; la regle en a été établie sur l’Harmonie fondamentale, de même que toutes les autres regles ; mais faute de s’être expliqué, l’on nous a laissé dans des doutes, dont il est à propos de nous relever.", "english": "Returning to hidden octaves or fifths: their prohibition, like every rule, was founded on fundamental harmony. Inadequate explanation has left doubts that should be removed.", "sources": [ { "pdf_page": 151, "source_image": "source-pages/bnf-151.png", "printed_page": 119, "bbox_pixels": [ 425, 3470, 2140, 100 ], "crop_image": "assets/II.17-060.png" }, { "pdf_page": 152, "source_image": "source-pages/bnf-152.png", "printed_page": 120, "bbox_pixels": [ 425, 330, 2140, 230 ], "crop_image": "assets/II.17-061.png" } ] }, { "id": "II.17-062", "type": "paragraph", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 922, "original": "Si l’on a défendu les deux Octaves, ou les deux Quintes simulées, ce n’a été que pour empêcher de donner aux Parties des progressions extravagantes, sur tout dans la pratique des Dissonances ; parce que dans celle des Consonances, ce défaut s’évite facilement, en donnant aux Parties une progression contraire. Cependant l’on ne peut se dispenser de faire entendre à tout moment ces sortes de passages dans les Cadences parfaites & irregulieres, où l’on trouve d’un côté deux Octaves simulées, & de l’autre deux Quintes ; puisque si l’on fait passer la Basse sur les degrez diatoniques, qui se trouvent d’une Notte à l’autre, les deux Octaves & les deux Quintes s’y entendront en effet : la regle est donc fausse en ce cas, & ne peut servir que dans un renversement de ces deux Cadences, où, à la verité, la progression de la Basse ne conviendroit point au Dessus, pendant que cette Basse tiendroit celle du Dessus ; mais nous avons remarqué que la progression des parties superieures devoit être diatonique, autant que cela se pourroit, sur tout lorsque la Quarte y a lieu, comme elle se rencontreroit icy, en renversant les parties de cette façon :", "english": "Hidden octaves and fifths were forbidden only to prevent extravagant part movements, especially with dissonance. With consonance, contrary motion easily avoids the fault. Yet these passages occur constantly in perfect and irregular cadences: hidden octaves in one, hidden fifths in the other. Fill the bass’s leap with intervening diatonic degrees and the two octaves or fifths become actual. The rule is therefore false in these cases. It applies only when these cadences are inverted, where the bass’s movement would indeed be unsuitable for the upper part while the bass takes the upper part’s movement. But we already required upper parts to move diatonically whenever possible, especially when a fourth occurs, as it would in this inversion:", "sources": [ { "pdf_page": 152, "source_image": "source-pages/bnf-152.png", "printed_page": 120, "bbox_pixels": [ 425, 560, 2140, 1430 ], "crop_image": "assets/II.17-062.png" } ] }, { "id": "II.17-063", "type": "music", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 923, "original": "Octaves & Quintes simulées — progressions diatoniques", "english": "Hidden octaves and fifths—diatonic progressions", "sources": [ { "pdf_page": 152, "source_image": "source-pages/bnf-152.png", "printed_page": 120, "bbox_pixels": [ 1480, 1100, 1110, 295 ], "crop_image": "assets/II.17-063.png" } ], "original_title": "Octaves & Quintes simulées — progressions diatoniques", "english_title": "Hidden octaves and fifths—diatonic progressions", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.17-063" ], "music_asset_refs": [ "II.17-063" ] }, { "id": "II.17-064", "type": "music", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 924, "original": "Renversement des parties — Quarte", "english": "Inversion of parts—the fourth", "sources": [ { "pdf_page": 152, "source_image": "source-pages/bnf-152.png", "printed_page": 120, "bbox_pixels": [ 1580, 2000, 1010, 370 ], "crop_image": "assets/II.17-064.png" } ], "original_title": "Renversement des parties — Quarte", "english_title": "Inversion of parts—the fourth", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.17-064" ], "music_asset_refs": [ "II.17-064" ] }, { "id": "II.17-065", "type": "paragraph", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 925, "original": "Ainsi nous pouvons nous passer encore de cette regle dans cette occasion.", "english": "Thus here too we can dispense with that rule.", "sources": [ { "pdf_page": 152, "source_image": "source-pages/bnf-152.png", "printed_page": 120, "bbox_pixels": [ 425, 2035, 2140, 245 ], "crop_image": "assets/II.17-065.png" } ] }, { "id": "II.17-066", "type": "paragraph", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 926, "original": "A l’égard des Dissonances, il est certain que l’on ne manquera jamais en donnant à chaque Dissonance la progression qui luy est naturelle, pendant que les Consonances, dont la Dissonance est accompagnée, passeront sur telle autre Consonance que l’on jugera à propos ; pourvû que l’on ne s’écarte pas de la Modulation, & que l’on ne change pas le fond de l’Accord, sur lequel la Dissonance doit être sauvée : ainsi l’on ne peut pas dire qu’il se trouve deux Octaves simulées dans une Septiéme sauvée de l’Octave ; parce que l’Octave qui peut être jointe à la Septiéme, ou qui y est toûjours sous-entenduë, lorsqu’elle n’y est point, reste sur le même degré, ou passe ailleurs ; de façon qu’ayant été entenduë, la seconde Octave ne peut provenir que de sa progression, & non pas de celle d’un autre Intervale. Exemple.", "english": "With dissonances, we cannot fail if each follows its natural progression while its accompanying consonances move to whatever consonances we choose, provided the key’s movement is respected and the substance of the resolution chord unchanged. A seventh resolving to an octave therefore does not create hidden octaves. The octave accompanying the seventh—or implied if absent—stays still or moves elsewhere. Once it has sounded, a second octave could arise only from its own movement, not from another interval’s. Example.", "sources": [ { "pdf_page": 152, "source_image": "source-pages/bnf-152.png", "printed_page": 120, "bbox_pixels": [ 425, 2280, 2140, 1020 ], "crop_image": "assets/II.17-066.png" } ] }, { "id": "II.17-067", "type": "music", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 927, "original": "Septiéme sauvée de l’Octave — mouvement des consonances", "english": "Seventh resolving to octave—movement of consonances", "sources": [ { "pdf_page": 152, "source_image": "source-pages/bnf-152.png", "printed_page": 120, "bbox_pixels": [ 1940, 3240, 650, 330 ], "crop_image": "assets/II.17-067.png" } ], "original_title": "Septiéme sauvée de l’Octave — mouvement des consonances", "english_title": "Seventh resolving to octave—movement of consonances", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.17-067" ], "music_asset_refs": [ "II.17-067" ] }, { "id": "II.17-068", "type": "paragraph", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 928, "original": "De-là vient une infinité d’autres manieres de sauver la Dissonance, dont nous parlerons au troisiéme Livre.", "english": "This yields countless other ways of resolving dissonance, to be discussed in Book III.", "sources": [ { "pdf_page": 152, "source_image": "source-pages/bnf-152.png", "printed_page": 120, "bbox_pixels": [ 425, 3330, 2140, 230 ], "crop_image": "assets/II.17-068.png" } ] }, { "id": "II.17-069", "type": "paragraph", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 929, "original": "Le fondement qui est supposé dans chaque Accord, doit nous servir toûjours de guide, soit qu’il s’agisse de donner aux Tierces, & aux Sixtes majeures ou mineures leur progression naturelle, soit que l’on craigne de faire entendre deux Octaves ou deux Quintes consecutives, car souvent nous croyons voir deux Quintes ou deux Octaves, lorsque nous ne les entendons pas. Par exemple, Masson * & plusieurs autres, veulent que l’on puisse passer de la Sixte à la Quinte, ainsi, où l’on trouvera cependant deux Quintes, si l’on a égard au degré diatonique, qui passe de Fa à Ré : Mais si l’on remarque que la Basse fondamentale de cet Exemple doit faire Ré, Sol, conformément à la progression d’une Cadence parfaite évitée ; ainsi, l’on ne trouvera plus ces deux Quintes imaginaires : & voicy comme raisonne un habile Compositeur : Je fais icy deux Quintes simulées, mais ce Son en suppose un autre, où pour lors ces deux Quintes ne paroissent plus ; donc cela est bon, quoique cette supposition ne doive se faire qu’entre les temps principaux de la mesure : Mais la Musique a cela de particulier, que l’on peut abuser souvent, & même avec succes, de la liberté que l’on a de varier à l’infini ; cependant lorsque la raison s’accorde avec l’oreille, l’on peut luy donner toute la varieté dont elle est susceptible, sans pecher contre ce qu’elle a de plus parfait : aussi ces deux Octaves, ou ces deux Quintes que l’œil apperçoit sur le papier ne sont pas toûjours telles à l’oreille, lorsque le fondement y subsiste dans toute sa regularité.", "english": "The foundation implied in every chord must always guide us, whether in moving major or minor thirds and sixths naturally or in avoiding consecutive octaves and fifths. We often think we see fifths or octaves that we do not hear. Masson* and others allow sixth-to-fifth movement as shown, though two fifths appear if the diatonic step passing from F to D is considered. But the example’s fundamental bass must be D–G, an avoided perfect cadence; seen thus, the imaginary fifths disappear. A skilled composer reasons: these are hidden fifths, but this sound supposes another, under which they vanish; therefore the passage is good, although such supposition should occur only between principal beats. Music permits frequent, even successful, abuse of its infinite freedom to vary. When reason agrees with the ear, however, every possible variety may be admitted without offending music’s highest perfection. Octaves or fifths seen on paper are not always heard as such when the foundation remains fully regular.", "sources": [ { "pdf_page": 153, "source_image": "source-pages/bnf-153.png", "printed_page": 121, "bbox_pixels": [ 425, 350, 2140, 1950 ], "crop_image": "assets/II.17-069.png" } ] }, { "id": "II.17-070", "type": "music", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 930, "original": "Sixte à Quinte — à 4 Parties", "english": "Sixth to fifth—in four parts", "sources": [ { "pdf_page": 153, "source_image": "source-pages/bnf-153.png", "printed_page": 121, "bbox_pixels": [ 480, 880, 630, 260 ], "crop_image": "assets/II.17-070.png" } ], "original_title": "Sixte à Quinte — à 4 Parties", "english_title": "Sixth to fifth—in four parts", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.17-070" ], "music_asset_refs": [ "II.17-070" ] }, { "id": "II.17-071", "type": "music", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 931, "original": "Basse fondamentale Ré, Sol", "english": "Fundamental bass D, G", "sources": [ { "pdf_page": 153, "source_image": "source-pages/bnf-153.png", "printed_page": 121, "bbox_pixels": [ 780, 1250, 590, 310 ], "crop_image": "assets/II.17-071.png" } ], "original_title": "Basse fondamentale Ré, Sol", "english_title": "Fundamental bass D, G", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.17-071" ], "music_asset_refs": [ "II.17-071" ] }, { "id": "II.17-072", "type": "paragraph", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 932, "original": "Il étoit à propos de s’étendre un peu sur ce sujet, pour faire revenir de leurs erreurs, ceux qui ne s’attachent qu’à la simple signification des termes, sans en comprendre la force.", "english": "This subject deserved some extended discussion to correct those who cling to the bare meaning of terms without understanding their force.", "sources": [ { "pdf_page": 153, "source_image": "source-pages/bnf-153.png", "printed_page": 121, "bbox_pixels": [ 425, 2300, 2140, 230 ], "crop_image": "assets/II.17-072.png" } ] }, { "id": "II.17-073", "type": "paragraph", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 933, "original": "Au reste, quoique nous pretendions que la Septiéme peut être sauvée de toutes ces Consonances ; remarquez que selon l’Harmonie fondamentale & naturelle, elle ne peut l’être que de la Tierce : Car si dans la Cadence rompuë elle se sauve de la Quinte, & si dans le renversement de la progression ordinaire à la Basse de cette Cadence, elle se sauve d’une autre Septiéme, cela ne provient que de la Licence introduite par la Septiéme ajoûtée à l’Accord parfait, dont la Basse fondamentale peut tirer une nouvelle progression : Et si nous voulons encore icy que cette Septiéme puisse être sauvée de l’Octave, ce n’est qu’en consequence de la supposition, ou du renversement, puisqu’elle y est toûjours sauvée de la Tierce selon l’Harmonie naturelle, comme cela paroît dans nos Exemples.", "english": "Although we maintain that all these consonances can resolve the seventh, remember that natural fundamental harmony resolves it only to the third. Its resolution to a fifth in the interrupted cadence, or to another seventh in the inversion of that cadence’s ordinary bass movement, comes solely from the license introduced by adding a seventh to the perfect chord, giving the fundamental bass a new progression. Likewise, seventh-to-octave resolution follows only from supposition or inversion: naturally it still resolves to the third, as our examples show.", "sources": [ { "pdf_page": 153, "source_image": "source-pages/bnf-153.png", "printed_page": 121, "bbox_pixels": [ 425, 2530, 2140, 915 ], "crop_image": "assets/II.17-073.png" } ] }, { "id": "II.17-074", "type": "footnote", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 934, "original": "* Masson p. 104.", "english": "* Masson, page 104.", "sources": [ { "pdf_page": 153, "source_image": "source-pages/bnf-153.png", "printed_page": 121, "bbox_pixels": [ 360, 3445, 710, 70 ], "crop_image": "assets/II.17-074.png" } ] }, { "id": "II.17-075", "type": "heading", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 935, "original": "ARTICLE CINQUIÉME.", "english": "FIFTH ARTICLE.", "sources": [ { "pdf_page": 154, "source_image": "source-pages/bnf-154.png", "printed_page": 122, "bbox_pixels": [ 480, 425, 2040, 115 ], "crop_image": "assets/II.17-075.png" } ] }, { "id": "II.17-076", "type": "heading", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 936, "original": "Que la Septiéme peut être accompagnée de la Sixte.", "english": "The seventh may be accompanied by the sixth.", "sources": [ { "pdf_page": 154, "source_image": "source-pages/bnf-154.png", "printed_page": 122, "bbox_pixels": [ 480, 580, 2040, 115 ], "crop_image": "assets/II.17-076.png" } ] }, { "id": "II.17-077", "type": "paragraph", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 937, "original": "L’on pratique quelquefois la Septiéme avec la Sixte, dont il se forme, à la verité un Accord très-dur, & la seule raison qui puisse le rendre supportable, est qu’il ne se fait qu’en passant, & que les Sons ingrats dont il est composé sont permanens, ayant lieu dans les Accords qui les précedent, & qui les suivent ; outre que le Son de la Basse n’y est admis pour lors que par supposition.", "english": "Sometimes the seventh is accompanied by the sixth, admittedly forming a very harsh chord. It is bearable only because it occurs in passing and its disagreeable sounds remain stationary, belonging to the chords before and after. The bass sound is also admitted only through supposition.", "sources": [ { "pdf_page": 154, "source_image": "source-pages/bnf-154.png", "printed_page": 122, "bbox_pixels": [ 425, 715, 2140, 485 ], "crop_image": "assets/II.17-077.png" } ] }, { "id": "II.17-078", "type": "heading", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 938, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 154, "source_image": "source-pages/bnf-154.png", "printed_page": 122, "bbox_pixels": [ 480, 1240, 2040, 115 ], "crop_image": "assets/II.17-078.png" } ] }, { "id": "II.17-079", "type": "music", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 939, "original": "Septiéme avec la Sixte — choix chromatiques", "english": "Seventh with sixth—chromatic alternatives", "sources": [ { "pdf_page": 154, "source_image": "source-pages/bnf-154.png", "printed_page": 122, "bbox_pixels": [ 430, 1360, 2160, 780 ], "crop_image": "assets/II.17-079.png" } ], "original_title": "Septiéme avec la Sixte — choix chromatiques", "english_title": "Seventh with sixth—chromatic alternatives", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.17-079" ], "music_asset_refs": [ "II.17-079" ] }, { "id": "II.17-080", "type": "heading", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 940, "original": "AUTRE EXEMPLE.", "english": "ANOTHER EXAMPLE.", "sources": [ { "pdf_page": 154, "source_image": "source-pages/bnf-154.png", "printed_page": 122, "bbox_pixels": [ 480, 2120, 2040, 115 ], "crop_image": "assets/II.17-080.png" } ] }, { "id": "II.17-081", "type": "music", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 941, "original": "Son permanent — Point d’Orgue", "english": "Sustained sound—pedal point", "sources": [ { "pdf_page": 154, "source_image": "source-pages/bnf-154.png", "printed_page": 122, "bbox_pixels": [ 690, 2220, 1520, 680 ], "crop_image": "assets/II.17-081.png" } ], "original_title": "Son permanent — Point d’Orgue", "english_title": "Sustained sound—pedal point", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.17-081" ], "music_asset_refs": [ "II.17-081" ] }, { "id": "II.17-082", "type": "paragraph", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 942, "original": "Cecy s’appelle, Point d’Orgue.", "english": "This is called a pedal point.", "sources": [ { "pdf_page": 154, "source_image": "source-pages/bnf-154.png", "printed_page": 122, "bbox_pixels": [ 2200, 2410, 390, 210 ], "crop_image": "assets/II.17-082.png" } ] }, { "id": "II.17-083", "type": "paragraph", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 943, "original": "Il est bon de remarquer qu’un Son permanent se dérobe en quelque façon à nôtre attention, lorsqu’on en fait passer plusieurs autres au-dessus de luy, dont la diverse progression est conforme aux Regles les plus naturelles ; ce qui se trouve icy de même que dans la partie ajoûtée à l’Exemple de l’Article précedent, & ce qui se trouve encore dans tous ces coliers de Musettes, & de Vielles, qui paroissent en France, & ailleurs, dont nous donnons une idée dans nos Regles du Chromatique, Livre troisiéme, & dans celles du Point d’Orgue, Livre quatriéme.", "english": "Notice that a sustained sound partly escapes our attention when several others move above it according to the most natural rules. This occurs here, in the added part of the preceding article’s example, and in the musette and hurdy-gurdy music heard in France and elsewhere, described here as “coliers” [word uncertain]. We illustrate them in the chromatic rules of Book III and the pedal-point rules of Book IV.", "sources": [ { "pdf_page": 154, "source_image": "source-pages/bnf-154.png", "printed_page": 122, "bbox_pixels": [ 425, 2920, 2140, 680 ], "crop_image": "assets/II.17-083.png" } ] }, { "id": "II.17-084", "type": "paragraph", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 944, "original": "Ce seroit icy le lieu de parler du Chromatique, des Dissonances pour le goût du chant, ou par supposition, & des Fausses relations : Mais les Regles que nous en donnons dans le Livre suivant, sont si simples & si intelligibles, que nous pouvons bien les passer à present sous silence.", "english": "This would be the place to discuss chromatic writing, dissonances for melodic expression or by supposition, and false relations. But the next book’s rules are so simple and intelligible that we may leave them aside for now.", "sources": [ { "pdf_page": 155, "source_image": "source-pages/bnf-155.png", "printed_page": 123, "bbox_pixels": [ 425, 350, 2140, 375 ], "crop_image": "assets/II.17-084.png" } ] }, { "id": "II.17-085", "type": "heading", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 945, "original": "ARTICLE SIXIÉME.", "english": "SIXTH ARTICLE.", "sources": [ { "pdf_page": 155, "source_image": "source-pages/bnf-155.png", "printed_page": 123, "bbox_pixels": [ 480, 725, 2040, 115 ], "crop_image": "assets/II.17-085.png" } ] }, { "id": "II.17-086", "type": "heading", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 946, "original": "Des occasions où il semble que la Dissonance soit préparée d’une autre Dissonance.", "english": "Occasions when dissonance seems to be prepared by another dissonance.", "sources": [ { "pdf_page": 155, "source_image": "source-pages/bnf-155.png", "printed_page": 123, "bbox_pixels": [ 480, 860, 2040, 180 ], "crop_image": "assets/II.17-086.png" } ] }, { "id": "II.17-087", "type": "paragraph", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 947, "original": "Quoique nous mettions cet Article au nombre des Licences, nous allons voir néanmoins que ce qu’il contient est conforme à l’Harmonie naturelle, où nous pretendons que la Dissonance doit être preparée absolument, & sans exception, d’une Consonance : Mais comme l’experience semble nous prouver le contraire, & que la plûpart des Musiciens en tirent de fausses consequences, nous avons crû devoir placer cet Article conformément à leur idée, pour qu’ils le trouvent à l’endroit, où ils s’imagineront qu’il doit être.", "english": "Although placed among licenses, this article will show something entirely consistent with natural harmony, in which we maintain that dissonance must be prepared by consonance absolutely and without exception. Experience seems to contradict this, and most musicians draw false conclusions. We have therefore placed the article where they expect to find it.", "sources": [ { "pdf_page": 155, "source_image": "source-pages/bnf-155.png", "printed_page": 123, "bbox_pixels": [ 425, 1080, 2140, 625 ], "crop_image": "assets/II.17-087.png" } ] }, { "id": "II.17-088", "type": "paragraph", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 948, "original": "Quand M. de Brossard dit (p. 131.) qu’après la Dissonance syncopée, l’on fait passer souvent une fausse-Quinte, & qu’après celle-cy on fait encore passer souvent une Quarte syncopée, à laquelle cette fausse-Quinte sert comme de preparation, il ne satisfait en cela que ceux qui le sçavent aussi-bien que luy ; mais en même-temps il induit dans l’erreur ceux qui l’ignorent, sans détruire la prévention de ceux qui, prenant à la lettre la Regle qui dit, que toute Dissonance doit être preparée & sauvée d’une Consonance, ne peuvent entendre le contraire, sans l’imputer à faute : car, ou il faut expliquer les choses qui paroissent opposées aux Regles generales, ou ne pas les proposer. Si cet Auteur s’en fût tenu à son Titre, sans descendre dans le détail des Regles, & de la pratique, nous aurions tort de le citer icy : mais comme il nous propose ailleurs des Regles opposées à ce qu’il veut nous enseigner icy, nous ne pouvons nous dispenser de dire nôtre sentiment là-dessus, pour éclaircir les doutes qu’il y séme.", "english": "Brossard says on page 131 that a syncopated dissonance is often followed by a diminished fifth, which is often followed by a syncopated fourth, the diminished fifth serving as a sort of preparation. This satisfies only those who know it already. It misleads the ignorant without correcting those who take literally the rule requiring consonant preparation and resolution and therefore hear any apparent exception as a fault. Things seeming contrary to general rules must either be explained or not proposed. Had this author confined himself to his title instead of entering into rules and practice, we would be wrong to cite him here. But elsewhere he gives rules contradicting this teaching, so we must state our view to clear up the doubts he creates.", "sources": [ { "pdf_page": 155, "source_image": "source-pages/bnf-155.png", "printed_page": 123, "bbox_pixels": [ 425, 1705, 2140, 1195 ], "crop_image": "assets/II.17-088.png" } ] }, { "id": "II.17-089", "type": "paragraph", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 949, "original": "A l’égard de la Dissonance sauvée de la fausse-Quinte, ça été le sujet de l’Article III. & pour ce qui regarde la Quarte syncopée, à laquelle la fausse-Quinte sert comme de préparation ; nous allons voir que ces deux Dissonances sont contenuës dans le même Accord fondamental ; qu’ainsi la seconde Dissonance n’est autre que la premiere ; de sorte que tant qu’une Dissonance reste sur le même degré, pendant que la Partie que l’on fait servir pour lors de Basse, passe sur les differens Sons dont l’Accord, où cette Dissonance a lieu, est composé, l’on doit inferer de-là, que la difference ne consiste pas dans le fond, mais seulement dans l’Intervale qui a la liberté d’employer entre cette Dissonance & une autre Partie, laquelle Dissonance est toûjours la même par rapport à la Basse fondamentale, comme nous allons le prouver par l’addition de cette Basse fondamentale à l’Exemple de M. de Brossard.", "english": "Article III treated dissonance resolved by a diminished fifth. As for the syncopated fourth apparently prepared by a diminished fifth, both belong to one fundamental chord. The second dissonance is therefore simply the first. While a dissonant note remains still and the part serving as bass passes through other notes of its chord, only the interval between the dissonance and that part changes, not the substance. Against the fundamental bass it remains the same dissonance. Adding that bass to Brossard’s example will prove this.", "sources": [ { "pdf_page": 155, "source_image": "source-pages/bnf-155.png", "printed_page": 123, "bbox_pixels": [ 425, 2900, 2140, 615 ], "crop_image": "assets/II.17-089.png" }, { "pdf_page": 156, "source_image": "source-pages/bnf-156.png", "printed_page": 124, "bbox_pixels": [ 425, 385, 2140, 460 ], "crop_image": "assets/II.17-090.png" } ] }, { "id": "II.17-091", "type": "heading", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 950, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 156, "source_image": "source-pages/bnf-156.png", "printed_page": 124, "bbox_pixels": [ 480, 905, 2040, 115 ], "crop_image": "assets/II.17-091.png" } ] }, { "id": "II.17-092", "type": "paragraph", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 951, "original": "Mʳ. de Brossard, p. 131. à la Neuviéme mesure.", "english": "Mr. de Brossard, page 131, at the ninth measure.", "sources": [ { "pdf_page": 156, "source_image": "source-pages/bnf-156.png", "printed_page": 124, "bbox_pixels": [ 440, 1215, 335, 230 ], "crop_image": "assets/II.17-092.png" } ] }, { "id": "II.17-093", "type": "music", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 952, "original": "Exemple de Brossard — Basse fondamentale ajoûtée", "english": "Brossard’s example with added fundamental bass", "sources": [ { "pdf_page": 156, "source_image": "source-pages/bnf-156.png", "printed_page": 124, "bbox_pixels": [ 790, 1030, 1800, 1120 ], "crop_image": "assets/II.17-093.png" } ], "original_title": "Exemple de Brossard — Basse fondamentale ajoûtée", "english_title": "Brossard’s example with added fundamental bass", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.17-093" ], "music_asset_refs": [ "II.17-093" ] }, { "id": "II.17-094", "type": "heading", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 953, "original": "AUTRE EXEMPLE.", "english": "ANOTHER EXAMPLE.", "sources": [ { "pdf_page": 156, "source_image": "source-pages/bnf-156.png", "printed_page": 124, "bbox_pixels": [ 480, 2210, 2040, 115 ], "crop_image": "assets/II.17-094.png" } ] }, { "id": "II.17-095", "type": "music", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 954, "original": "Même Septiéme préparée par une consonance", "english": "The same seventh prepared by a consonance", "sources": [ { "pdf_page": 156, "source_image": "source-pages/bnf-156.png", "printed_page": 124, "bbox_pixels": [ 780, 2280, 1800, 1090 ], "crop_image": "assets/II.17-095.png" } ], "original_title": "Même Septiéme préparée par une consonance", "english_title": "The same seventh prepared by a consonance", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.17-095" ], "music_asset_refs": [ "II.17-095" ] }, { "id": "II.17-096", "type": "paragraph", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 955, "original": "Vous trouvez entre (A. B.) la Septiéme precedée de la même Septiéme : & qui plus est, cette Septiéme (M.) est preparée par une Consonance à (L.) devenant ensuite fausse-Quinte, & Onziéme, par rapport à la Basse-continuë ; mais c’est toûjours la même Septiéme, & le même Accord par rapport à la Basse fondamentale, n’étant pas necessaire de répeter icy, que le Son surnumeraire de la Onziéme, dite Quarte, doit être entendu au-dessous de la Basse fondamentale, & qu’il doit même être retranché, quant à la preuve. Que l’on ne s’imagine donc plus qu’une Dissonance puisse être preparée d’une autre Dissonance, puisque dans le fond il ne s’en trouve qu’une dans toutes celles qui se suivent icy, & que lorsqu’elle peut être preparée, elle l’est en effet d’une Consonance ; de sorte que la liberté que l’on a de faire passer une partie qui sert de Basse sur tous les Sons d’un même Accord, n’a point de rapport à une Regle qui concerne deux Accords differens.", "english": "Between A and B the seventh is preceded by the same seventh. Moreover, seventh M is prepared by a consonance at L and then becomes diminished fifth and eleventh relative to the continuo bass. Against the fundamental bass it remains the same seventh and chord. We need not repeat that the extra sound of the eleventh, called fourth, must lie below the fundamental bass and be removed for the proof. Do not imagine, then, that one dissonance prepares another. The succession contains fundamentally only one dissonance, and when prepared it is indeed prepared by consonance. Moving a bass part among the notes of one chord has no bearing on a rule concerning two different chords.", "sources": [ { "pdf_page": 156, "source_image": "source-pages/bnf-156.png", "printed_page": 124, "bbox_pixels": [ 425, 3390, 2140, 165 ], "crop_image": "assets/II.17-096.png" }, { "pdf_page": 157, "source_image": "source-pages/bnf-157.png", "printed_page": 125, "bbox_pixels": [ 425, 390, 2140, 980 ], "crop_image": "assets/II.17-097.png" } ] }, { "id": "II.17-098", "type": "paragraph", "section": "II.17", "lesson": 32, "exercise": 32, "reading_order": 956, "original": "Le défaut des Commentateurs des premieres Regles, ne vient que de ce qu’ils n’ont pas sçû accorder la raison avec l’experience, en confondant le principe avec ce qui en dérive, au lieu que ce principe se soutient icy par tout avec la même force ; puisque pour prouver l’Harmonie naturelle, & la Licence, nous n’avons eu besoin que de l’Accord parfait, de celuy de la Septiéme, & des Intervales dont ces Accords sont composez, pour en former la progression d’une Basse fondamentale ; laquelle Basse nous sert de guide dans ces premieres progressions en descendant de Tierce, de Quinte, & de Septiéme (si l’on veut) pour l’Harmonie naturelle, & dans le renversement de ces progressions pour toutes les Licences qui peuvent être mises en pratique, en y joignant la supposition, & l’emprunt.", "english": "Commentators on the first rules failed only because they could not reconcile reason and experience, confusing the principle with its derivatives. Here the principle retains equal force throughout. To prove natural harmony and license, we needed only perfect and seventh chords and their constituent intervals to form fundamental-bass progression. That bass guides natural harmony through descending thirds, fifths, and, if desired, sevenths. Inverted progressions, together with supposition and borrowing, guide all practicable licenses.", "sources": [ { "pdf_page": 157, "source_image": "source-pages/bnf-157.png", "printed_page": 125, "bbox_pixels": [ 425, 1370, 2140, 945 ], "crop_image": "assets/II.17-098.png" } ] }, { "id": "II.18-001", "type": "heading", "section": "II.18", "lesson": 33, "exercise": 33, "reading_order": 957, "original": "CHAPITRE DIX-HUITIEME.\nObservations sur l’établissement des Regles, où l’on enseigne la maniere de composer une Basse fondamentale.", "english": "CHAPTER EIGHTEEN.\nObservations on establishing the rules, including how to compose a fundamental bass.", "sources": [ { "pdf_page": 157, "source_image": "source-pages/bnf-157.png", "printed_page": 125, "bbox_pixels": [ 410, 2430, 2200, 350 ], "crop_image": "assets/II.18-001.png" } ], "correction_refs": [ "supplement-139", "supplement-140", "supplement-141", "supplement-142", "supplement-143", "supplement-144", "supplement-145" ] }, { "id": "II.18-002", "type": "heading", "section": "II.18", "lesson": 33, "exercise": 33, "reading_order": 958, "original": "ARTICLE PREMIER.\nDe l’établissement des Regles.", "english": "FIRST ARTICLE.\nEstablishing the rules.", "sources": [ { "pdf_page": 157, "source_image": "source-pages/bnf-157.png", "printed_page": 125, "bbox_pixels": [ 410, 2830, 2200, 260 ], "crop_image": "assets/II.18-002.png" } ] }, { "id": "II.18-003", "type": "paragraph", "section": "II.18", "lesson": 33, "exercise": 33, "reading_order": 959, "original": "L’On ne peut juger de la Musique que par le rapport de l’ouïe ; & la raison n’y a d’autorité, qu’autant qu’elle s’accorde avec l’oreille ; mais aussi rien ne doit plus nous convaincre que leur union dans nos jugemens : Nous sommes naturellement satisfaits par l’oreille, & l’esprit l’est par la raison ; ne jugeons donc de rien que par leur concours mutuel.", "english": "Music can be judged only through hearing, and reason has authority only insofar as it agrees with the ear. Yet nothing should convince us more than their union in judgment. The ear naturally satisfies us; reason satisfies the mind. Let us judge nothing without their mutual agreement.", "sources": [ { "pdf_page": 157, "source_image": "source-pages/bnf-157.png", "printed_page": 125, "bbox_pixels": [ 410, 3110, 2200, 470 ], "crop_image": "assets/II.18-003.png" } ] }, { "id": "II.18-004", "type": "paragraph", "section": "II.18", "lesson": 33, "exercise": 33, "reading_order": 960, "original": "L’experience nous offre un grand nombre d’Accords susceptibles d’une diversité à l’infini, où nous nous égarerons toûjours, si nous n’en cherchons le principe dans une autre cause ; elle seme par tout des doutes ; & chacun s’imaginant que son oreille ne peut le tromper, ne veut s’en rapporter qu’à luy-même. La raison au contraire ne nous met sous les yeux qu’un seul Accord, dont il luy est facile de déterminer toutes les proprietez, pour peu qu’elle soit aidée de l’experience : Ainsi dès que cette experience ne dément point ce que la raison autorise, celle-cy doit prendre le dessus ; car rien n’est plus convaincant que ses décisions, sur tout lorsqu’elles sont tirées d’un principe aussi simple que celuy qu’elle nous offre : Ne nous reglons donc que sur elle, si cela se peut, & n’appellons l’experience à son secours, que pour affermir davantage ses preuves.", "english": "Experience offers countless chords capable of infinite variety, among which we will always lose our way unless we seek their principle in another cause. It scatters doubt everywhere; each person, imagining his ear infallible, trusts only himself. Reason instead presents one chord, whose properties it can readily determine with a little experiential help. Whenever experience does not contradict what reason authorizes, reason should prevail. Its decisions are supremely convincing, especially when drawn from so simple a principle. Let us therefore follow reason wherever possible and call on experience only to strengthen its proofs.", "sources": [ { "pdf_page": 158, "source_image": "source-pages/bnf-158.png", "printed_page": 126, "bbox_pixels": [ 410, 380, 2200, 990 ], "crop_image": "assets/II.18-004.png" } ] }, { "id": "II.18-005", "type": "paragraph", "section": "II.18", "lesson": 33, "exercise": 33, "reading_order": 961, "original": "Les premiers Musiciens, en un mot, tous ceux qui ne sont attachez qu’à la speculation, n’admettent que l’Accord parfait pour tout principe. Si Zarlin qui a joint la pratique à la theorie, parle des Accords de Sixte, & de Sixte-Quarte, nous sçavons déja qu’ils proviennent de ce même principe ; & il ne s’agit plus que de voir si les Dissonances ne peuvent pas s’y rapporter aussi ; ce qui est facile à prouver, puisqu’elles sont toutes engendrées d’un nouveau Son ajoûté à ce premier Accord, qui y subsiste toûjours dans son entiere perfection : De sorte que la raison suffit seule encore pour en autoriser, & pour en déterminer la pratique, cette addition se faisant naturellement par une Regle de trois, ou par une nouvelle multiplication des nombres, qui nous donnent ce premier Accord, comme nous l’avons observé au Livre I. Ch. VII. p. 29. Or les Regles de la Musique, ne concernant que les Consonances, & les Dissonances pratiquables, ces Consonances étant toutes contenuës dans l’Accord parfait, & ces Dissonances dans le même Accord, & dans la Septiéme qu’on y ajoûte ; il est donc certain que ces Regles doivent être fondées principalement sur le premier Accord, & sur celuy qui en est formé par la Septiéme ajoûtée. Et si après avoir établi nos consequences sur un principe si simple, & si naturel, nous suivons de point en point ce qui a été dit & pratiqué par tout ce qu’il y a de plus habile dans ce genre, en nous conformant toûjours à ce que l’experience nous fait approuver ; qui pourra douter un moment, que ce principe ne soit le veritable objet de nos Regles ?", "english": "The earliest musicians—or, in short, all those concerned only with speculation—accept the perfect chord as their sole principle. Zarlin, combining practice with theory, also discusses sixth and sixth–fourth chords, but we already know that they come from the same source. Dissonances can easily be referred there too: all arise from a new sound added to the first chord, which remains fully perfect within them. Reason alone can therefore authorize and determine their use. The addition follows naturally by a rule of three or a new multiplication of the numbers yielding the first chord, as Book I, chapter VII, page 29 explained. Musical rules concern usable consonances and dissonances. All consonances lie within the perfect chord, all dissonances within that chord plus its added seventh. Rules must therefore rest principally on those two chords. If conclusions drawn from this simple natural principle agree point by point with the finest musicians’ teaching and practice, and continually conform to what experience approves, who can doubt that it is their true foundation?", "sources": [ { "pdf_page": 158, "source_image": "source-pages/bnf-158.png", "printed_page": 126, "bbox_pixels": [ 410, 1365, 2200, 1800 ], "crop_image": "assets/II.18-005.png" } ] }, { "id": "II.18-006", "type": "paragraph", "section": "II.18", "lesson": 33, "exercise": 33, "reading_order": 962, "original": "Voyez pour cet effet ce qu’a dit Zarlin au sujet de la Basse fondamentale, de sa progression, de celle qu’elle détermine aux autres parties, de celle des Tierces, des Consonances en general, & des Dissonances ; en remarquant qu’il a oublié les Dissonances, que nous appellons majeures ; qu’il n’a pas bien défini la Cadence rompuë, qu’il ne parle point de l’irreguliere, ni du renversement des Accords, quoiqu’il en enseigne la pratique de ceux de Sixte, de Seconde, &c. qu’il cite sans distinction l’Accord de la Neuviéme, que nous disons n’être admis que par supposition, qu’il étoit mal-fondé dans ses Modes ; (comme nous le verrons au Chap. XXIII.) que par consequent sa Musique ne pouvoit profiter des perfections dont la nôtre est ornée, & qu’enfin ses Exemples ne répondent pas à son discours. Examinez si ses raisons sont raisons, ou paroles, d’où il les tire, ses explications, ses comparaisons, & en même-temps les bornes de ses connoissances ; tirez-en après cela des consequences justes ; & vous trouverez en effet que toute l’Harmonie, & toute la Melodie doivent rouler sur nos deux Accords proposez ; mais bien plus, sur le Son grave de chacun de ces Accords, qui est toûjours le même de part & d’autre, & sur sa progression, comme nous l’avons dit jusqu’à présent. Ecoutez ensuite la Musique des plus habiles Maîtres, examinez-là, & faites-en la preuve par le moyen d’une Basse-fondamentale, selon l’explication que nous en donnons à la fin de ce Chapitre, vous n’y trouverez que l’Accord parfait, & celuy de la Septiéme, vous n’y trouverez, dis-je, que la Notte tonique, ou sa dominante, supposé que vous soyez bien au fait de la Modulation, pour pouvoir distinguer tous les changemens de Tons, en remarquant d’ailleurs que la Sixiéme Notte prend souvent la place de la Dominante dans les Tons mineurs seulement.", "english": "Examine Zarlin on fundamental bass, its progression, the upper-part movement it determines, thirds, consonances in general, and dissonances. Notice his omissions: the dissonances we call major; a proper definition of interrupted cadence; irregular cadence; and chord inversion, though he teaches sixth, second, and other inverted chords. He mentions the ninth chord without distinguishing that it is admitted by supposition. His modes are ill-founded, as chapter XXIII will show; his music therefore lacks our refinements, and his examples fail to match his discourse. Examine whether his reasons are reasons or merely words, their source, his explanations and comparisons, and his knowledge’s limits. Correct conclusions reveal that all harmony and melody revolve around our two chords—and, more precisely, their lowest sound, the same in either, and its progression. Then listen to and examine the finest masters’ music. Test it with a fundamental bass as explained at this chapter’s end. You will find only perfect and seventh chords, only tonic or dominant, provided you understand modulation well enough to recognize every change of key. Notice also that only in minor keys the sixth note often replaces the dominant.", "sources": [ { "pdf_page": 158, "source_image": "source-pages/bnf-158.png", "printed_page": 126, "bbox_pixels": [ 410, 3165, 2200, 385 ], "crop_image": "assets/II.18-006.png" }, { "pdf_page": 159, "source_image": "source-pages/bnf-159.png", "printed_page": 127, "bbox_pixels": [ 410, 370, 2200, 1750 ], "crop_image": "assets/II.18-007.png" } ] }, { "id": "II.18-008", "type": "paragraph", "section": "II.18", "lesson": 33, "exercise": 33, "reading_order": 963, "original": "Le principe de l’Harmonie ne subsiste pas seulement dans l’Accord parfait, dont se forme celuy de la Septiéme ; mais encore plus précisément dans le Son grave des ces deux Accords, qui est, pour ainsi dire, le Centre Harmonique, auquel tous les autres Sons doivent se rapporter. C’est aussi l’une des raisons pour laquelle nous avons crû devoir établir nôtre Systême sur la division d’une corde, en ce que cette corde qui nous donne ce Son grave, est le principe de toutes celles qui proviennent de sa division ; de même que l’unité qu’on luy compare, est le principe de tous les nombres.", "english": "Harmony’s principle lies not only in the perfect chord from which the seventh chord is formed, but more precisely in their lowest sound: the harmonic center to which all other sounds must relate. This is one reason we founded our system on dividing a string. The string giving this low sound is the principle of every string length derived by its division, just as the unit compared with it is the principle of all numbers.", "sources": [ { "pdf_page": 159, "source_image": "source-pages/bnf-159.png", "printed_page": 127, "bbox_pixels": [ 410, 2120, 2200, 680 ], "crop_image": "assets/II.18-008.png" } ] }, { "id": "II.18-009", "type": "paragraph", "section": "II.18", "lesson": 33, "exercise": 33, "reading_order": 964, "original": "Ce n’est pas assez de s’appercevoir que tous les Accords, & leurs differentes proprietez tirent leur origine du Parfait, & de celuy de la Septiéme ; il faut remarquer de plus, que toutes les proprietez de ceux-cy dépendent absolument de ce Centre Harmonique, & de sa progression : les Intervales dont ils sont composez ne sont tels, que par rapport à ce Centre, qui s’approprie ensuite ces mêmes Intervales, pour en former sa progression, sur laquelle seule se détermine l’ordre & la progression de ces deux Accords premiers ; & ces Intervales subsistent tous dans la Tierce, la Quinte & la Septiéme : car s’il y en a d’autres, ils en sont renversez comme la Sixte, la Quarte, & la Seconde, ou doublez des uns & des autres, comme la Neuviéme, la Onziéme &c. ou alterez, comme le Triton, la fausse-Quinte, &c. nous ne faisons point mention icy de l’Octave, sçachant assez que ce n’est qu’une replique. Cette reduction d’Intervales a encore un rapport exact avec celle des Accords ; des Intervales renversez, se forment les Accords renversez ; des Intervales doublez, se forment les Accords par supposition ; & des Intervales alterez, se forment les Accords par emprunt : le tout provenant de nos trois premiers Intervales, dont se forment les Accords fondamentaux, & se rapportant uniquement à nôtre Centre Harmonique.", "english": "It is not enough to see all chords and their properties arising from perfect and seventh chords. Their own properties depend wholly upon the harmonic center and its progression. Their intervals exist as such only relative to that center, which then adopts the same intervals for its movement. That movement alone determines the order and progression of the two original chords. All these intervals lie in third, fifth, and seventh. Others are their inversions—sixth, fourth, second—their octave extensions, such as ninth and eleventh, or alterations, such as tritone and diminished fifth. The octave needs no mention, being only repetition. This reduction of intervals corresponds exactly to chord reduction: inverted intervals form inverted chords; compound intervals form chords by supposition; altered intervals form chords by borrowing. Everything comes from the three first intervals forming fundamental chords and relates solely to the harmonic center.", "sources": [ { "pdf_page": 159, "source_image": "source-pages/bnf-159.png", "printed_page": 127, "bbox_pixels": [ 410, 2800, 2200, 750 ], "crop_image": "assets/II.18-009.png" }, { "pdf_page": 160, "source_image": "source-pages/bnf-160.png", "printed_page": 128, "bbox_pixels": [ 410, 355, 2200, 825 ], "crop_image": "assets/II.18-010.png" } ] }, { "id": "II.18-011", "type": "paragraph", "section": "II.18", "lesson": 33, "exercise": 33, "reading_order": 965, "original": "Cela ne suffit pas, l’oreille approuve non seulement ces Accords fondamentaux ; mais dès que leur progression est une fois déterminée par celle de leur Son grave & fondamental, tout ce qui s’y conforme luy est toûjours agréable, & non autrement ; que ce Son fondamental y soit sous-entendu, renversé, supposé, ou emprunté, la raison & l’oreille s’accordant tellement sur ce point, que l’on ne peut pas même y trouver d’exception.", "english": "Moreover, the ear approves not just fundamental chords. Once their movement is fixed by their lowest fundamental sound, everything conforming to that movement pleases it, and nothing else does—whether the fundamental is implied, inverted, supplied by supposition, or borrowed. Reason and hearing agree so completely here that there is not even an exception.", "sources": [ { "pdf_page": 160, "source_image": "source-pages/bnf-160.png", "printed_page": 128, "bbox_pixels": [ 410, 1180, 2200, 530 ], "crop_image": "assets/II.18-011.png" } ] }, { "id": "II.18-012", "type": "paragraph", "section": "II.18", "lesson": 33, "exercise": 33, "reading_order": 966, "original": "Que ce principe est merveilleux dans sa simplicité ! Quoi tant d’Accords, tant de beaux chants, cette diversité infinie, ces expressions si belles & si justes, des sentimens si bien rendus, tout cela prouvient de deux ou trois Intervales disposez par Tierces, dont le principe subsiste dans un Son, ainsi.", "english": "How marvelous this principle is in its simplicity! So many chords, beautiful melodies, infinite varieties, fine and truthful expressions, feelings so well conveyed—all arise from two or three intervals arranged in thirds, whose principle lies in one sound, thus:", "sources": [ { "pdf_page": 160, "source_image": "source-pages/bnf-160.png", "printed_page": 128, "bbox_pixels": [ 410, 1710, 2200, 390 ], "crop_image": "assets/II.18-012.png" } ] }, { "id": "II.18-013", "type": "image", "section": "II.18", "lesson": 33, "exercise": 33, "reading_order": 967, "original": "Son fondamental. Tierce. Quinte. Septiéme.\n 1. 3. 5. 7.", "english": "Fundamental sound. Third. Fifth. Seventh.\n 1. 3. 5. 7.", "sources": [ { "pdf_page": 160, "source_image": "source-pages/bnf-160.png", "printed_page": 128, "bbox_pixels": [ 1590, 2010, 1020, 155 ], "crop_image": "assets/II.18-013.png" } ], "original_title": "Son fondamental, Tierce, Quinte et Septiéme.", "english_title": "Fundamental sound, third, fifth, and seventh.", "format": "preformatted", "asset_refs": [ "II.18-013" ] }, { "id": "II.18-014", "type": "paragraph", "section": "II.18", "lesson": 33, "exercise": 33, "reading_order": 968, "original": "L’on doit en être déja persuadé par nos remarques précédentes, & les Regles que nous allons établir sur ce principe, acheveront de nous en convaincre.", "english": "Our preceding observations should already have persuaded us. The rules now founded on this principle will complete the demonstration.", "sources": [ { "pdf_page": 160, "source_image": "source-pages/bnf-160.png", "printed_page": 128, "bbox_pixels": [ 410, 2090, 2200, 230 ], "crop_image": "assets/II.18-014.png" } ] }, { "id": "II.18-015", "type": "paragraph", "section": "II.18", "lesson": 33, "exercise": 33, "reading_order": 969, "original": "1°. Pour commencer par les Consonances, qui sont toutes contenuës dans l’Accord parfait, la Basse fondamentale ne pouvant proceder en ce cas, que par des Intervales consonans (selon nos Remarques Chap. I. & II. & au Troisiéme Livre Chap. IV.) elle détermine une certaine progression diatonique aux parties superieures, d’où l’on peut tirer presque toutes les Regles qui concernent ces Consonances ; & quand nous ne disons pas absolument toutes les Regles, ce n’est que par rapport à certaines libertez que la Dissonance y introduit ; mais nous y trouverons toûjours les principales, & sur tout, celles que les Anciens nous ont données pour uniques.", "english": "1. Begin with consonances, all contained in the perfect chord. Here the fundamental bass can move only by consonant intervals, as chapters I and II and Book III, chapter IV explain. It determines a diatonic upper-part movement from which almost every consonance rule can be drawn. We say almost only because dissonance introduces certain freedoms. The chief rules are always present, especially those the ancients presented as the only ones.", "sources": [ { "pdf_page": 160, "source_image": "source-pages/bnf-160.png", "printed_page": 128, "bbox_pixels": [ 410, 2310, 2200, 825 ], "crop_image": "assets/II.18-015.png" } ] }, { "id": "II.18-016", "type": "paragraph", "section": "II.18", "lesson": 33, "exercise": 33, "reading_order": 970, "original": "A l’égard de l’Harmonie, par exemple, on ne trouve jamais deux Octaves, ni deux Quintes de suite dans ces progressions naturelles ; & si, sans déranger l’ordre prescrit à chaque Partie, l’on y fait passer chaque Consonance à celle qui peut la suivre, l’on y trouvera non seulement que les parfaites passent ordinairement aux imparfaites, & celles-cy aux premieres ; mais on y trouvera encore les Consonances parfaites qui peuvent se suivre : D’où l’on conclu, que la suite des Tierces n’y étant point limitée, leur progression, aussi-bien que celles des Sixtes qui en sont renversées, doit être libre. La Quarte renversée de la Quinte, devroit à ce qu’il semble, se soumettre à la regle qui regarde cette Quinte ; cependant l’experience qui nous en fait tolerer plusieurs de suite dans une progression diatonique, doit l’emporter sur cette observation.", "english": "In harmony, for example, these natural progressions never produce consecutive octaves or fifths. Let each consonance move to its permitted successor without disturbing the parts’ order: perfect consonances ordinarily move to imperfect, and imperfect to perfect; we also find which perfect consonances may succeed one another. Since successive thirds are unrestricted, their movement and that of their inverted sixths must be free. The fourth, as inversion of the fifth, might seem bound by the fifth’s rule. Experience nevertheless permits successive fourths in diatonic movement and must outweigh that inference.", "sources": [ { "pdf_page": 160, "source_image": "source-pages/bnf-160.png", "printed_page": 128, "bbox_pixels": [ 410, 3120, 2200, 385 ], "crop_image": "assets/II.18-016.png" }, { "pdf_page": 161, "source_image": "source-pages/bnf-161.png", "printed_page": 129, "bbox_pixels": [ 410, 355, 2200, 615 ], "crop_image": "assets/II.18-017.png" } ] }, { "id": "II.18-018", "type": "paragraph", "section": "II.18", "lesson": 33, "exercise": 33, "reading_order": 971, "original": "A l’égard de la Melodie, l’on sçait que le Plein-chant ne peut proceder que par des Intervales diatoniques, ou consonans, encore celuy de la Sixte majeure y est-il défendu ; ainsi nôtre principe subsiste toûjours icy ; Mais en même-temps ne nous en laissons pas imposer par cette Regle dans une Musique complette, où la Dissonance fait un effet merveilleux, la seule Modulation doit en être l’arbitre : Car de la façon dont nous la pratiquons aujourd’huy ; elle met le Musicien au-dessus de la difficulté qu’il trouvoit autrefois à entonner certaines Dissonances, qui font toute la beauté de l’expression.", "english": "In melody, plainchant moves only by diatonic or consonant intervals, with even the major sixth forbidden. Our principle therefore holds. But do not impose that rule upon complete music, where dissonance has a wonderful effect. Modulation alone must judge. Our modern practice enables musicians to overcome former difficulties in singing certain dissonances that give expression its beauty.", "sources": [ { "pdf_page": 161, "source_image": "source-pages/bnf-161.png", "printed_page": 129, "bbox_pixels": [ 410, 970, 2200, 745 ], "crop_image": "assets/II.18-018.png" } ] }, { "id": "II.18-019", "type": "paragraph", "section": "II.18", "lesson": 33, "exercise": 33, "reading_order": 972, "original": "2°. Comme de toutes les progressions de la Basse, celle de la Quinte en descendant est la premiere, & la plus parfaite, puisque nous ne sommes pleinement satisfaits, que lorsque nous entendons une Cadence finale formée de cette progression ; où il semble que la Quinte retourne à sa source, en passant à l’un des Sons de l’Octave dont elle est engendrée ; (car monter de Quarte, ou descendre de Quinte, c’est icy la même chose) ; il n’y a pas de doute qu’on ne se soit principalement attaché aux proprietez de cette cadence, pour en tirer quelques avantages ; en quoy nous sommes d’autant mieux fondé, que cette premiere progression du principe suffit seule pour mettre le comble à nos Regles, comme la suite va nous le prouver.", "english": "2. The descending fifth is the first and most perfect bass progression: only a final cadence using it fully satisfies us. The fifth seems to return to its source by reaching a sound of the octave that generated it; ascending a fourth is equivalent here. Musicians have therefore naturally studied this cadence’s properties for advantage. We are especially justified in doing so, since this first movement of the principle alone suffices to complete our rules, as the sequel will prove.", "sources": [ { "pdf_page": 161, "source_image": "source-pages/bnf-161.png", "printed_page": 129, "bbox_pixels": [ 410, 1715, 2200, 810 ], "crop_image": "assets/II.18-019.png" } ] }, { "id": "II.18-020", "type": "paragraph", "section": "II.18", "lesson": 33, "exercise": 33, "reading_order": 973, "original": "La Regle de faire monter la Tierce majeure sur l’Octave, & de n’y jamais faire monter la mineure, ne peut provenir que du principe proposé ; puisque ce n’est que dans une pareille progression où la Tierce monte diatoniquement à l’Octave ; mais prenez garde de ne pas vous tromper icy par une fausse application à la Regle ; il n’y a qu’une Tierce à l’égard du principe, lequel ne peut subsister sans l’un de nos deux Accords fondamentaux ; de sorte que bien loin de vous imaginer que les Tierces dont nous parlons, puissent se rapporter indifferemment à tous les Sons que le renversement nous permet de faire servir de Basse, il faut au contraire se restreindre au principe, en sous-entendant que ces Tierces ne sont telles, par rapport à ce principe, que dans l’Accord parfait, ou dans celuy de la Septiéme : Ce qui doit nous en convaincre encore davantage, c’est qu’on n’a pû se dispenser d’appliquer cette même regle aux Sixtes, lesquelles ne pouvant avoir lieu que dans un Accord renversé, n’y suivent la proprieté des Tierces, qu’autant qu’elles les representent, comme on peut le remarquer, en réduisant cet Accord renversé en l’un de nos deux premiers ; si bien que par nôtre juste interpretation, il est inutile de faire mention icy de ces Sixtes ; car ce que nous disons des Tierces du Son fondamental, doit s’entendre également de tout ce qui les represente ; ce qui va se prouver encore dans les Dissonances mêmes.", "english": "The rule making a major third rise to the octave, and forbidding a minor third to do so, can arise only from our principle: only in this progression does the third move diatonically to the octave. Do not misapply it. There is only one third relative to the principle, which must reside in one of our two fundamental chords. These thirds are not to be measured indiscriminately from every sound inversion permits in the bass. They are thirds relative to the foundation only in perfect or seventh chords. The rule’s necessary extension to sixths confirms this. Sixths occur only in inverted chords and follow thirds’ properties only when representing them, as reduction to either original chord shows. Properly interpreted, therefore, the rule needs no separate mention of sixths: what we say of a fundamental third includes everything representing it. Dissonance itself will supply further proof.", "sources": [ { "pdf_page": 161, "source_image": "source-pages/bnf-161.png", "printed_page": 129, "bbox_pixels": [ 410, 2525, 2200, 925 ], "crop_image": "assets/II.18-020.png" }, { "pdf_page": 162, "source_image": "source-pages/bnf-162.png", "printed_page": 130, "bbox_pixels": [ 410, 370, 2200, 690 ], "crop_image": "assets/II.18-021.png" } ] }, { "id": "II.18-022", "type": "paragraph", "section": "II.18", "lesson": 33, "exercise": 33, "reading_order": 974, "original": "3°. Si la premiere Dissonance se forme d’une Tierce ajoûtée à l’Accord parfait, laquelle Tierce doit être naturellement mineure, en la comparant à la Quinte du Son grave de cet Accord ; & si cette Tierce ajoûtée forme une nouvelle Dissonance avec la Tierce majeure du Son grave de ce même Accord, nous voyons d’abord que la Dissonance tire son origine de ces Tierces, étant obligez par consequent de la distinguer en deux genres, en appellant Mineure, celle qui provient de la Tierce mineure ajoûtée ; & Majeure, celle qui provient de la Tierce majeure naturelle à l’Accord parfait ; distinction qui n’avoit pas encore été faite, & qui est cependant très-juste, puisque par ce moyen la progression de toutes les Dissonances est tout d’un coup déterminée ; les majeures doivent monter, & les mineures doivent descendre ; ce qui ne souffre point d’exceptions, & ce qui prouve en même-temps que l’Harmonie fondamentale, ne subsiste que dans les Accords parfaits, & de Septiéme ; supposé que toute Dissonance majeure puisse se reduire en la Tierce majeure du Son grave d’un Accord de Septiéme, & que toute Dissonance mineure, puisse se réduire en une Septiéme ; supposition qui ne souffre aucune difficulté.", "english": "3. The first dissonance comes from adding a third to the perfect chord. This added third is naturally minor relative to the fifth of the chord’s lowest sound; it also forms a new dissonance with that lowest sound’s major third. Dissonance therefore originates in these thirds and must be divided into two kinds. Call minor the dissonance from the added minor third, and major that from the perfect chord’s natural major third. This previously unmade distinction immediately determines every dissonance’s movement: major ones rise, minor ones descend, without exception. It also proves fundamental harmony consists only of perfect and seventh chords, provided every major dissonance reduces to a seventh chord’s major third, and every minor dissonance to a seventh—an assumption presenting no difficulty.", "sources": [ { "pdf_page": 162, "source_image": "source-pages/bnf-162.png", "printed_page": 130, "bbox_pixels": [ 410, 1060, 2200, 1410 ], "crop_image": "assets/II.18-022.png" } ] }, { "id": "II.18-023", "type": "paragraph", "section": "II.18", "lesson": 33, "exercise": 33, "reading_order": 975, "original": "Quoique nous n’ayons pas encore examiné l’origine de la progression de la Tierce mineure, sur laquelle nous fondons celle de toutes les Dissonances mineures, l’on peut toûjours être assuré, par ce qui a paru jusqu’à présent, que nous n’avançons rien de faux, en attendant que l’occasion se presente d’en dire davantage sur ce sujet.", "english": "We have not yet examined the origin of the minor third’s movement, on which every minor dissonance’s movement rests. What has already been shown nevertheless assures us of our claim’s truth until an opportunity arises to explain further.", "sources": [ { "pdf_page": 162, "source_image": "source-pages/bnf-162.png", "printed_page": 130, "bbox_pixels": [ 410, 2470, 2200, 455 ], "crop_image": "assets/II.18-023.png" } ] }, { "id": "II.18-024", "type": "paragraph", "section": "II.18", "lesson": 33, "exercise": 33, "reading_order": 976, "original": "L’on ne manqueroit peut-être pas de nous opposer le Chromatique, & la Licence que nous introduisons dans la Cadence irreguliere, pour des exceptions valables de la Regle précédente, si nous ne faisions pas remarquer que la Sixte ajoûtée à l’Accord parfait dans la Cadence irreguliere, y est surnumeraire ; & que l’Harmonie ne perd rien de sa perfection sans cette Sixte, dont la pratique ne dépend du goût ; au lieu que l’Harmonie deviendroit insipide, sans les autres Dissonances. Et à l’égard du Chromatique, où la Dissonance majeure peut descendre d’un semi-Ton, au lieu de monter, il ne détruit en aucune façon nôtre Regle : Car, 1°. le Son sur lequel doit monter en ce cas, la Dissonance majeure y est sous-entendu, s’il n’est pas entendu dans une autre partie ; outre que ce Son n’est autre que le fondamental, qui doit par consequent regner naturellement dans la Basse. 2°. La Dissonance majeure n’est point dissonante par elle-même, au lieu que la mineure l’est par elle-même ; puisqu’en retranchant celle-cy, il n’y en aura plus de majeure, comme l’experience peut le prouver, &c. 3°. La Tierce majeure d’où provient la Dissonance majeure, est naturelle à l’Accord parfait ; & l’on ne défend point absolument de la faire rester sur le même degré, en disant qu’elle doit monter. 4°. Comme toute Dissonance majeure ne peut être formée que de la Tierce majeure d’une dominante tonique, cette Dissonance n’est plus qu’accidentelle à l’égard du Ton qui la suit immediatement, &c. 5°. Cette Dissonance majeure est censée rester sur le même degré, pour préparer la mineure qui la suit ; car le genre de l’Intervale n’y change point, comme on peut le remarquer, en laissant sur le même degré la Notte de la Basse, sur laquelle cette Dissonance aura été entenduë : de sorte que si elle a fait Tierce, ou Septiéme, elle fera encore Tierce, ou Septiéme, &c. la difference n’y consistant que du Majeur au Mineur, ou du Superflu au Juste ; difference qui se trouve également dans les Nottes qui marquent ces Intervales, puisqu’elle n’y est causée que par un ♭ mol, ou par un ♮ quarre ajoûtée à la même Notte.", "english": "Chromatic writing and the irregular cadence’s license might be offered as exceptions. But the irregular cadence’s added sixth is supernumerary; harmony loses no perfection without it, and its use depends on taste. Without the other dissonances, harmony would become insipid. In chromatic writing a major dissonance may fall a semitone rather than rise, yet the rule remains intact. 1. Its expected destination is implied if not sounded in another part; moreover, that destination is the fundamental, naturally belonging in the bass. 2. Major dissonance is not dissonant in itself, unlike minor dissonance: remove the minor one and the major dissonance disappears, as experience proves. 3. The major third producing it belongs naturally to the perfect chord; saying it should rise does not absolutely forbid its staying still. 4. A major dissonance can only be the major third of a tonic dominant; relative to the immediately following key it is therefore merely incidental. 5. It is regarded as staying on the same degree to prepare the following minor dissonance. The interval’s kind does not change: leave the bass at its original degree and a third remains a third, a seventh a seventh. Only major becomes minor, or augmented becomes just. The written note likewise stays the same, altered only by an added flat or natural.", "sources": [ { "pdf_page": 162, "source_image": "source-pages/bnf-162.png", "printed_page": 130, "bbox_pixels": [ 410, 2925, 2200, 610 ], "crop_image": "assets/II.18-024.png" }, { "pdf_page": 163, "source_image": "source-pages/bnf-163.png", "printed_page": 131, "bbox_pixels": [ 410, 340, 2200, 1800 ], "crop_image": "assets/II.18-025.png" } ] }, { "id": "II.18-026", "type": "paragraph", "section": "II.18", "lesson": 33, "exercise": 33, "reading_order": 977, "original": "Nous ne doutons pas que les habiles gens ne sentent la force de ces preuves, quoique nous ne les ayons pas mises dans tout leur jour, pour éviter des répetitions ennuyeuses : Mais à cela près, le Chromatique est un nouveau genre d’Harmonie, qui doit avoir des proprietez particulieres ; bien que ces proprietez, qui semble s’éloigner du principe, en dépendent néanmoins, & que cela ne demande qu’un petit éclaircissement.", "english": "Accomplished musicians will feel these proofs’ force, though we have not fully expanded them, to avoid tedious repetition. Moreover, chromatic writing is a new kind of harmony with particular properties. Those properties may seem to depart from the principle, but still depend on it; only brief clarification is needed.", "sources": [ { "pdf_page": 163, "source_image": "source-pages/bnf-163.png", "printed_page": 131, "bbox_pixels": [ 410, 2140, 2200, 510 ], "crop_image": "assets/II.18-026.png" } ] }, { "id": "II.18-027", "type": "paragraph", "section": "II.18", "lesson": 33, "exercise": 33, "reading_order": 978, "original": "4°. Si la progression des Parties superieures doit être naturellement diatonique, & si la Tierce mineure ne peut monter sur l’Octave ; il est donc de toute necessité, pour se soumettre à ces Regles, que cette Tierce reste sur le même degré dans un acte de la Cadence parfaite, ou finale, pour qu’elle puisse descendre ensuite diatoniquement dans un pareil acte de Cadence, comme cela est évident aux connoisseurs. Or cette observation pourroit bien avoir donné lieu à l’introduction de la Dissonance dans l’Harmonie, & à l’établissement des Regles qui la concernent ; car de cette maniere, la Tierce mineure qui reste icy sur le même degré, forme une Septiéme qui descend ensuite sur une autre Tierce ; d’où vient apparamment la Regle de préparer & de sauver la Dissonance par une Consonance. Ce n’est donc pas sans raison, que nous tirons cette Regle d’un acte de la Cadence parfaite, préferablement à tout autre, dans le dessein même de nous conformer aux idées generales : car nous voyons bien que l’on ne s’est attaché qu’aux trois premieres progressions de la Basse fondamentale, qui sont en descendant de Tierce, de Quinte, & de Septiéme ; sur ce qu’on nous a donné pour Regle generale, que la Dissonance devoit être toûjours préparée & sauvée, la Septiéme ne pouvant l’être que dans l’une de ces trois progressions fondamentales ; & de ces progressions, celle de la Quinte étant la premiere. De plus, il semble que la Dissonance doive son origine à la Cadence parfaite, selon nos Remarques du Chap. II : Si bien que par-là, toutes nos Regles puisent leur source dans un même principe ; ajoûtez à cela, que la Septiéme, d’où proviennent toutes les Dissonances mineures, ne peut être sauvée naturellement que de la Tierce, selon l’Harmonie fondamentale, comme il a été dit en son lieu, Chap. XVII. Art. IV.", "english": "4. If upper parts naturally move diatonically and a minor third cannot rise to the octave, that third must stay still during a perfect or final cadence so that it may subsequently descend a step during a similar cadence, as knowledgeable musicians plainly see. This may have prompted dissonance’s introduction and its rules: the stationary minor third becomes a seventh, then descends to another third. The rule of consonant preparation and resolution apparently arises here. We therefore justifiably derive it from perfect cadence rather than another progression, even to conform with general opinion. The general demand for preparation and resolution shows attention was confined to the first three descending fundamental-bass movements—third, fifth, seventh—since only these permit both, with the fifth primary among them. Our chapter II observations also suggest that dissonance originates in perfect cadence. Thus all rules share one source. Add that the seventh, source of all minor dissonances, naturally resolves only to a third in fundamental harmony, as chapter XVII, article IV explained.", "sources": [ { "pdf_page": 163, "source_image": "source-pages/bnf-163.png", "printed_page": 131, "bbox_pixels": [ 410, 2650, 2200, 840 ], "crop_image": "assets/II.18-027.png" }, { "pdf_page": 164, "source_image": "source-pages/bnf-164.png", "printed_page": 132, "bbox_pixels": [ 410, 325, 2200, 1265 ], "crop_image": "assets/II.18-028.png" } ] }, { "id": "II.18-029", "type": "paragraph", "section": "II.18", "lesson": 33, "exercise": 33, "reading_order": 979, "original": "Toutes ces considerations doivent nous porter à conclure, que l’Auteur de ces Regles pouvoit être très-profond dans la connoissance de toutes les proprietez de l’Harmonie, bien qu’il ne se fût guidé que sur le principe que nous proposons, comme il y a assez d’apparence ; puisque Zarlin s’efforce par tout à nous prouver que les premiers Musiciens ne connoissoient que l’Accord parfait, quoiqu’il ne connût pas luy-même tous ceux que nous pratiquons ; & que nous voyons, qu’à commencer par luy, chaque Auteur ne s’est attaché précisément qu’à l’Intervale, dont il a voulu prescrire les proprietez, en ne nous donnant que des idées vagues du principe ; preuve que la connoissance des Accords renversez, n’est venuë que par succession de temps ; & que ne devant cette connoissance qu’à la seule experience, le principe y a été perdu de vuë, en regardant ces derniers Accords comme originaux ; ce qui a donné lieu aussi à une infinité de détours, d’exceptions, & d’équivoques, où l’on a confondu les termes, les Intervales, les Accords, leurs progressions, & leurs proprietez, sur tout dans les Modes ; & où il semble qu’on ait pris plaisir à rendre obscure la Science du monde la plus simple, & la plus naturelle, comme toute personne de bon sens peut s’en appercevoir, tant par les Regles anciennes, & modernes, que par la juste reduction que nous en faisons au principe. Le Geometre a eu beau proposer ce principe, son peu d’experience, qui ne luy a pas permis de s’expliquer comme nous, l’a fait soupçonner d’ignorance par l’ignorant, qui s’est perdu dans la multiplicité des Accords engendrez de ce principe. Mais qu’il est facile à present de revenir de cette erreur, dès que l’on conviendra une fois de la réduction de ces Accords par Tierces, & des bornes de ces Accords dans l’étenduë de l’Octave *, à quoi l’on sera forcé par sa propre experience ; on ne trouvera plus pour tout Accord original, que le Parfait, & celuy de la Septiéme : Le premier se trouvera dans celuy de la Sixte, & l’autre dans celuy de la Seconde ; ainsi de tous les Accords que nous disons être renversez, où pour lors le Son fondamental est sous-entendu ; & ce dernier se trouvera encore dans ceux de Neuviéme, & de Seconde superfluë. Ainsi de tous les Accords que nous disons provenir de la supposition, & de l’emprunt, où pour lors le Son fondamental est supposé, ou emprunté, en quoi consistent tous les differens genres d’Accords, qui sont engendrez, comme cela est évident par les fondamentaux ; ceux-cy l’étant à leur tour par le Son grave & fondamental, lequel pour cet effet, emprunte le secours de son Octave ; qu’il a engendrée la premiere ; d’où nous tirons toutes les Consonances, & toutes les Dissonances pratiquables ; ne pouvant trop répéter une verité que les Theoriciens n’ont avoüée qu’à demi, & que la plûpart des Praticiens ont toûjours contestée.", "english": "These considerations suggest that the original author of the rules could have understood harmony’s properties profoundly while following only our principle. This is plausible: Zarlin repeatedly argues that the earliest musicians knew only the perfect chord, though he himself did not know every chord now used. Beginning with him, each writer focused narrowly on the interval being discussed and gave vague accounts of the principle. Knowledge of inverted chords evidently accumulated over time through experience alone. Treating them as originals lost sight of the foundation, generating endless detours, exceptions, and ambiguities, confusing terms, intervals, chords, movements, and properties, especially in modes. They seem to have deliberately obscured the world’s simplest and most natural science. Anyone sensible can recognize this by comparing old and new rules with our exact reduction to the principle. The geometer proposed it in vain: lacking the experience to explain it as we do, he was accused of ignorance by the ignorant, themselves lost among its many resulting chords. The error is now easily corrected. Accept the reduction of chords into thirds and their limits within the octave,* as experience must compel you, and only perfect and seventh remain original. The perfect is found within the sixth chord, the seventh within the second chord, and similarly in all inverted chords, where the fundamental is implied. The seventh also underlies ninth and augmented-second chords, and all supposition and borrowing, where the fundamental is supposed or borrowed. These are all chord kinds, generated by fundamentals, which in turn arise from the lowest fundamental sound assisted by its first offspring, the octave. From this come all usable consonances and dissonances—a truth worth repeating, half-acknowledged by theorists and continually disputed by most practitioners.", "sources": [ { "pdf_page": 164, "source_image": "source-pages/bnf-164.png", "printed_page": 132, "bbox_pixels": [ 410, 1590, 2200, 1885 ], "crop_image": "assets/II.18-029.png" }, { "pdf_page": 165, "source_image": "source-pages/bnf-165.png", "printed_page": 133, "bbox_pixels": [ 410, 395, 2200, 1435 ], "crop_image": "assets/II.18-030.png" } ] }, { "id": "II.18-031", "type": "paragraph", "section": "II.18", "lesson": 33, "exercise": 33, "reading_order": 980, "original": "5°. Comme il paroît assez par les Regles principales & fondamentales, que nous venons d’exposer, qu’elles n’avoient été puisées que dans les premieres progressions de la Basse en descendant, puisque l’on dit que toute Dissonance doit être préparée ; il est bon de faire sentir que cette Regle merite exception, en ce que le contraire se trouve dans les progressions opposées : Mais pour abreger ce sujet, nous renvoyrons au Chap. XIII. où il en est parlé suffisamment.", "english": "5. The chief rules just explained plainly come from descending fundamental-bass progressions, as shown by the requirement that every dissonance be prepared. This rule needs exceptions because opposite progressions produce the contrary result. For brevity, consult chapter XIII, where this is sufficiently treated.", "sources": [ { "pdf_page": 165, "source_image": "source-pages/bnf-165.png", "printed_page": 133, "bbox_pixels": [ 410, 1830, 2200, 600 ], "crop_image": "assets/II.18-031.png" } ] }, { "id": "II.18-032", "type": "paragraph", "section": "II.18", "lesson": 33, "exercise": 33, "reading_order": 981, "original": "6°. Si la Dissonance majeure s’engendre de la Tierce majeure naturelle à l’Accord parfait, cela suffit pour nous prouver qu’elle n’exige aucune autre précaution, que celle de monter d’un semi-Ton ; comme c’est le propre de cette Tierce majeure ; de sorte que si l’on n’est point obligé de la préparer, nous pouvons dire que c’est encore en sa faveur, que la Dissonance mineure profite du même avantage dans les progressions fixées à la Basse fondamentale.", "english": "6. Since major dissonance comes from the perfect chord’s natural major third, its only required precaution is to rise a semitone, as that third does. It need not be prepared; we may say that minor dissonance shares this privilege in its favor within the prescribed fundamental-bass progressions.", "sources": [ { "pdf_page": 165, "source_image": "source-pages/bnf-165.png", "printed_page": 133, "bbox_pixels": [ 410, 2430, 2200, 525 ], "crop_image": "assets/II.18-032.png" } ] }, { "id": "II.18-033", "type": "paragraph", "section": "II.18", "lesson": 33, "exercise": 33, "reading_order": 982, "original": "7°. Les autres Regles qui concernent les Dissonances pour le goût du chant, la syncope, &c. peuvent être passées icy sous silence, parce qu’elles ne sont fondées que sur le bon goût, bien qu’elles soient toûjours tirées de nôtre même principe.", "english": "7. Rules for dissonances used for melodic expression, syncopation, and so forth may be omitted here. They rest only on taste, though always drawn from the same principle.", "sources": [ { "pdf_page": 165, "source_image": "source-pages/bnf-165.png", "printed_page": 133, "bbox_pixels": [ 410, 2950, 2200, 305 ], "crop_image": "assets/II.18-033.png" } ] }, { "id": "II.18-034", "type": "paragraph", "section": "II.18", "lesson": 33, "exercise": 33, "reading_order": 983, "original": "8°. Ce seroit icy le lieu de parler de la Modulation, qui est en quelque façon, le nœud de nos Regles précedentes ; se trouvant une liaison & un enchaînement dans le tout, qui ne nous permettent pas de douter de la verité de nôtre principe ; mais comme nous sommes obligez de nous étendre un peu sur ce sujet, pour faire sentir l’importance de cette liaison, dont Zarlin & plusieurs autres s’étoient écartez, nous en avons remis l’examen aux Chapitres XXII. XXIII. & XXIV.", "english": "8. Modulation should be discussed here, since it ties the preceding rules together. Their mutual connection leaves no doubt about the principle. But showing the importance of this connection, neglected by Zarlin and others, requires extended discussion, reserved for chapters XXII, XXIII, and XXIV.", "sources": [ { "pdf_page": 165, "source_image": "source-pages/bnf-165.png", "printed_page": 133, "bbox_pixels": [ 410, 3245, 2200, 160 ], "crop_image": "assets/II.18-034.png" }, { "pdf_page": 166, "source_image": "source-pages/bnf-166.png", "printed_page": 134, "bbox_pixels": [ 410, 355, 2200, 460 ], "crop_image": "assets/II.18-036.png" } ] }, { "id": "II.18-035", "type": "footnote", "section": "II.18", "lesson": 33, "exercise": 33, "reading_order": 984, "original": "* Zarlin nous prescrit cette réduction, & ces bornes, dans la 3me. Partie de ses Inst. Harm. Cap. 3. f. 174. Cap. 31. f. 210. Cap. 66. f. 323.", "english": "* Zarlin prescribes this reduction and these limits in Part III of his Istitutioni harmoniche: chapter 3, folio 174; chapter 31, folio 210; chapter 66, folio 323.", "sources": [ { "pdf_page": 165, "source_image": "source-pages/bnf-165.png", "printed_page": 133, "bbox_pixels": [ 410, 3410, 2200, 145 ], "crop_image": "assets/II.18-035.png" } ] }, { "id": "II.18-037", "type": "paragraph", "section": "II.18", "lesson": 33, "exercise": 33, "reading_order": 985, "original": "9°. Comme on pourroit nous faire de nouvelles objections, à l’égard des Sons surnumeraires dans les Accords par supposition, & dans la Cadence irreguliere ; & à l’égard de celuy qui emprunte son fondement du Son fondamental même, puisque ces Sons n’étant point compris dans nos Regles, semblent en demander de particulieres pour eux ; il est bon d’avertir que cela ne merite pas la peine de s’y arrêter, n’étant necessaire d’en faire mention que comme d’une addition volontaire, qui ne touche point au principe, & dont la pratique se comprend aisément, selon l’explication que nous en donnons dans nos autres Livres ; & pour en juger avec plus de certitude, il n’y a qu’à ajoûter une Basse fondamentale au-dessous d’une Musique quelconque, conformément à l’explication suivante.", "english": "9. Further objections might concern extra sounds in supposition and irregular cadence, or the sound borrowing its foundation from the fundamental itself. Since these are not included in our rules, they seem to require special rules. This need not detain us: they are voluntary additions leaving the principle intact, easily understood through explanations in our other books. To judge more certainly, add a fundamental bass beneath any music as follows.", "sources": [ { "pdf_page": 166, "source_image": "source-pages/bnf-166.png", "printed_page": 134, "bbox_pixels": [ 410, 810, 2200, 965 ], "crop_image": "assets/II.18-037.png" } ] }, { "id": "II.18-038", "type": "heading", "section": "II.18", "lesson": 33, "exercise": 33, "reading_order": 986, "original": "ARTICLE SECOND.\nDe la maniere de composer une Basse Fondamentale au-dessous de toute sorte de Musique.", "english": "SECOND ARTICLE.\nHow to compose a fundamental bass beneath every kind of music.", "sources": [ { "pdf_page": 166, "source_image": "source-pages/bnf-166.png", "printed_page": 134, "bbox_pixels": [ 410, 1775, 2200, 335 ], "crop_image": "assets/II.18-038.png" } ] }, { "id": "II.18-039", "type": "paragraph", "section": "II.18", "lesson": 33, "exercise": 33, "reading_order": 987, "original": "1°. L’Harmonie ne se fait sentir ordinairement que dans le premier instant de chaque temps de la mesure, bien que l’on puisse partager quelquefois un temps en deux égaux, où pour lors elle se fait sentir dans le premier instant de chaque moitié de ce temps. Or c’est dans le moment de chacun de ces premiers instans, que toutes les parties doivent s’accorder ensemble ; & par consequent, la Basse fondamentale avec elles, en remarquant qu’il peut se trouver plusieurs Nottes dans l’espace de chaque temps, & même dans le premier instant (à quoi il faut bien prendre garde) qui ne seront point du corps de l’Harmonie ; n’y étant ajoûtées, en ce cas, que pour le goût du chant.", "english": "1. Harmony is ordinarily perceived at the first instant of each beat. A beat may sometimes divide into two equal halves, in which case harmony is perceived at each half’s beginning. All parts, including the fundamental bass, must agree at those instants. Notice carefully that several notes within a beat—even at its first instant—may not belong to the harmonic body, being added only for melodic expression.", "sources": [ { "pdf_page": 166, "source_image": "source-pages/bnf-166.png", "printed_page": 134, "bbox_pixels": [ 410, 2155, 2200, 845 ], "crop_image": "assets/II.18-039.png" } ] }, { "id": "II.18-040", "type": "paragraph", "section": "II.18", "lesson": 33, "exercise": 33, "reading_order": 988, "original": "2°. La Basse fondamentale ne peut subsister, si elle ne regne toûjours au-dessous des autres parties ; & si le tout ne forme avec elle l’Accord parfait, ou celuy de la Septiéme, en retranchant dans l’occasion, les Sons surnumeraires, & par emprunt.", "english": "2. The fundamental bass can exist only if it remains below all other parts and forms with them a perfect or seventh chord, removing supernumerary and borrowed sounds where necessary.", "sources": [ { "pdf_page": 166, "source_image": "source-pages/bnf-166.png", "printed_page": 134, "bbox_pixels": [ 410, 2985, 2200, 305 ], "crop_image": "assets/II.18-040.png" } ] }, { "id": "II.18-041", "type": "paragraph", "section": "II.18", "lesson": 33, "exercise": 33, "reading_order": 989, "original": "3°. Dès qu’il paroît un Accord de Neuviéme, ou de Quinte superfluë, cette Basse fondamentale doit se trouver une Tierce au-dessus de la Basse déja composée ; & s’il paroît un Accord de Onziéme, dite Quarte ou de Septiéme superfluë, elle doit se trouver une Quinte au-dessus, toutes les autres parties formant pour lors l’Accord de de la Septiéme, avec cette Basse fondamentale : Souvenez-vous que l’Octave du Son surnumeraire de la Onziéme, doit être également regardée comme surnumeraire, bien que le tout fasse un bon effet dans la disposition prescrite.", "english": "3. When a ninth or augmented-fifth chord appears, the fundamental bass must lie a third above the composed bass. With an eleventh, called fourth, or augmented-seventh chord, it lies a fifth above. The other parts then form a seventh chord with it. Remember that the octave of the eleventh’s extra sound is also supernumerary, although the prescribed arrangement sounds well as a whole.", "sources": [ { "pdf_page": 166, "source_image": "source-pages/bnf-166.png", "printed_page": 134, "bbox_pixels": [ 410, 3285, 2200, 250 ], "crop_image": "assets/II.18-041.png" }, { "pdf_page": 167, "source_image": "source-pages/bnf-167.png", "printed_page": 135, "bbox_pixels": [ 410, 395, 2200, 450 ], "crop_image": "assets/II.18-042.png" } ] }, { "id": "II.18-043", "type": "paragraph", "section": "II.18", "lesson": 33, "exercise": 33, "reading_order": 990, "original": "4°. Dès qu’il paroît un Accord par emprunt, il faut substituer dans cette Basse fondamentale, la Dominante à la place de la Sixiéme Notte, celle-cy formant toûjours la Seconde superfluë, ou par renversement, la Septiéme diminuée avec la Tierce majeure de cette dominante ; ainsi le reste de l’Accord formera celuy de la Septiéme avec nôtre Basse fondamentale : Nous en parlerons encore dans l’Art. VIII.", "english": "4. With a borrowed chord, substitute the dominant for the sixth note in the fundamental bass. That sixth always forms an augmented second, or its inversion the diminished seventh, with the dominant’s major third. The remaining sounds then make a seventh chord with our fundamental bass. We return to this in point VIII.", "sources": [ { "pdf_page": 167, "source_image": "source-pages/bnf-167.png", "printed_page": 135, "bbox_pixels": [ 410, 840, 2200, 530 ], "crop_image": "assets/II.18-043.png" } ] }, { "id": "II.18-044", "type": "paragraph", "section": "II.18", "lesson": 33, "exercise": 33, "reading_order": 991, "original": "5°. Il faut bien prendre garde aux actes d’une Cadence irreguliere, où le Son qui devroit être pris pour lors pour le grave de l’Accord de la Septiéme, doit être retranché, en ne faisant entendre dans ces occasions que l’Accord parfait, qui subsistera dans le reste de l’Accord : Nous en parlerons encore aux Art. VIII. IX. & X.", "english": "5. Watch for irregular cadences. The sound that might otherwise be taken as the seventh chord’s root must be removed, leaving only the perfect chord present in the remaining notes. Points VIII, IX, and X will discuss this further.", "sources": [ { "pdf_page": 167, "source_image": "source-pages/bnf-167.png", "printed_page": 135, "bbox_pixels": [ 410, 1370, 2200, 380 ], "crop_image": "assets/II.18-044.png" } ] }, { "id": "II.18-045", "type": "paragraph", "section": "II.18", "lesson": 33, "exercise": 33, "reading_order": 992, "original": "6°. S’il se trouvoit par hazard un Accord de Septiéme & de Sixte, tel que celuy dont nous avons parlé au Chap. XVII. Art. V. il ne faudroit pas y faire attention ; & la Basse fondamentale doit rester en ce cas, sur le même degré où elle se trouve auparavant.", "english": "6. If a seventh-and-sixth chord occurs, as in chapter XVII, article V, disregard it for this purpose. The fundamental bass stays on its previous degree.", "sources": [ { "pdf_page": 167, "source_image": "source-pages/bnf-167.png", "printed_page": 135, "bbox_pixels": [ 410, 1750, 2200, 285 ], "crop_image": "assets/II.18-045.png" } ] }, { "id": "II.18-046", "type": "paragraph", "section": "II.18", "lesson": 33, "exercise": 33, "reading_order": 993, "original": "7°. Comme nous n’ajoûtons à present cette Basse que pour la preuve, il ne faut pas s’arrêter à de certaines fautes de progression, comme deux Octaves consécutives, &c. qui ayant lieu avec elle, ne paroîtront point entre les parties déja composées.", "english": "7. This bass is added only as proof. Do not dwell on voice-leading faults, such as consecutive octaves, that arise with it but do not occur among the already composed parts.", "sources": [ { "pdf_page": 167, "source_image": "source-pages/bnf-167.png", "printed_page": 135, "bbox_pixels": [ 410, 2035, 2200, 300 ], "crop_image": "assets/II.18-046.png" } ] }, { "id": "II.18-047", "type": "paragraph", "section": "II.18", "lesson": 33, "exercise": 33, "reading_order": 994, "original": "8°. L’intelligence de la Modulation est d’un grand secours pour cette preuve ; car elle fait connoître d’abord le Ton dans lequel on est, par consequent le lieu qu’occupe certaine Notte dans ce Ton, l’Accord qu’elle doit porter, & le Son fondamental qui peut y être sous-entendu, supposé, ou emprunté. L’on y reconnoît de plus les Accords par emprunt ne peuvent jamais avoir lieu que dans les Tons mineurs, & que la sixiéme Notte y emprunte le fondement de la dominante tonique ; celle-cy devant toûjours servir de Basse-fondamentale, quand même la supposition auroit lieu avec cet emprunt : & l’on y reconnoît encore qu’une Cadence irreguliere ne peut se faire que sur une Dominante précedée de sa Notte tonique, ou sur celle-cy, précedée de sa quatriéme Notte ; chacune de ces Nottes devant se trouver toûjours dans la Basse fondamentale portant l’Accord parfait en ce cas, en s’imaginant que le Son grave de l’Intervale dissonant &c. doit en être retranché.", "english": "8. Understanding modulation greatly assists this proof. It immediately identifies the key, each note’s place, its required chord, and the fundamental sound that may be implied, supposed, or borrowed. It also shows that borrowed chords occur only in minor keys, where the sixth borrows the tonic dominant’s foundation. That dominant must remain the fundamental bass even when supposition accompanies borrowing. An irregular cadence occurs only from tonic to dominant, or from fourth note to tonic. Those notes must then stand in the fundamental bass with perfect chords, mentally removing the lower sound of the dissonant interval.", "sources": [ { "pdf_page": 167, "source_image": "source-pages/bnf-167.png", "printed_page": 135, "bbox_pixels": [ 410, 2335, 2200, 1125 ], "crop_image": "assets/II.18-047.png" } ] }, { "id": "II.18-048", "type": "paragraph", "section": "II.18", "lesson": 33, "exercise": 33, "reading_order": 995, "original": "9°. Pour que cette Basse soit bien composée, il faut la faire précéder autant que l’on peut par des Intervales consonans ; ce qui ne souffre d’exceptions, que lorsqu’on apperçoit que la Septiéme peut être sauvée de la Quinte, ou d’une autre Septiéme, ou préparée de l’Octave ; en supposant toûjours que toutes les parties ne formeront point d’autres Intervales avec cette Basse fondamentale, que ceux de la Tierce, de la Quinte, de l’Octave, & de la Septiéme. Et comme les Accords ne sont pas toûjours remplis de tous les Sons dont ils doivent être composez, c’est à celuy qui en fait la preuve d’y prendre garde, bien que le fond de l’Accord subsiste toûjours, quoiqu’il ne soit pas complet ; le goût du chant nous obligeant quelquefois de doubler un Son, au lieu d’employer celuy qui rendroit cet Accord complet. Quand nous disons que toutes les Parties doivent former la Tierce, la Quinte, &c. avec la Basse fondamentale ; c’est en exceptant (comme l’on sçait) le Son surnumeraire des Accords par supposition, qui doit se trouver toûjours au-dessous de cette Basse fondamentale, celuy qui est ajoûté au premier Accord parfait d’une Cadence irreguliere, & celuy qui emprunte son fondement de la dominante tonique, ces Sons devant être absolument extraits de l’idée dans la preuve, en s’imaginant qu’ils n’y sont point. De plus, la Quinte de la seconde Notte d’un Ton mineur se trouve souvent fausse, selon son ordre naturel dans ce Ton : mais elle doit être pour lors regardée comme juste, n’y étant alterée que par accident, en supposant toûjours que cette Quinte ne se trouvera que dans un Accord parfait, ou de Septiéme à l’égard de la Basse fondamentale. Cela étant fait, on remarque,", "english": "9. Compose this bass with consonant progressions whenever possible. Exceptions occur only when a seventh resolves to a fifth or another seventh, or is prepared by an octave. Always suppose that the parts form only thirds, fifths, octaves, and sevenths with the fundamental bass. Chords are not always complete, so the person making the proof must notice omissions. Their substance remains even when melodic taste requires a doubled sound instead of a missing chord member. Our requirement excludes the extra low sound in supposition, the sound added to the first perfect chord of an irregular cadence, and the sound borrowing the tonic dominant’s foundation. Mentally remove all these for the proof. The second note’s fifth in a minor key is often naturally diminished. Regard it here as perfect, altered only incidentally, assuming it belongs to a perfect or seventh chord relative to the fundamental bass. Then observe:", "sources": [ { "pdf_page": 167, "source_image": "source-pages/bnf-167.png", "printed_page": 135, "bbox_pixels": [ 410, 3460, 2200, 100 ], "crop_image": "assets/II.18-048.png" }, { "pdf_page": 168, "source_image": "source-pages/bnf-168.png", "printed_page": 136, "bbox_pixels": [ 410, 355, 2200, 1885 ], "crop_image": "assets/II.18-049.png" } ] }, { "id": "II.18-050", "type": "paragraph", "section": "II.18", "lesson": 33, "exercise": 33, "reading_order": 996, "original": "10. Si la Dissonance mineure, qui est toûjours la Septiéme par rapport à la Basse fondamentale est préparée & sauvée comme elle le doit, dans les progressions fixées ; en se souvenant qu’à l’égard de cette Basse, monter de Quarte, ou descendre de Quinte c’est la même chose ; ainsi des autres Intervales qui ont un pareil rapport. Et comme on peut sous-entendre quelquefois une Dissonance qui ne paroît point dans le corps de l’Ouvrage, soit pour donner une progression consonante à la Basse fondamentale, soit pour n’y faire rencontrer que les Accords qu’elle doit porter ; il ne faut pas pour lors attribuer à l’Auteur le défaut de progression de cette Dissonance sous-entenduë, si-tôt qu’elle ne paroît point sans cette Basse fondamentale ; ainsi des autres défauts de progressions, qui n’ont lieu qu’avec cette Basse fondamentale, vu que l’Auteur ne prétend pas toûjours qu’elle y soit ajoûtée ; au lieu que si ces défauts paroissoient sans cette Basse, pour lors l’Auteur auroit manqué : Mais au reste, cela ne pourra détruire le fond de l’Harmonie, qui devra subsister toûjours dans nos deux Accords proposez.", "english": "10. Whether the minor dissonance, always a seventh against the fundamental bass, is properly prepared and resolved within the prescribed progressions. Ascending a fourth equals descending a fifth here, and likewise for other equivalent intervals. Sometimes we may imply a dissonance absent from the actual composition to give the fundamental bass consonant movement or only its permitted chords. Do not blame the composer for faulty movement of that implied dissonance if it appears only with the added fundamental bass. The same applies to other faults created solely by this bass, which the composer does not always intend to sound. Faults present without it, however, belong to the composer. None of this destroys the harmonic substance, which must always lie in our two chords.", "sources": [ { "pdf_page": 168, "source_image": "source-pages/bnf-168.png", "printed_page": 136, "bbox_pixels": [ 410, 2235, 2200, 1290 ], "crop_image": "assets/II.18-050.png" } ] }, { "id": "II.18-051", "type": "paragraph", "section": "II.18", "lesson": 33, "exercise": 33, "reading_order": 997, "original": "De plus, quand on s’appercevra que de deux Sons qui font ensemble un Intervale de Seconde ou de Septiéme, l’aigu de la Seconde, ou le grave de la Septiéme montera, pendant que l’autre restera sur le même degré ; cela marquera justement l’acte d’une Cadence irreguliere, où il faudra s’imaginer (comme nous l’avons déja dit) que ce Son qui monte est comme surnumeraire, & qu’il ne doit jamais occuper dans une Basse quelconque. A l’égard de la Dissonance majeure toûjours formée de la Notte sensible, ou de la Tierce majeure d’une Dominante tonique, & qui n’est dissonance qu’autant que la mineure y est jointe, il faut voir pareillement si elle est toûjours sauvée comme elle le doit, en montant d’un semi-Ton.", "english": "Furthermore, if two sounds form a second or seventh and the upper sound of the second, or lower sound of the seventh, rises while the other stays still, this identifies an irregular cadence. The rising sound must then be regarded as extra and must never occupy any bass. Likewise, check that major dissonance—the leading note or tonic dominant’s major third, dissonant only while joined by the minor dissonance—resolves properly by rising a semitone.", "sources": [ { "pdf_page": 169, "source_image": "source-pages/bnf-169.png", "printed_page": 137, "bbox_pixels": [ 410, 365, 2200, 910 ], "crop_image": "assets/II.18-051.png" } ] }, { "id": "II.18-052", "type": "paragraph", "section": "II.18", "lesson": 33, "exercise": 33, "reading_order": 998, "original": "11°. Il y a quelques reflexions à faire sur la maniere de sauver les Dissonances, en ce que, 1°. Telle Dissonance qui reste toûjours sur le même degré, & qui se sauve ensuite comme elle le doit, est censée bien sauvée, tant que le même Accord fondamental subsiste avec elle. 2°. Une Tierce mineure que la Basse ordinaire peut former avec la fondamentale, ne doit pas nous arrêter icy. 3°. Tant que le même Accord fondamental subsiste, une Dissonance peut passer à tel Son que l’on veut de ce même Accord ; mais il faut ordinairement qu’elle passe ensuite sur le Son qui devoit la suivre en premier lieu, excepté que quand la Dissonance majeure, ou bien la mineure sont entenduës les dernieres, elles peuvent conserver leur privilege, qui est d’être sauvées comme elles le doivent. 4°. L’on peut sauver la Dissonance majeure sur la Consonance, qui doit suivre naturellement la mineure, & celle-cy sur la Consonance qui doit suivre naturellement la majeure, pourvû que ce soit dans une Harmonie naturelle, & en montant, s’il eut fallu monter, ou en descendant, s’il eut fallu descendre, conformément à cet Exemple de Zarlin *.", "english": "11. Several qualifications concern resolution. 1. A dissonance held on the same degree and eventually resolved correctly counts as properly resolved while the same fundamental chord persists. 2. A minor third between ordinary and fundamental bass need not concern us. 3. While the fundamental chord remains, a dissonance may move to any of its sounds, but ordinarily must then proceed to its originally required destination. If the major or minor dissonance sounds last, however, it may retain its privilege of resolving as required. 4. The major dissonance may resolve to the consonance naturally following the minor, and the minor to that naturally following the major, provided the harmony is natural and motion remains upward where ascent was required or downward where descent was required, as in Zarlin’s example.*", "sources": [ { "pdf_page": 169, "source_image": "source-pages/bnf-169.png", "printed_page": 137, "bbox_pixels": [ 410, 1270, 2200, 1255 ], "crop_image": "assets/II.18-052.png" } ] }, { "id": "II.18-169", "type": "music", "section": "II.18", "lesson": 33, "exercise": 33, "reading_order": 999, "original": "Disson. min.\nDisson. maj.", "english": "Minor dissonance.\nMajor dissonance.", "sources": [ { "pdf_page": 169, "source_image": "source-pages/bnf-169.png", "printed_page": 137, "bbox_pixels": [ 420, 2570, 840, 520 ], "crop_image": "assets/II.18-053.png" } ], "original_title": "Exemple de Zarlin : dissonances mineure et majeure.", "english_title": "Zarlin’s example: minor and major dissonances.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.18-169" ], "music_asset_refs": [ "II.18-169" ] }, { "id": "II.18-054", "type": "paragraph", "section": "II.18", "lesson": 33, "exercise": 33, "reading_order": 1000, "original": "5°. Dans le Chromatique, la Dissonance majeure descend d’un semi-Ton au lieu de monter, ou pour lors elle est censée rester sur le même degré, &c. comme nous l’avons déja remarqué.", "english": "5. In chromatic writing the major dissonance descends a semitone instead of rising, and is then regarded as remaining on the same degree, as already observed.", "sources": [ { "pdf_page": 169, "source_image": "source-pages/bnf-169.png", "printed_page": 137, "bbox_pixels": [ 1265, 2530, 1320, 390 ], "crop_image": "assets/II.18-054.png" } ] }, { "id": "II.18-055", "type": "paragraph", "section": "II.18", "lesson": 33, "exercise": 33, "reading_order": 1001, "original": "Il est certain qu’une Musique où l’on pourra ajoûter une pareille Basse, avec toutes les circonstances que nous venons de remarquer, sera toûjours bonne ; elle ne péchera tout au plus que dans un certain ordre de Consonances, de Melodie, ou de Modulation, ou dans l’égalité de la valeur des Nottes qui preparent, qui forment, & qui sauvent la Dissonance, ou encore dans les temps où cette Dissonance doit être preparée, & entenduë : mais elle ne péchera point contre le fond de l’Harmonie, ce qui est le principal ; car le reste est facile à observer. Le bon goût qui nous dicte la plûpart de ces Regles, nous obligeant même quelquefois à nous en écarter.", "english": "Music admitting such a fundamental bass under all these conditions will certainly be good. It may at most err in a particular ordering of consonances, melody, or modulation; in the equality of note values preparing, forming, and resolving dissonance; or in the beats where dissonance is prepared and heard. It will not offend harmony’s foundation, the principal concern. The remaining matters are easy to observe; good taste, which dictates most of these rules, sometimes even requires departing from them.", "sources": [ { "pdf_page": 169, "source_image": "source-pages/bnf-169.png", "printed_page": 137, "bbox_pixels": [ 410, 2910, 2200, 520 ], "crop_image": "assets/II.18-055.png" }, { "pdf_page": 170, "source_image": "source-pages/bnf-170.png", "printed_page": 138, "bbox_pixels": [ 410, 385, 2200, 365 ], "crop_image": "assets/II.18-057.png" } ] }, { "id": "II.18-056", "type": "footnote", "section": "II.18", "lesson": 33, "exercise": 33, "reading_order": 1002, "original": "* Terza Parte, Cap. 30. fol. 210.", "english": "* Terza Parte, chapter 30, folio 210.", "sources": [ { "pdf_page": 169, "source_image": "source-pages/bnf-169.png", "printed_page": 137, "bbox_pixels": [ 410, 3430, 2200, 80 ], "crop_image": "assets/II.18-056.png" } ] }, { "id": "II.18-058", "type": "paragraph", "section": "II.18", "lesson": 33, "exercise": 33, "reading_order": 1003, "original": "Cette Basse fondamentale fait un très-bel effet dans les Chœurs de Musique ; mais lorsqu’on veut qu’elle y soit entenduë, il faut pour lors que les Regles soient observées à la rigueur entre toutes les Parties, bien que la Basse-Continuë puisse former plusieurs Unissons, ou plusieurs Octaves avec la fondamentale, sur tout dans les Accords de 6, par supposition & par emprunt, sans se mettre en peine pour lors du Son fondamental.", "english": "The fundamental bass has a very beautiful effect in choruses. If it is intended to sound, however, strict rules must be observed among all parts. The continuo may nevertheless form repeated unisons or octaves with it, especially in sixth chords, supposition, and borrowing, without concern then for the fundamental sound.", "sources": [ { "pdf_page": 170, "source_image": "source-pages/bnf-170.png", "printed_page": 138, "bbox_pixels": [ 410, 750, 2200, 540 ], "crop_image": "assets/II.18-058.png" } ] }, { "id": "II.18-059", "type": "paragraph", "section": "II.18", "lesson": 33, "exercise": 33, "reading_order": 1004, "original": "Comme tous ceux qui se sont donné la peine de nous dicter les Regles précédentes, ont toûjours oublié d’en faire remarquer le principe ; nous avons crû devoir nous étendre un peu sur ce sujet, pour que l’évidence de ce principe nous mette au-dessus des doutes & des contestations.", "english": "Earlier teachers consistently omitted the principle underlying these rules. We therefore thought an extended explanation necessary, so its evident truth might lift us above doubts and disputes.", "sources": [ { "pdf_page": 170, "source_image": "source-pages/bnf-170.png", "printed_page": 138, "bbox_pixels": [ 410, 1285, 2200, 375 ], "crop_image": "assets/II.18-059.png" } ] }, { "id": "II.19-001", "type": "heading", "section": "II.19", "lesson": 34, "exercise": 34, "reading_order": 1005, "original": "CHAPITRE DIX-NEUVIÉME.", "english": "CHAPTER NINETEEN.", "sources": [ { "pdf_page": 170, "source_image": "source-pages/bnf-170.png", "printed_page": 138, "bbox_pixels": [ 419, 1788, 2171, 105 ], "crop_image": "assets/II.19-001.png" } ], "correction_refs": [ "supplement-146" ] }, { "id": "II.19-002", "type": "heading", "section": "II.19", "lesson": 34, "exercise": 34, "reading_order": 1006, "original": "Suite du Chapitre précedent, où il paroît que la Melodie provient de l’Harmonie.", "english": "Continuation of the preceding chapter, showing that melody arises from harmony.", "sources": [ { "pdf_page": 170, "source_image": "source-pages/bnf-170.png", "printed_page": 138, "bbox_pixels": [ 419, 1940, 2171, 180 ], "crop_image": "assets/II.19-002.png" } ] }, { "id": "II.19-003", "type": "paragraph", "section": "II.19", "lesson": 34, "exercise": 34, "reading_order": 1007, "original": "IL semble d’abord que l’Harmonie provienne de la Melodie, en ce que la Melodie que chaque voix produit, devient Harmonie par leur union ; mais il a fallu déterminer auparavant une route à chacune de ces voix, pour qu’elles pussent s’accorder ensemble. Or quelqu’ordre de Melodie que l’on observe dans chaque Partie en particulier, elles formeront difficilement ensemble une bonne Harmonie, pour ne pas dire que cela est impossible, si cet ordre ne leur est dicté par les Regles de l’Harmonie : Cependant pour rendre ce tout Harmonique plus intelligible, on commence par enseigner la maniere de faire un Chant ; & supposé que l’on y fasse quelques progrès, les idées qu’on peut en avoir s’évanoüissent, dès qu’il s’agit d’y joindre une autre partie, on n’est plus le maître du Chant ; & pendant que l’on s’exerce à chercher la route que doit tenir une Partie par rapport à l’autre, on perd souvent de vûë celle que l’on s’étoit proposée, ou du moins on est obligé de la changer ; sinon la contrainte où nous tient cette premiere Partie, ne nous permet pas toûjours de donner aux autres un chant aussi parfait qu’on pourroit le souhaiter. C’est donc l’Harmonie qui nous guide, & non pas la Melodie. Il est vrai, qu’un sçavant Musicien peut se proposer un beau Chant convenable à l’Harmonie ; mais d’où luy vient cette heureuse faculté ? La nature ne peut-elle pas y avoir contribué ? Sans doute ; & si au contraire elle luy a refusé ce don, comment peut-il y réüssir ? Ce ne peut être que par des Regles ; & d’où tirons-nous ces Regles ? C’est ce qu’il faut voir.", "english": "At first, harmony seems to arise from melody, since the melodies produced by the individual voices become harmony when united. Yet a path first had to be determined for each voice so that they could agree together. Whatever melodic order we observe in each individual part, the parts will scarcely form good harmony together—to say nothing of its being impossible—unless that order is dictated by the rules of harmony. Nevertheless, to make this harmonic whole more intelligible, teaching begins with how to make a melody. Suppose some progress is made: the ideas gained vanish as soon as another part must be joined to it. We are no longer masters of the melody. While searching for the path one part must take in relation to another, we often lose sight of our original intention, or at least must change it. Otherwise, the constraint imposed by this first part does not always allow us to give the others as perfect a melody as we might wish. Harmony, then, guides us, not melody. An accomplished musician can indeed conceive a beautiful melody suited to harmony. But where does this fortunate ability come from? May nature have contributed? Certainly. If nature has denied him this gift, however, how can he succeed? Only through rules. And where do we obtain these rules? That is what we must examine.", "sources": [ { "pdf_page": 170, "source_image": "source-pages/bnf-170.png", "printed_page": 138, "bbox_pixels": [ 419, 2181, 2171, 1392 ], "crop_image": "assets/II.19-003.png" }, { "pdf_page": 171, "source_image": "source-pages/bnf-171.png", "printed_page": 139, "bbox_pixels": [ 419, 346, 2171, 471 ], "crop_image": "assets/II.19-004.png" } ] }, { "id": "II.19-005", "type": "paragraph", "section": "II.19", "lesson": 34, "exercise": 34, "reading_order": 1008, "original": "La premiere division de la corde nous offre-t-elle d’abord deux Sons, dont on puisse former de la Melodie ? Non, sans doute ; car un homme qui chanteroit d’Octave en Octave, ne formeroit pas un fort beau Chant. La seconde, & la troisiéme division de cette corde, d’où provient toute l’Harmonie, ne nous fournissent pas des Sons plus convenables à la Melodie, puisqu’un Chant composé seulement de Tierces, de Quartes, de Quintes, de Sixtes & d’Octaves, ne seroit point encore parfait : l’Harmonie est donc engendrée la premiere : Ainsi, c’est d’elle qu’il faut absolument tirer les Regles de la Melodie, comme nous le faisons aussi, en prenant à part ces Intervales harmoniques, dont nous venons de parler, pour en former une progression fondamentale, qui n’est point encore Melodie : Mais ces Intervales mis ensemble au-dessus de l’un des Sons qui les composent, suivant naturellement une route diatonique, qui leur est déterminée par leur progression même, lorsqu’ils se servent mutuellement de fondement, nous tirons pour lors de ces progressions consonantes & diatoniques, toute la Melodie necessaire ; de sorte qu’il a fallu connoître les Intervales harmoniques avant les melodieux ; & tout le chant que l’on peut enseigner à un Commençant, consiste dans ces Intervales consonans, si cela peut être appellé chant. Nous verrons au Chap. XXII. que les Anciens n’ont encore tiré leur Modulation que de la Melodie, au lieu qu’elle provient de l’Harmonie.", "english": "Does the first division of the string immediately offer two sounds from which melody can be formed? Certainly not: a man singing from octave to octave would not make a very beautiful melody. The second and third divisions of the string, from which all harmony arises, provide no sounds more suitable for melody, since a melody consisting only of thirds, fourths, fifths, sixths, and octaves would still not be perfect. Harmony is therefore generated first, and the rules of melody must necessarily be drawn from it. This is indeed what we do when we take the harmonic intervals just mentioned separately to form a fundamental progression, which is not yet melody. But when these intervals are placed together above one of their constituent sounds, they naturally follow a diatonic path determined by their own progression as they serve in turn as one another's foundation. From these consonant and diatonic progressions we then derive all the melody required. Thus harmonic intervals had to be known before melodic ones. Everything that can be taught to a beginner as melody consists of these consonant intervals, if that can be called melody. In chapter XXII we shall see that the ancients, too, derived their modulation only from melody, whereas it arises from harmony.", "sources": [ { "pdf_page": 171, "source_image": "source-pages/bnf-171.png", "printed_page": 139, "bbox_pixels": [ 419, 816, 2171, 1710 ], "crop_image": "assets/II.19-005.png" } ] }, { "id": "II.19-006", "type": "paragraph", "section": "II.19", "lesson": 34, "exercise": 34, "reading_order": 1009, "original": "Quand nous avons donc une fois la connoissance de cette progression consonante, il ne coûte pas plus d’ajoûter trois Sons au-dessus de l’un de ceux qui nous sert de Basse, que de n’en ajoûter qu’un ; car voicy comme nous nous expliquons de part & d’autre : Vous pouvez mettre au-dessus d’une Basse la Tierce, la Quinte ou l’Octave ; ou bien vous devez mettre au-dessus de la Basse la Tierce, la Quinte & l’Octave, pour se servir de l’une ou de l’autre, il faut les connoître ; & si on les connoît, il n’est pas plus difficile de les employer ensemble que separément. Ensuite la Partie qui aura fait la Tierce, doit faire la Quinte, si la Basse descend de Tierce ; & nous ne nous expliquons pas autrement : Mais si dans ces differentes progressions d’une Basse, l’on trouve icy la Tierce, là l’Octave, & icy la Quinte, il faut toûjours sçavoir ce qui doit les suivre selon la differente progression de la Basse ; de sorte que sans y songer, on enseigne la Composition à quatre parties, pendant qu’on ne la fait comprendre qu’à deux. Donc puisque je dois sçavoir la suite de chaque Consonance, selon la differente progression de la Basse, chacune de ces Consonances se rencontrant alternativement, il n’est pas plus difficile de les employer ensemble qu’en particulier ; d’autant mieux que si je ne puis les distinguer toutes ensemble, je ne m’attache qu’à chacune en particulier : Ainsi, de l’une à l’autre, je trouve le moyen de composer une Harmonie parfaite dans ses quatre parties, dont je tire ensuite toutes les connoissances necessaires, pour arriver à la perfection ; outre que l’explication que nous y joignons, ne permet pas de pouvoir s’y tromper. Si nous devons nous en rapporter à l’experience qu’en ont fait plusieurs personnes, qui ne connoissoient que la valeur des Nottes, & qui à la seconde lecture de nos Regles, ont composé une Harmonie aussi parfaite qu’on puisse la souhaiter : De plus, si ce Compositeur peut se donner la satisfaction d’entendre ses productions *, son oreille se forme peu à peu ; & s’il devient une fois sensible à la parfaite Harmonie, où ces commencemens le conduisent, il peut être certain d’un succès, qui ne dépend absolument que de ces premiers principes.", "english": "Once we know this consonant progression, adding three sounds above a bass note costs no more effort than adding only one. Here is how the two approaches are explained: you may put a third, fifth, or octave above a bass; or, you must put the third, fifth, and octave above it. To use either approach, these intervals must be known; once known, they are no harder to employ together than separately. Next, the part that made the third must make the fifth if the bass descends a third: this is precisely how we explain it. But if, in the bass's various progressions, we find the third here, the octave there, and the fifth elsewhere, we must always know what should follow each according to the bass's different movement. Thus, without realizing it, we teach four-part composition while presenting it only in two parts. Since I must know the succession of every consonance according to the bass's movement, and each consonance occurs in turn, employing them together is no harder than employing them individually. Moreover, if I cannot distinguish them all at once, I need attend only to each separately. Passing from one to another, I find the means to compose perfect harmony in four parts, from which I then draw all the knowledge needed to reach perfection. The accompanying explanation also leaves no room for error—if we may trust the experience of several people who knew only note values and, on their second reading of our rules, composed harmony as perfect as one could wish. Furthermore, if this composer can enjoy hearing his own productions,* his ear gradually develops. Once he becomes sensitive to the perfect harmony to which these beginnings lead, he can be certain of success, which depends entirely upon these first principles.", "sources": [ { "pdf_page": 171, "source_image": "source-pages/bnf-171.png", "printed_page": 139, "bbox_pixels": [ 419, 2524, 2171, 986 ], "crop_image": "assets/II.19-006.png" }, { "pdf_page": 172, "source_image": "source-pages/bnf-172.png", "printed_page": 140, "bbox_pixels": [ 419, 410, 2171, 1579 ], "crop_image": "assets/II.19-007.png" } ] }, { "id": "II.19-008", "type": "paragraph", "section": "II.19", "lesson": 34, "exercise": 34, "reading_order": 1010, "original": "Il n’y a pas de doute après cela, que lorsque ces quatre Parties nous sont une fois familieres, nous ne puissions les réduire à trois & à deux : Mais quelle connoissance peut nous donner une Composition à deux parties, quand même nous la possederions parfaitement, ce qui est presqu’impossible, vû qu’on n’y est guidé par aucun fondement ; & que tout ce qu’on peut enseigner de cette façon est toûjours sterile, soit parce que nôtre memoire ne peut y suffire, soit parce qu’on ne peut que difficilement y renfermer tout ; & qu’à la fin on est obligé d’ajoûter ces paroles : Cætera docebit usus. Veut-on passer aux trois & aux quatre parties ? Ce qu’on en dit est si peu de chose, que nous voyons qu’il faut avoir le genie & le goût aussi consommé que ces grands Maîtres, pour comprendre ce qu’ils veulent nous enseigner. Zarlin * dit au sujet des quatre Parties, qu’elles ne peuvent guere s’enseigner sur le papier, & qu’il les laisse à la discretion des Compositeurs, qui pourront se former sur ses Regles précedentes à deux, & à trois Parties. Nos sentimens sont bien opposez ; car nous venons de dire que l’Harmonie ne pouvoit s’enseigner qu’à quatre Parties, où tout ce qu’elle a de particulier se rencontre dans deux Accords seulement, (comme nous l’avons fait remarquer par tout), & qu’il étoit très-facile de les reduire à trois & à deux ; au lieu que Zarlin ne définit point absolument ces deux ny ces trois Parties, & qu’il avoüe ne pouvoir définir les quatre, après être convenu que la parfaite Harmonie consistoit dans les quatre Parties, qu’il compare aux quatre élemens. (Cap. 58. fol. 281. Nous dirons donc pour finir, que si l’on n’a pû tirer une connoissance parfaite des Regles qu’on a données jusqu’à present de l’Harmonie, le principe que nous nous sommes proposé, est un but certain pour parvenir à cette connoissance, qui ne laisse rien échaper.", "english": "There can be no doubt, then, that once these four parts are familiar, we can reduce them to three or two. But what knowledge can two-part composition give us, even if we master it perfectly? Such mastery is almost impossible, since no foundation guides us, and everything taught this way remains barren. Either our memory cannot suffice, or everything can scarcely be encompassed; in the end one must add: Cætera docebit usus—practice will teach the rest. Do we wish to proceed to three and four parts? So little is said about them that we see one must possess genius and taste as fully developed as those great masters' merely to understand their teaching. Concerning four parts, Zarlin* says that they can scarcely be taught on paper and leaves them to composers' discretion: composers can train themselves through his preceding rules for two and three parts. Our views are quite opposed. We have just said that harmony can be taught only in four parts, where everything particular to it occurs in only two chords, as we have pointed out throughout; reducing these to three or two parts is very easy. Zarlin, however, does not fully define either two or three parts, and admits that he cannot define four, after conceding that perfect harmony consists of four parts, which he compares to the four elements. (Chapter 58, folio 281. To conclude, if the rules of harmony given until now have failed to yield perfect knowledge, the principle we have proposed is a sure goal by which to attain that knowledge, allowing nothing to escape.", "sources": [ { "pdf_page": 172, "source_image": "source-pages/bnf-172.png", "printed_page": 140, "bbox_pixels": [ 419, 1989, 2171, 1439 ], "crop_image": "assets/II.19-008.png" }, { "pdf_page": 173, "source_image": "source-pages/bnf-173.png", "printed_page": 141, "bbox_pixels": [ 387, 391, 2150, 688 ], "crop_image": "assets/II.19-011.png" } ] }, { "id": "II.19-009", "type": "footnote", "section": "II.19", "lesson": 34, "exercise": 34, "reading_order": 1011, "original": "* C’est pour ce sujet en partie, que nous donnons des Regles d’Accompagnement.", "english": "* This is partly why we provide rules of accompaniment.", "sources": [ { "pdf_page": 172, "source_image": "source-pages/bnf-172.png", "printed_page": 140, "bbox_pixels": [ 419, 3438, 2171, 67 ], "crop_image": "assets/II.19-009.png" } ] }, { "id": "II.19-010", "type": "footnote", "section": "II.19", "lesson": 34, "exercise": 34, "reading_order": 1012, "original": "* Terza Parte, Cap. 65. fol. 320.", "english": "* Terza Parte, chapter 65, folio 320.", "sources": [ { "pdf_page": 172, "source_image": "source-pages/bnf-172.png", "printed_page": 140, "bbox_pixels": [ 419, 3502, 2171, 64 ], "crop_image": "assets/II.19-010.png" } ] }, { "id": "II.20-001", "type": "heading", "section": "II.20", "lesson": 35, "exercise": 35, "reading_order": 1013, "original": "CHAPITRE VINGTIÉME.", "english": "CHAPTER TWENTY.", "sources": [ { "pdf_page": 173, "source_image": "source-pages/bnf-173.png", "printed_page": 141, "bbox_pixels": [ 419, 1207, 2171, 101 ], "crop_image": "assets/II.20-001.png" } ], "correction_refs": [ "supplement-147", "supplement-148" ] }, { "id": "II.20-002", "type": "heading", "section": "II.20", "lesson": 35, "exercise": 35, "reading_order": 1014, "original": "De la proprieté des Accords.", "english": "On the character of chords.", "sources": [ { "pdf_page": 173, "source_image": "source-pages/bnf-173.png", "printed_page": 141, "bbox_pixels": [ 419, 1351, 2171, 101 ], "crop_image": "assets/II.20-002.png" } ] }, { "id": "II.20-003", "type": "paragraph", "section": "II.20", "lesson": 35, "exercise": 35, "reading_order": 1015, "original": "IL est certain, que l’Harmonie peut émouvoir en nous, differentes passions, à proportion des Accords qu’on y employe. Il y a des Accords tristes, languissans, tendres, agréables, gais, & surprenans ; il y a encore une certaine suite d’Accords pour exprimer les mêmes passions ; & bien que cela soit fort au-dessus de ma portée, je vais en donner toute l’explication que l’experience peut me fournir.", "english": "Harmony can certainly stir different passions in us according to the chords employed. Some chords are sad, languishing, tender, pleasing, cheerful, or startling. Particular successions of chords can express these same passions. Although this subject lies far beyond my powers, I shall explain as much as experience enables me to.", "sources": [ { "pdf_page": 173, "source_image": "source-pages/bnf-173.png", "printed_page": 141, "bbox_pixels": [ 387, 1512, 2150, 462 ], "crop_image": "assets/II.20-003.png" } ] }, { "id": "II.20-004", "type": "paragraph", "section": "II.20", "lesson": 35, "exercise": 35, "reading_order": 1016, "original": "Les Accords consonans se rencontrent par tout, mais ils doivent être employez le plus souvent que l’on peut dans les Chants d’allegresse, & de magnificence ; & comme on ne peut se dispenser d’y entre-mêler des Accords dissonans, il faut faire ensorte que les Dissonances y naissent naturellement ; qu’elles y soient preparées autant qu’il est possible, & que les Parties qui se distinguent le plus, comme sont le Dessus & la Basse, soient toûjours consonantes entre-elles.", "english": "Consonant chords occur everywhere, but they should be used as often as possible in songs of gladness and magnificence. Since one cannot avoid mixing dissonant chords among them, the dissonances must arise naturally and be prepared whenever possible. The most prominent parts, such as the upper part and bass, should always be consonant with one another.", "sources": [ { "pdf_page": 173, "source_image": "source-pages/bnf-173.png", "printed_page": 141, "bbox_pixels": [ 387, 1974, 2150, 584 ], "crop_image": "assets/II.20-004.png" } ] }, { "id": "II.20-005", "type": "paragraph", "section": "II.20", "lesson": 35, "exercise": 35, "reading_order": 1017, "original": "La douceur, & la tendresse s’expriment quelquefois assez bien par des Dissonances mineures preparées.", "english": "Gentleness and tenderness are sometimes expressed quite well by prepared minor dissonances.", "sources": [ { "pdf_page": 173, "source_image": "source-pages/bnf-173.png", "printed_page": 141, "bbox_pixels": [ 387, 2559, 2150, 161 ], "crop_image": "assets/II.20-005.png" } ] }, { "id": "II.20-006", "type": "paragraph", "section": "II.20", "lesson": 35, "exercise": 35, "reading_order": 1018, "original": "Les plaintes tendres demandent quelquefois des Dissonances par emprunt, & par supposition, plûtôt mineures que majeures ; faisant regner les majeures qui peuvent s’y rencontrer, dans les Parties du milieu, plûtôt que dans les extrêmes.", "english": "Tender laments sometimes call for dissonances by borrowing and by supposition, preferably minor rather than major. Any major dissonances that occur should predominate in the middle parts rather than in the outer parts.", "sources": [ { "pdf_page": 173, "source_image": "source-pages/bnf-173.png", "printed_page": 141, "bbox_pixels": [ 387, 2720, 2150, 299 ], "crop_image": "assets/II.20-006.png" } ] }, { "id": "II.20-007", "type": "paragraph", "section": "II.20", "lesson": 35, "exercise": 35, "reading_order": 1019, "original": "Les langueurs, & les souffrances s’expriment parfaitement bien avec des Dissonances par emprunt, & sur tout avec le Chromatique, dont nous parlerons au Livre suivant.", "english": "Languor and suffering are expressed very well through dissonances by borrowing, and especially through the chromatic, which we shall discuss in the following book.", "sources": [ { "pdf_page": 173, "source_image": "source-pages/bnf-173.png", "printed_page": 141, "bbox_pixels": [ 387, 3019, 2150, 226 ], "crop_image": "assets/II.20-007.png" } ] }, { "id": "II.20-008", "type": "paragraph", "section": "II.20", "lesson": 35, "exercise": 35, "reading_order": 1020, "original": "Le désespoir, & toutes les passions qui portent à la fureur, ou qui ont quelque chose d’étonnant, demandent des Dissonances de toute espece, non preparées ; & sur tout que les majeures regnent dans le Dessus. Il est beau même dans de certaines expressions de cette nature, de passer d’un Ton à un autre par une Dissonance majeure non preparée, sans que l’oreille néanmoins puisse être blessée de la trop grande disproportion qui pourroit se trouver entre ces deux Tons ; c’est pourquoi cela ne peut se faire qu’avec beaucoup de discernement, de même que tout le reste ; car si l’on ne faisoit qu’entasser Dissonance sur Dissonance, par tout où elle peut avoir lieu, ce seroit un défaut infiniment plus grand, que de n’y faire entendre que des Consonances : La Dissonance ne doit donc être employée qu’avec beaucoup de discretion, évitant même de la faire entendre dans les Accords dont elle ne peut être separée, en la retranchant adroitement, lorsque l’on sent que sa dureté ne convient point à l’expression ; & dispersant pour lors dans toutes les parties, les Consonances qui composent le reste de l’Accord ; car l’on doit se souvenir que la Septiéme, d’où proviennent toutes les Dissonances, n’est qu’un Son ajoûté à l’Accord parfait, que ce Son ne détruit point le fondement de cet Accord, & qu’il peut toûjours en être retranché, quand on le juge à propos.", "english": "Despair, and all passions that lead to fury or contain something astonishing, call for unprepared dissonances of every kind, with major dissonances predominating especially in the upper part. In certain expressions of this nature, it is even beautiful to pass from one key to another through an unprepared major dissonance, provided the ear is not offended by an excessive disparity between the two keys. This therefore requires great discernment, as does everything else. Merely heaping dissonance upon dissonance wherever possible would be an infinitely greater fault than sounding only consonances. Dissonance must therefore be employed with great discretion. Even in chords from which it cannot be separated, one should avoid sounding it when its harshness does not suit the expression, skillfully omitting it and distributing among all the parts the consonances that make up the rest of the chord. Remember that the seventh, from which all dissonances arise, is merely a sound added to the perfect chord. This sound does not destroy the chord's foundation and may always be removed whenever one judges it appropriate.", "sources": [ { "pdf_page": 173, "source_image": "source-pages/bnf-173.png", "printed_page": 141, "bbox_pixels": [ 387, 3244, 2150, 316 ], "crop_image": "assets/II.20-008.png" }, { "pdf_page": 174, "source_image": "source-pages/bnf-174.png", "printed_page": 142, "bbox_pixels": [ 419, 385, 2171, 1283 ], "crop_image": "assets/II.20-009.png" } ] }, { "id": "II.20-010", "type": "paragraph", "section": "II.20", "lesson": 35, "exercise": 35, "reading_order": 1021, "original": "La Melodie n’a pas moins de force dans les expressions que l’Harmonie ; mais il est presque impossible de pouvoir en donner des Regles certaines, en ce que le bon goût y a plus de part que le reste ; ainsi nous laisserons aux heureux genies le plaisir de se distinguer dans ce genre, dont dépend presque toute la force des sentimens ; & nous esperons que les habiles gens, pour qui nous n’avons rien dit de nouveau, ne nous sçauront pas mauvais gré d’avoir declaré des secrets, dont ils auroient peut-être souhaité être les seuls dépositaires, puisque nôtre peu de lumiere ne nous permet pas de leur disputer ce dernier degré de perfection, sans lequel la plus belle Harmonie devient quelquefois insipide, & par où ils sont toûjours en état de surpasser les autres ; ce n’est pas que lorsque l’on sçait disposer à propos une suite d’Accords, on ne puisse en tirer une Melodie convenable au sujet, comme nous le verrons dans la suite ; mais le goût en est toûjours le premier moteur.", "english": "Melody has no less expressive force than harmony, but it is almost impossible to give certain rules for it, because good taste matters more here than anything else. We shall therefore leave gifted spirits the pleasure of distinguishing themselves in this field, upon which almost the entire force of feeling depends. We hope that accomplished people, for whom we have said nothing new, will not resent our revealing secrets of which they might have wished to remain the sole possessors. Our limited understanding does not allow us to contest their mastery of this final degree of perfection, without which even the finest harmony sometimes becomes insipid, and through which they can always surpass others. This does not mean that someone who knows how to arrange a succession of chords appropriately cannot derive from it a melody suited to the subject, as we shall see later. But taste always supplies the first impulse.", "sources": [ { "pdf_page": 174, "source_image": "source-pages/bnf-174.png", "printed_page": 142, "bbox_pixels": [ 419, 1667, 2171, 1124 ], "crop_image": "assets/II.20-010.png" } ] }, { "id": "II.20-011", "type": "paragraph", "section": "II.20", "lesson": 35, "exercise": 35, "reading_order": 1022, "original": "C’est icy où il semble que les Anciens l’emportent, si nous devons les en croire ; celui-cy par sa Melodie fit pleurer Misse ; celuy-là obligea Alexandre de prendre les armes ; un autre rend doux & humain un jeune homme furieux. Enfin l’on voit de tous côtez des effets surprenans de leur Musique ; sur quoi Zarlin décide avec beaucoup de raison, disant d’abord, que le mot d’Harmonie ne signifioit souvent chez eux qu’une simple Melodie ; & que toutes les particularitez provenoient plus du discours énergique, dont la force s’augmentoit par la maniere dont ils le recitoient en chantant, que de leur seule Melodie, qui certainement ne pouvoit profiter de toutes les diversitez, que la parfaite Harmonie, qu’ils ne connoissoient pas, nous procure aujourd’huy. Leur Harmonie, dit-il encore, * consistoit dans un Accord parfait au-dessus duquel ils chantoient indifferement toute sorte d’Airs, à peu près comme on l’entend dans nos Musettes ou dans nos Vielles, ce qu’ils appellent, Sinfonia.", "english": "Here the ancients seem to excel, if we are to believe them: one made Misse weep through his melody; another compelled Alexander to take up arms; another made a furious young man gentle and humane. Everywhere, in short, we find astonishing effects attributed to their music. Zarlin judges this very reasonably. He first says that their word harmony often meant no more than a simple melody, and that all these effects came more from forceful speech—whose power was increased by the manner of its sung delivery—than from melody alone. Their melody certainly could not benefit from all the variety that perfect harmony, unknown to them, supplies us today. Their harmony, he also says,* consisted of a perfect chord above which they sang airs of every kind indiscriminately, much as we hear in our musettes or hurdy-gurdies. They call this Sinfonia.", "sources": [ { "pdf_page": 174, "source_image": "source-pages/bnf-174.png", "printed_page": 142, "bbox_pixels": [ 419, 2791, 2171, 767 ], "crop_image": "assets/II.20-011.png" }, { "pdf_page": 175, "source_image": "source-pages/bnf-175.png", "printed_page": 143, "bbox_pixels": [ 419, 395, 2171, 464 ], "crop_image": "assets/II.20-012.png" } ] }, { "id": "II.20-013", "type": "paragraph", "section": "II.20", "lesson": 35, "exercise": 35, "reading_order": 1023, "original": "Au reste, un bon Musicien doit se livrer à tous les caracteres qu’il veut dépeindre ; & comme un habile Comedien, se mettre à la place de celuy qui parle ; se croire être dans les lieux où se passent les differents évenements qu’il veut representer, & y prendre la même part que ceux qui y sont les plus interessez ; être bon déclamateur, au moins en soy-même ; sentir quand la voix doit s’élever ou s’abaisser plus ou moins, pour y conformer sa Melodie, son Harmonie, sa Modulation & son mouvement.", "english": "Furthermore, a good musician must enter into every character he wishes to portray. Like a skilled actor, he must put himself in the speaker's place, imagine himself where the various events he wishes to represent occur, and take as much part in them as those most deeply concerned. He must be a good declaimer, at least inwardly, and feel when the voice should rise or fall, and by how much, so that his melody, harmony, modulation, and tempo conform to it.", "sources": [ { "pdf_page": 175, "source_image": "source-pages/bnf-175.png", "printed_page": 143, "bbox_pixels": [ 419, 859, 2171, 597 ], "crop_image": "assets/II.20-013.png" } ] }, { "id": "II.20-014", "type": "footnote", "section": "II.20", "lesson": 35, "exercise": 35, "reading_order": 1024, "original": "* Terza Parte, Cap. 79. fol. 356.", "english": "* Terza Parte, chapter 79, folio 356.", "sources": [ { "pdf_page": 175, "source_image": "source-pages/bnf-175.png", "printed_page": 143, "bbox_pixels": [ 419, 3487, 2171, 79 ], "crop_image": "assets/II.20-014.png" } ] }, { "id": "II.21-001", "type": "heading", "section": "II.21", "lesson": 36, "exercise": 36, "reading_order": 1025, "original": "CHAPITRE VINGT-UNIÉME.", "english": "CHAPTER TWENTY-ONE.", "sources": [ { "pdf_page": 175, "source_image": "source-pages/bnf-175.png", "printed_page": 143, "bbox_pixels": [ 419, 1590, 2171, 99 ], "crop_image": "assets/II.21-001.png" } ], "correction_refs": [ "supplement-148", "supplement-149", "supplement-150", "supplement-151", "supplement-152" ] }, { "id": "II.21-002", "type": "heading", "section": "II.21", "lesson": 36, "exercise": 36, "reading_order": 1026, "original": "Des Modes.", "english": "On modes.", "sources": [ { "pdf_page": 175, "source_image": "source-pages/bnf-175.png", "printed_page": 143, "bbox_pixels": [ 419, 1738, 2171, 90 ], "crop_image": "assets/II.21-002.png" } ] }, { "id": "II.21-003", "type": "paragraph", "section": "II.21", "lesson": 36, "exercise": 36, "reading_order": 1027, "original": "QUoique les Auteurs modernes nous ayent enseigné qu’il n’y avoit que deux Modes, ils se sont tellement rendu esclaves des Regles qu’ils ont puisé chez les autres, qu’ils sont devenus insensibles à tout ce que pouvoit leur procurer une si heureuse découverte. Vous n’entendez parler chez eux que d’Accords arbitraires ; & lorsque le Mode en est le seul guide, ils en laissent toutes la conduite à nôtre discernement.", "english": "Although modern authors have taught that there are only two modes, they have become so enslaved to rules borrowed from others that they are blind to the benefits of this fortunate discovery. They speak only of arbitrary chords, leaving their entire conduct to our judgment even when mode alone governs it.", "sources": [ { "pdf_page": 175, "source_image": "source-pages/bnf-175.png", "printed_page": 143, "bbox_pixels": [ 419, 1893, 2171, 539 ], "crop_image": "assets/II.21-003.png" } ] }, { "id": "II.21-004", "type": "paragraph", "section": "II.21", "lesson": 36, "exercise": 36, "reading_order": 1028, "original": "L’on sçait assez que ce qu’on appelle Mode, consiste dans l’Octave d’un seul Son, entre laquelle doivent être compris tous les Sons qui peuvent servir aux Chants & aux Accords. Les Anciens n’ont regardé que le Chant, & se sont trompez en cela ; car le Chant dépend absolument des Accords fixez par le Mode.", "english": "It is well known that a mode consists in the octave of a single sound, within which all sounds usable in melody and chords must be contained. The ancients considered melody alone and were mistaken: melody depends entirely upon the chords fixed by the mode.", "sources": [ { "pdf_page": 175, "source_image": "source-pages/bnf-175.png", "printed_page": 143, "bbox_pixels": [ 419, 2432, 2171, 376 ], "crop_image": "assets/II.21-004.png" } ] }, { "id": "II.21-005", "type": "paragraph", "section": "II.21", "lesson": 36, "exercise": 36, "reading_order": 1029, "original": "Nous distinguons les Modes en deux genres ; ils prennent leur nom de l’Intervale majeur ou mineur, que forme la Tierce du Son, qui avec son Octave est le premier objet d’un Mode ; ainsi n’y ayant que deux Tierces, dont l’une est majeure, & l’autre mineure, nous disons qu’il n’y a que deux Modes, dont l’un est majeur & l’autre mineur ; sous-entendant par ces mots de majeur & mineur, la Tierce qui doit accompagner le Son fondamental du Mode.", "english": "We distinguish two kinds of mode, named after the major or minor third of the sound that, with its octave, is the mode’s first object. Since there are only two thirds, major and minor, there are only two modes, major and minor. These names imply the third accompanying the mode’s fundamental sound.", "sources": [ { "pdf_page": 175, "source_image": "source-pages/bnf-175.png", "printed_page": 143, "bbox_pixels": [ 419, 2808, 2171, 587 ], "crop_image": "assets/II.21-005.png" } ] }, { "id": "II.21-006", "type": "paragraph", "section": "II.21", "lesson": 36, "exercise": 36, "reading_order": 1030, "original": "Le premier Mode qui soit venu à nôtre connoissance a été tiré du systême diatonique parfait où l’Octave d’Ut renferme six autres Nottes, dont on ne peut alterer l’Intervale qu’elles forment avec la Notte Ut, sans changer en même-temps le Mode. Les Nottes principales de ce Mode ont été d’abord tirées de l’Accord parfait de cette Notte Ut, la Tierce en a été appellée Mediante, & la Quinte Dominante ; on a senti ensuite que l’Accord de la Sixte convenoit mieux à la Mediante, que celuy de la Quinte ; mais on ne nous a pas dit que de cette maniere, la Mediante représentoit toûjours la Notte principale ou tonique, puisque l’Accord de Sixte qu’elle doit porter est renversé du parfait de cette Notte tonique. On a senti pareillement que la Dominante devoit porter l’Accord parfait ; & que comme telle, sa Tierce devoit être toûjours majeure. De plus, la Dissonance de la Septiéme, où la fausse-Quinte a lieu, n’a été affectée qu’à elle seule, lorsqu’elle précede immédiatement la Notte tonique, les Cadences parfaites ne se formant que de ces deux seules Nottes ; mais on ne nous a pas dit que les Accords de fausse-Quinte & du Triton fussent des dérivez de celuy de la Septiéme ; & que comme cet Accord de Septiéme n’est fait que pour préceder le parfait de la Notte tonique, tous ses dérivez devoient également préceder ce parfait ou ses dérivez ; ce qui s’apperçoit par l’experience, sans que les Regles en fassent mention. Or de ces observations, on auroit conclu que dans un Mode quelconque, il ne pouvoit paroître un tel Accord de Septiéme, soit en effet, soit dans ses dérivez, que l’Accord parfait de la Notte tonique ne dût suivre immediatement, soit en effet, soit dans ses dérivez ; de sorte que cela auroit commencé à nous faire voir clair. Nous trouvons premierement toutes les Nottes d’un Mode (excepté la Sixiéme) renfermées dans ces deux Accords, la Sixte qui suit la nature de la Tierce étant facile à trouver : Et en second lieu, nous voyons les Accords que doivent porter ces Nottes, lorsqu’elles précedent la tonique ou sa mediante, ne restant plus qu’à trouver les Accords affectez aux Nottes, qui précedent la dominante ; ce qui doit se faire en disant : Si l’Accord parfait d’une Notte est précedé de l’Accord de Septiéme d’une autre Notte, qui est une Quinte au-dessus, la Dominante portant ordinairement l’Accord parfait, & la Septiéme qu’on y ajoûte n’en détruisant point le fondement, il faut qu’elle soit aussi précedée de l’Accord de Septiéme de la Notte, qui est une Quinte au-dessus ; & pour ne point donner atteinte au Mode que l’on traite, la Tierce de cette Notte doit être mineure, telle qu’elle se trouve, lorsqu’elle fait la Septiéme de la Dominante tonique, ou la Quarte de la Notte tonique, la Sixiéme Notte se trouvant pour lors dans ce nouvel Accord de Septiéme. Ainsi l’on juge non seulement de la nature des Intervales, qui doivent être renfermez dans l’Octave de la Notte tonique ou fondamentale de ce Mode ; mais encore des Accords qu’ils doivent porter, en tirant ces Accords du renversement des fondamentaux, dans lesquels ces Intervales sont compris. Pour ce qui est du Mode mineur, il ne differe du majeur qu’en ce que la Tierce & la Sixte doivent y être mineures, avec quelques circonstances à l’égard de la Sixte, que nous expliquons au Livre suivant.", "english": "The first mode known to us was drawn from the perfect diatonic system, where C’s octave contains six other notes whose intervals with C cannot be altered without changing the mode. Its principal notes were first taken from C’s perfect chord: the third was called mediant, the fifth dominant. It was then felt that the mediant better suited a sixth chord than a fifth chord. Yet we were not told that it thereby always represents the principal or tonic note, since its sixth chord inverts the tonic’s perfect chord. Likewise, the dominant was felt to require a perfect chord with an invariably major third. The seventh dissonance containing the diminished fifth was assigned to it alone when immediately preceding the tonic; these two notes alone form perfect cadences. But we were not told that diminished-fifth and tritone chords derive from that seventh chord, nor that, since the seventh chord exists to precede the tonic’s perfect chord, all its derivatives must likewise precede that perfect chord or its derivatives. Experience reveals this, but the rules do not mention it. These observations would have shown that whenever such a seventh chord or one of its derivatives appears in any mode, the tonic’s perfect chord or a derivative must immediately follow. This would have begun to clarify matters. First, these two chords contain every note of the mode except the sixth, which is easily found because it follows the third’s nature. Second, they show what chords the notes require before the tonic or mediant. Only the chords preceding the dominant remain to be found. Reason thus: a note’s perfect chord is preceded by the seventh chord a fifth above it; the dominant ordinarily carries a perfect chord, whose foundation is not destroyed by an added seventh; therefore it too must be preceded by the seventh chord a fifth above. To preserve the mode, the third of this new note must be minor, as it is when forming the tonic dominant’s seventh or the tonic’s fourth. The new seventh chord supplies the mode’s sixth note. We can thus judge both the intervals within the tonic’s octave and the chords they should carry, deriving these chords by inversion of the fundamental chords containing those intervals. Minor mode differs from major only in requiring minor third and sixth, with certain qualifications concerning the sixth explained in the next book.", "sources": [ { "pdf_page": 175, "source_image": "source-pages/bnf-175.png", "printed_page": 143, "bbox_pixels": [ 419, 3395, 2171, 95 ], "crop_image": "assets/II.21-006.png" }, { "pdf_page": 176, "source_image": "source-pages/bnf-176.png", "printed_page": 144, "bbox_pixels": [ 419, 361, 2171, 3171 ], "crop_image": "assets/II.21-007.png" }, { "pdf_page": 177, "source_image": "source-pages/bnf-177.png", "printed_page": 145, "bbox_pixels": [ 419, 374, 2171, 602 ], "crop_image": "assets/II.21-008.png" } ] }, { "id": "II.21-009", "type": "paragraph", "section": "II.21", "lesson": 36, "exercise": 36, "reading_order": 1031, "original": "Si l’on avoit suivi ce principe, on n’auroit pas été obligé de dire comme Masson : * Si la Basse monte d’un semi-Ton, il faut faire la Sixte mineure & la Quinte ensuite, ou deux Sixtes majeures &c. parce que cette distinction regarde differentes Nottes dans deux Modes differens ; ainsi cette regle ne fixe rien, si ce Mode n’en est l’objet. Lorsqu’il parle encore des Dissonances pour le goût du Chant ou par supposition, il cite un grand nombre de celles qui sont comprises dans l’Accord formé des Consonances qui les précedent ou qui les suivent ; si bien que la Consonance & la Dissonance qui s’y rencontrent, ne formant qu’un même Accord, la Dissonance n’y suppose rien, puisqu’elle y est sous-entenduë, en ce qu’elle doit faire partie de l’Accord. Nous passerons sous silence bien d’autres méprises de cette nature.", "english": "Had this principle been followed, Masson’s rule* would have been unnecessary: “If the bass rises a semitone, use the minor sixth followed by the fifth, or two major sixths,” and so forth. This distinction concerns different notes in two different modes. The rule therefore determines nothing unless mode is its object. When he discusses dissonances for melodic expression or by supposition, he also cites many already contained in the chord formed by the preceding or following consonances. Since consonance and dissonance then form one chord, the dissonance supposes nothing: it is already implied because it belongs to the chord. We pass over many other errors of this kind.", "sources": [ { "pdf_page": 177, "source_image": "source-pages/bnf-177.png", "printed_page": 145, "bbox_pixels": [ 419, 975, 2171, 971 ], "crop_image": "assets/II.21-009.png" } ] }, { "id": "II.21-010", "type": "paragraph", "section": "II.21", "lesson": 36, "exercise": 36, "reading_order": 1032, "original": "Quand on donne des Regles, on copie souvent celles des autres avec trop de condescendence ; & ce que l’on dit de bon se trouve quelquefois contredit, parce que l’on tire d’ailleurs.", "english": "Those giving rules often copy others with excessive deference. Their own sound statements are sometimes contradicted by what they borrow elsewhere.", "sources": [ { "pdf_page": 177, "source_image": "source-pages/bnf-177.png", "printed_page": 145, "bbox_pixels": [ 419, 1946, 2171, 221 ], "crop_image": "assets/II.21-010.png" } ] }, { "id": "II.21-011", "type": "paragraph", "section": "II.21", "lesson": 36, "exercise": 36, "reading_order": 1033, "original": "Les Anciens ont parfaitement bien défini les proprietez des Modes, en ce qui regarde les differens effets qu’ils produisent, & la sujetion où ils tiennent l’Harmonie & la Melodie ; mais ils en ont toûjours ignoré la nature, en attribuant toute la force de ces Modes à la Melodie, qu’ils pretendoient devoir être renfermée dans les sept Nottes diatoniques du systême parfait, sans autre distinction. S’ils ont pensé qu’en faisant servir de principale, chaque Notte du systême, cela pourroit causer autant d’effets differens, qu’il y a de Nottes dans ce systême ; ils ont perdu de vûë en même-temps ce qui devoit leur servir de modele. Ce systême parfait n’a-t-il donc rien de particulier, qu’on puisse se dispenser d’imiter ? Pourquoy l’avoir imité dans les Consonances qui s’y rencontrent, en ajoûtant un ♭ mol à la Notte Si, pour trouver la Quarte de la Notte Fa ? Et pourquoy l’avoir abandonné dans les Dissonances qui précedent la Notte tonique, soit en montant, soit en descendant ? Ne trouvons-nous pas un Ton d’Ut à Ré, & un semi-Ton d’Ut à Si ? Cependant s’ils prennent la Notte Mi pour tonique, ils y laissent le semi-Ton qui se trouve de Mi à Fa, & le Ton qui se trouve de Ré à Mi, au lieu de conformer cette progression à celle du systême parfait, en ajoûtant un Dieze aux Nottes Fa & Ré, de même qu’ils ont ajoûté le ♭-mol à la Notte Si. Mais c’est par-là, nous direz-vous, qu’ils differentioient leurs Modes ; erreur dont l’experience ne nous permet pas de douter ; & si l’on veut s’en rapporter aux reflexions de Zarlin, qui se contrarient avec ses Regles, l’on verra qu’il étoit mal-fondé dans ses Modes. La Basse, dit-il, * est le principe, le fondement &c. de toutes les autres Parties ; * sa progression naturelle dans les Cadences parfaites, est de descendre de Quinte ; où il faut remarquer que les Exemples qu’il en donne, renferment toûjours le semi-Ton en montant entre la Notte qui précede la finale & celle qui la termine ; & que dans d’autres Exemples, où ce semi-Ton se rencontre en montant, on y trouve le Ton en descendant sur cette même Notte finale ; si bien qu’en assemblant ces Nottes, qui précedent de tous côtez la finale, on trouvera que celle qui y monte d’un semi-Ton, fait la Tierce majeure de la Dominante, & que celle qui y descend d’un Ton, fait la Quinte de cette même Dominante. Or toutes les conclusions parfaites ne pouvant se faire que sur une Notte tonique précedée de sa Quinte, c’est-à-dire, de sa Dominante ; & l’Accord parfait de cette Dominante ne pouvant être composé que de sa Quinte & de sa Tierce majeure, nous voyons qu’il y a toûjours un Ton entre cette Quinte & la Notte tonique, & un semi-Ton entre cette Tierce majeure & la Notte tonique ; qu’ainsi l’on ne peut proposer aucun Mode, où ces proprietez ne se rencontrent ; car si la progression naturelle à la Basse dans une Cadence parfaite, est de descendre de Quinte, il est impossible de faire entendre cette Cadence dans les autres Parties, si l’une ne monte d’un semi-Ton, & l’autre ne descend d’un Ton : ainsi l’on ne peut finir une Piece de Musique que par une Cadence parfaite sur la Notte principale d’un Mode, sans quoi l’ame ne peut être satisfaite. Quelle absurdité n’y a-t-il pas à nous proposer des Modes, qui ne peuvent s’y assujettir ? C’est même de ce principe dont Zarlin a tiré la Regle, où il défend de faire monter la Tierce mineure & la Sixte mineure sur l’Octave, preuve que la Dominante tonique doit porter toûjours la Tierce majeure, & que cette Tierce est toûjours un semi-Ton au-dessous de l’Octave de la Notte principale, comme cela se trouve dans le systême parfait entre les Nottes Si & Ut. Cependant, selon les Anciens, ce semi-Ton ne se rencontre point dans les Tons de Ré, de Mi, de Sol & de La. L’on voit donc suffisamment qu’ils ne se guidoient que par la Melodie ; car s’ils eussent eû quelque égard pour l’Harmonie, ils ne seroient pas tombez dans des fautes si grossieres. Zarlin plus habile que ses prédecesseurs, à ce qu’il paroît, auroit été capable de sentir cette verité, s’il n’eût pas eû trop de condescendence pour des choses, ausquelles il étoit comme forcé de se conformer ; Je veux parler du Plein-chant de l’Eglise, qui subsistoit long-temps avant luy, & qu’il est bien difficile de reformer, par rapport à l’usage ou à la dépense, quoiqu’il ne convienne à l’Harmonie, que dans les Tons conformes au systême parfait : Aussi ne voyons nous que des gens sans goût, pleins des Regles de ces Anciens, dont le vrai sens leur est inconnu, qui s’attachent vainement à former une bonne & agréable Harmonie sur ces sortes de Chants. Ce devroit être cependant le sujet de nos veilles & de nos travaux, la Musique n’étant faite que pour chanter les loüanges de Dieu : Quel désagrément pour un homme rempli de cette verité, de ne pouvoir déployer son genie sur un si grand sujet ; il peut bien entasser des Accords sur ces Chants, & proceder sans faute jusqu’à la fin ; mais il y a bien de la difference d’une Musique sans faute à une Musique parfaite. Ces Anciens trop esclaves de leurs premieres découvertes, composerent tous ces Chants d’une Melodie que leur fournissoit le systême parfait, & finirent par où ils devoient commencer, c’est-à-dire, qu’ils établirent les Regles de l’Harmonie sur cette Melodie, au lieu de commencer par celle qui se presentoit la premiere, qui est l’Harmonie, (comme la division de la corde nous le prouve) & établirent sur elle les Regles de la Melodie, dont on formeroit même un Chant plus facile & plus coulant que celuy qui subsiste aujourd’huy dans nos Temples. Leur aveuglement se découvre encore dans la difference qu’ils ont faite des Modes authentiques, ou principaux, aux plagaux ou collateraux.", "english": "The ancients defined very well the modes’ properties in producing different effects and governing harmony and melody. But they never knew their nature, attributing all their force to melody, supposedly confined without further distinction to the perfect system’s seven diatonic notes. They thought making each note principal would produce as many different effects as there are notes, but lost sight of their model. Does the perfect system have nothing distinctive worth imitating? Why imitate its consonances by adding a flat to B to obtain F’s fourth, then abandon it in the dissonances approaching the tonic from either direction? C to D is a whole tone; C to B a semitone. Yet when E becomes tonic, they retain E–F’s semitone and D–E’s tone instead of adding sharps to F and D to match the perfect system, just as they flattened B. One may object that these differences defined their modes. Experience leaves no doubt that this was an error. Zarlin’s reflections, contradicting his rules, reveal his modes’ faulty foundation. He says* that the bass is the principle and foundation of all other parts; and* that its natural perfect-cadence movement descends a fifth. His examples always include a rising semitone from the note before the final to the final itself. Other examples with this rising semitone also have a descending whole tone to the same final. Assemble these approaching notes: the one rising a semitone is the dominant’s major third; the one descending a tone is its fifth. Every perfect conclusion requires a tonic preceded by its fifth, the dominant. That dominant’s perfect chord requires its fifth and major third. There is therefore always a whole tone from its fifth to the tonic and a semitone from its major third to the tonic. No mode can lack these properties. If the bass naturally descends a fifth in a perfect cadence, the other parts cannot make that cadence unless one rises a semitone and another descends a tone. A piece can end only with a perfect cadence on its mode’s principal note; otherwise the soul cannot be satisfied. How absurd to propose modes incapable of this! This same principle underlies Zarlin’s prohibition against raising the minor third or minor sixth to the octave. It proves that the tonic dominant must always have a major third, a semitone below the principal note’s octave, as B lies below C in the perfect system. Yet the ancient modes on D, E, G, and A lack this semitone. Clearly they followed melody alone. Regard for harmony would have prevented such gross errors. Zarlin, apparently abler than his predecessors, could have recognized this truth but deferred too much to things he was virtually compelled to accept: the Church’s plainchant, established long before him and hard to reform because of custom and expense. It suits harmony only in keys conforming to the perfect system. Thus only people without taste, steeped in ancient rules whose true meaning they do not know, vainly try to make good and pleasing harmony over such chants. Yet this should occupy our study and labor, since music is made only to sing God’s praises. How distressing for someone convinced of this to be unable to display his genius on so great a subject! He can pile chords upon these chants and proceed faultlessly to the end, but faultless music and perfect music differ greatly. Enslaved by their first discoveries, the ancients formed all these chants from the perfect system’s melody and ended where they should have begun: they based harmonic rules on that melody instead of starting with harmony, which comes first, as string division proves, and deriving melodic rules from it. Those rules would produce chant easier and more flowing than that now heard in our churches. Their blindness also appears in the distinction between authentic or principal modes and plagal or collateral modes.", "sources": [ { "pdf_page": 177, "source_image": "source-pages/bnf-177.png", "printed_page": 145, "bbox_pixels": [ 419, 2168, 2171, 1265 ], "crop_image": "assets/II.21-011.png" }, { "pdf_page": 178, "source_image": "source-pages/bnf-178.png", "printed_page": 146, "bbox_pixels": [ 419, 385, 2171, 3092 ], "crop_image": "assets/II.21-013.png" }, { "pdf_page": 179, "source_image": "source-pages/bnf-179.png", "printed_page": 147, "bbox_pixels": [ 419, 365, 2171, 2159 ], "crop_image": "assets/II.21-016.png" } ] }, { "id": "II.21-012", "type": "footnote", "section": "II.21", "lesson": 36, "exercise": 36, "reading_order": 1034, "original": "* Chap. III. p. 36. 37. & 38.", "english": "* Chapter III, pages 36, 37, and 38.", "sources": [ { "pdf_page": 177, "source_image": "source-pages/bnf-177.png", "printed_page": 145, "bbox_pixels": [ 419, 3433, 2171, 77 ], "crop_image": "assets/II.21-012.png" } ] }, { "id": "II.21-014", "type": "footnote", "section": "II.21", "lesson": 36, "exercise": 36, "reading_order": 1035, "original": "* Terza Parte cap. 58. f. 281. & 282.", "english": "* Terza Parte, chapter 58, folios 281 and 282.", "sources": [ { "pdf_page": 178, "source_image": "source-pages/bnf-178.png", "printed_page": 146, "bbox_pixels": [ 484, 3483, 978, 73 ], "crop_image": "assets/II.21-014.png" } ] }, { "id": "II.21-015", "type": "footnote", "section": "II.21", "lesson": 36, "exercise": 36, "reading_order": 1036, "original": "[ * Cap. 51. f. 251. & 252. ]", "english": "[ * Chapter 51, folios 251 and 252. ]", "sources": [ { "pdf_page": 178, "source_image": "source-pages/bnf-178.png", "printed_page": 146, "bbox_pixels": [ 1462, 3483, 768, 73 ], "crop_image": "assets/II.21-015.png" } ] }, { "id": "II.21-017", "type": "paragraph", "section": "II.21", "lesson": 36, "exercise": 36, "reading_order": 1037, "original": "La difference des proportions harmoniques & arithmetiques devint pour eux un objet si digne de leur attention, qu’ils approprierent à la division de l’Octave, ce qui ne convenoit qu’à celle de la Quinte ; & l’on va voir que la difference de ces proportions, qui ne devoit être appliquée qu’à l’Harmonie, ne fût presque employée qu’à la Melodie.", "english": "The distinction between harmonic and arithmetic proportions so absorbed them that they applied to octave division what belonged only to fifth division. We shall see that this distinction, properly belonging to harmony, was applied almost entirely to melody.", "sources": [ { "pdf_page": 179, "source_image": "source-pages/bnf-179.png", "printed_page": 147, "bbox_pixels": [ 419, 2524, 2171, 449 ], "crop_image": "assets/II.21-017.png" } ] }, { "id": "II.21-018", "type": "paragraph", "section": "II.21", "lesson": 36, "exercise": 36, "reading_order": 1038, "original": "Lorsque Zarlin a divisé l’Octave par la Quarte, pour en former un nouveau Mode, il n’a fait que transporter de lieu les Sons, qui composent cette Octave divisée par la Quinte, ce que nous appellons renverser ; de sorte que le Mode principal, où l’Octave est divisée par la Quinte & le collateral, & où elle est divisée par la Quarte, ne sont qu’un même Mode ; la même Notte est également principale ou tonique dans l’un & l’autre Mode ; sa Mediante & sa Dominante sont toûjours les mêmes, & la difference qu’on peut en faire, ne regarde que la Melodie.", "english": "When Zarlin divided the octave by the fourth to create a new mode, he merely relocated the sounds of the octave divided by the fifth—what we call inversion. Thus the principal mode, divided by the fifth, and collateral mode, divided by the fourth, are one mode. Both have the same principal or tonic note, mediant, and dominant. Their difference concerns melody alone.", "sources": [ { "pdf_page": 179, "source_image": "source-pages/bnf-179.png", "printed_page": 147, "bbox_pixels": [ 419, 2973, 2171, 531 ], "crop_image": "assets/II.21-018.png" }, { "pdf_page": 180, "source_image": "source-pages/bnf-180.png", "printed_page": 148, "bbox_pixels": [ 419, 378, 2171, 155 ], "crop_image": "assets/II.21-019.png" } ] }, { "id": "II.21-020", "type": "paragraph", "section": "II.21", "lesson": 36, "exercise": 36, "reading_order": 1039, "original": "Voici l’Exemple que cet Auteur en donne. * Le premier est le principal ; le second est son collateral, & C. signifie que C. Sol Ut sert de Notte tonique à tous les deux, ainsi Ut n’a point d’autre Mediante que Mi b, ni d’autre Dominante que Sol a ; la difference de ces deux Modes consistant à faire rouler le Chant d’un Ut à l’autre dans le principal, & d’un Sol à l’autre dans son collateral ; distinction fort inutile, puisque le Chant n’a d’autres bornes à l’égard de son étenduë, que celle des voix, qu’une experience naturelle nous apprend dans le moment.", "english": "Here is his example.* The first is principal, the second collateral. C means that “C sol ut,” the note C, serves as tonic for both. Thus C has no mediant but E, labeled b, and no dominant but G, labeled a. The difference is that the principal mode’s melody moves from one C to the other, the collateral’s from one G to the other. This distinction is useless: melody’s range is limited only by voices, whose limits natural experience immediately teaches.", "sources": [ { "pdf_page": 180, "source_image": "source-pages/bnf-180.png", "printed_page": 148, "bbox_pixels": [ 419, 529, 2171, 752 ], "crop_image": "assets/II.21-020.png" } ] }, { "id": "II.21-021", "type": "music", "section": "II.21", "lesson": 36, "exercise": 36, "reading_order": 1040, "original": "Exemple de Zarlin : Mode principal et son collateral.", "english": "Zarlin’s example: principal mode and its collateral.", "sources": [ { "pdf_page": 180, "source_image": "source-pages/bnf-180.png", "printed_page": 148, "bbox_pixels": [ 1864, 455, 720, 400 ], "crop_image": "assets/II.21-021.png" } ], "original_title": "Exemple de Zarlin : Mode principal et son collateral.", "english_title": "Zarlin’s example: principal mode and its collateral.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.21-021" ], "music_asset_refs": [ "II.21-021" ] }, { "id": "II.21-022", "type": "paragraph", "section": "II.21", "lesson": 36, "exercise": 36, "reading_order": 1041, "original": "Lorsqu’il a divisé ensuite la Quinte par la Tierce majeure & par la mineure du Son grave, il n’a pas été en son pouvoir d’en former deux Modes qui eussent la correspondence des précedens ; leurs mediantes y sont differentes, & par consequent leurs Sixtes, en quoi consiste toute la difference de la Modulation, & non pas dans la Seconde, dans la Quarte, dans la Quinte, ni dans la Septiéme-superfluë en montant à l’Octave, dont les intervales ne changent jamais, encore moins dans l’étenduë d’un Chant, où les Intervales que l’on employe au-dessus ou au-dessous de l’Octave, ne different point de ceux qui sont entre l’Octave. S’il eût suivi le sentiment de Platon, qui (comme il le rapporte) * veut que la Melodie naisse de l’Harmonie, il auroit cherché les fondemens de la Modulation dans cette Harmonie, qui leur auroit dicté des routes certaines pour arriver à la perfection, qu’il croyoit avoir atteinte, puisque ce n’est que dans l’Accord parfait de la Notte tonique & dans celuy de sa Dominante, auquel on ajoûte la Septiéme, quand il est à propos, & dans celuy de la Septiéme de sa seconde Notte, que se puise la veritable Modulation, & par conséquent tout l’enchainement de la bonne Harmonie & de la belle Melodie ; nos Regles précedentes étant conformes à ce principe, qui se soûtient par tout avec la même force.", "english": "When he subsequently divided the fifth by the lower sound’s major and minor thirds, he could not create two modes corresponding in the same way. Their mediants differ, and consequently their sixths. This is the whole difference in modulation—not second, fourth, fifth, or augmented seventh ascending to the octave, whose intervals never change, and still less melodic range, since intervals above or below the octave do not differ from those within it. Had he followed Plato’s view, which he reports,* that melody should arise from harmony, he would have sought modulation’s foundations there. Harmony would have supplied certain paths to the perfection he believed he had reached. True modulation, and therefore the entire connection of good harmony and beautiful melody, comes only from the tonic’s perfect chord, the dominant’s chord with a seventh added when appropriate, and the second note’s seventh chord. Our preceding rules conform to this principle, which maintains equal force everywhere.", "sources": [ { "pdf_page": 180, "source_image": "source-pages/bnf-180.png", "printed_page": 148, "bbox_pixels": [ 419, 1280, 2171, 1573 ], "crop_image": "assets/II.21-022.png" } ] }, { "id": "II.21-023", "type": "footnote", "section": "II.21", "lesson": 36, "exercise": 36, "reading_order": 1042, "original": "* Quarta parte, cap. 13. f. 384.", "english": "* Quarta parte, chapter 13, folio 384.", "sources": [ { "pdf_page": 180, "source_image": "source-pages/bnf-180.png", "printed_page": 148, "bbox_pixels": [ 499, 2866, 843, 79 ], "crop_image": "assets/II.21-023.png" } ] }, { "id": "II.21-024", "type": "footnote", "section": "II.21", "lesson": 36, "exercise": 36, "reading_order": 1043, "original": "[ * Secunda parte, cap. 12. f. 95. ]", "english": "[ * Secunda parte, chapter 12, folio 95. ]", "sources": [ { "pdf_page": 180, "source_image": "source-pages/bnf-180.png", "printed_page": 148, "bbox_pixels": [ 1372, 2866, 929, 79 ], "crop_image": "assets/II.21-024.png" } ] }, { "id": "II.22-001", "type": "heading", "section": "II.22", "lesson": 37, "exercise": 37, "reading_order": 1044, "original": "CHAPITRE VINGT-DEUXIÉME.", "english": "CHAPTER TWENTY-TWO.", "sources": [ { "pdf_page": 181, "source_image": "source-pages/bnf-181.png", "printed_page": 149, "bbox_pixels": [ 419, 546, 2171, 99 ], "crop_image": "assets/II.22-001.png" } ], "correction_refs": [ "supplement-155" ] }, { "id": "II.22-002", "type": "heading", "section": "II.22", "lesson": 37, "exercise": 37, "reading_order": 1045, "original": "D’où provient la liberté que l’on a de passer d’un Mode, ou d’un Ton à un autre.", "english": "The source of our freedom to pass from one mode or key to another.", "sources": [ { "pdf_page": 181, "source_image": "source-pages/bnf-181.png", "printed_page": 149, "bbox_pixels": [ 419, 683, 2171, 176 ], "crop_image": "assets/II.22-002.png" } ] }, { "id": "II.22-003", "type": "paragraph", "section": "II.22", "lesson": 37, "exercise": 37, "reading_order": 1046, "original": "LA progression consonante d’une Basse fondamentale, sur laquelle on ne fait entendre que des Accords parfaits, nous offre autant de Tons differens, qu’il peut se trouver de Sons differens dans cette Basse ; parce que l’Accord parfait étant seul affecté à une Notte tonique, il est certain que le Ton se détermine toûjours sur chacune de ces Nottes ; de sorte que de ces Consonances que nous avons reçûes des premieres divisions de la corde, nous tirons non seulement tous les Accords, toute la Melodie, & la maniere de proceder dans un même Ton, mais encore celle de passer d’un Ton à un autre (comme nous l’expliquons au Troisiéme Livre) sans se mettre en peine si le Ton doit être majeur ou mineur, parce qu’on est toûjours reglé par celuy que l’on quitte. Remarquez que nous confondons icy le terme de Mode dans celuy de Ton, lorsque la difference du majeur au mineur ne se fait point sentir sur la même Notte tonique ; car nous pouvons changer le Mode de majeur en mineur, ou de mineur en majeur, sans changer la Notte tonique ou principale de ce Mode. Par exemple, lorsque d’un sujet gai, l’on passe à un triste, ou d’un triste à un gai, comme cela se rencontre dans la plûpart des Chacones ou Passacailles, & souvent dans deux Airs de suite d’un même genre ; l’on peut dire que le Ton ne change point, quoique le Mode change ; parce que si la Notte Ut est tonique dans le Mode majeur, elle l’est aussi dans le mineur ; & c’est pour ne point confondre les termes qu’on dit simplement Ton majeur, Ton mineur ; le Ton ne pouvant jamais changer que du majeur au mineur, ou du mineur au majeur, à l’égard de la Modulation ; car à l’égard de la Notte tonique, il peut se prendre sur les vingt-quatre Nottes differentes du systême Chromatique, mais non pas indifferemment dans la suite d’une Piece ; parce que si nous pouvons nous proposer celle qu’il nous plaît pour le commencement & la fin, nous ne pouvons la quitter que pour passer à une autre qui ait du rapport avec elle, ou avec les Nottes de son Accord ; & ainsi par enchaînement, nous sommes obligez de revenir, lorsqu’il s’agit de conclure & de finir.", "english": "The consonant progression of a fundamental bass, over which only perfect chords are sounded, offers us as many different keys as there can be different sounds in that bass. For since the perfect chord alone belongs specifically to a tonic note, the key is always established upon each of these notes. Thus, from the consonances received from the first divisions of the string, we derive not only all chords, all melody, and the manner of proceeding within one key, but also the manner of passing from one key to another, as we explain in Book III. We need not trouble ourselves whether the key should be major or minor, since we are always governed by the one we are leaving. Notice that here we include the term mode within the term key when the difference between major and minor is not heard upon the same tonic note. For we can change the mode from major to minor, or minor to major, without changing that mode's tonic or principal note. For example, when a cheerful subject gives way to a sad one, or a sad one to a cheerful one—as occurs in most chaconnes or passacaglias, and often in two successive airs of the same kind—we may say that the key does not change although the mode changes. For if C is the tonic in the major mode, it is also the tonic in the minor. To avoid confusing the terms, we simply say major key and minor key. With regard to melodic and harmonic movement, the key can change only from major to minor or from minor to major. With regard to the tonic note, however, it can be taken on the twenty-four different notes of the chromatic system, though not indiscriminately during a piece. For although we may choose whichever note we please for the beginning and ending, we can leave it only to pass to another related to it or to the notes of its chord. By such a chain of connections, we are obliged to return when it is time to conclude and finish.", "sources": [ { "pdf_page": 181, "source_image": "source-pages/bnf-181.png", "printed_page": 149, "bbox_pixels": [ 419, 926, 2171, 2481 ], "crop_image": "assets/II.22-003.png" } ] }, { "id": "II.23-001", "type": "heading", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1047, "original": "CHAPITRE VINGT-TROISIÉME.", "english": "CHAPTER TWENTY-THREE.", "sources": [ { "pdf_page": 182, "source_image": "source-pages/bnf-182.png", "printed_page": 150, "bbox_pixels": [ 419, 535, 2171, 97 ], "crop_image": "assets/II.23-001.png" } ], "correction_refs": [ "supplement-155", "supplement-156", "supplement-157", "supplement-158", "supplement-159" ] }, { "id": "II.23-002", "type": "heading", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1048, "original": "De la Mesure.", "english": "On meter.", "sources": [ { "pdf_page": 182, "source_image": "source-pages/bnf-182.png", "printed_page": 150, "bbox_pixels": [ 419, 677, 2171, 92 ], "crop_image": "assets/II.23-002.png" } ] }, { "id": "II.23-003", "type": "paragraph", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1049, "original": "LA mesure a tant de force dans la Musique, qu’elle est seule capable d’exciter en nous les differentes passions que nous venons d’attribuer aux autres parties de cet Art. Sans elle toutes nos expressions deviendroient languissantes & sans fruit ; nous pouvons dire qu’elle est naturelle à un chacun ; elle nous entraîne, comme malgré nous, à suivre son mouvement, & l’on ne peut y être insensible sans quelque accident extraordinaire ; d’où il est évident (comme dit Descartes, p. 58.) que des bestes pourroient danser avec mesure, si on les y instruisoit, ou si on les y accoûtumoit de longue main, parce qu’il n’est besoin pour cela que d’un effort & d’un mouvement naturel. C’est donc à tort que l’on taxe quelquefois des personnes de n’avoir point d’oreille ; parce qu’elles ne sont pas accoûtumées à un certain mouvement, ou parce que l’attention qu’elles sont obligées de donner à l’execution d’une Danse, d’un Chant ou d’un Instrument, leur dérobe celle qu’elles pourroient donner à la mesure.", "english": "Meter has such power in music that it alone can stir the different passions we have just attributed to the other parts of this art. Without it, all our expression would become languid and fruitless. We may say that it is natural to everyone: almost against our will, it draws us into following its movement. Only some extraordinary accident can make us insensible to it. Hence it is evident, as Descartes says on page 58, that animals could dance in time if taught or long accustomed to it, since this requires only natural effort and movement. It is therefore wrong to accuse people of having no ear merely because they are unaccustomed to a certain movement, or because the attention demanded by dancing, singing, or playing an instrument takes away the attention they could give to meter.", "sources": [ { "pdf_page": 182, "source_image": "source-pages/bnf-182.png", "printed_page": 150, "bbox_pixels": [ 419, 840, 2171, 1132 ], "crop_image": "assets/II.23-003.png" } ] }, { "id": "II.23-004", "type": "paragraph", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1050, "original": "Nous pouvons tirer la Mesure du principe de l’Harmonie, puisqu’elle ne consiste que dans les nombres deux, trois, quatre, qui nous donnent l’Octave divisée arithmetiquement & harmoniquement. De plus, la Mesure ne consistant que dans une égalité de mouvemens, nous pouvons la réduire à deux temps ; parce que l’espace de temps que l’on met entre le premier & le second mouvement se continuë naturellement avec égalité : Verité d’experience dont nous pouvons faire la preuve dans tous les mouvemens qui nous sont naturels, comme en marchant, en frappant de la main plusieurs fois, ou en remuant la tête de même ; étant certain que tous nos mouvemens seront égaux aux deux premiers, si nous ne les alterons pas exprès, par une volonté contre nature. C’est pourquoy la difficulté de la mesure seroit un petit objet dans la Musique, s’il ne falloit y faire entendre qu’un Son ou une Notte à chaque temps, de même qu’au Plein-chant ; il seroit encore aisé de l’applanir, si toutes les Nottes que l’on peut passer dans un seul temps étoient égales ; parce que l’égalité de mouvement nous est toûjours naturelle, & que le nombre des Nottes que l’on passe ainsi, ne produit pas de nouvelles proportions, semblables aux nombres dans lesquels sont contenuës les raisons de tous les Accords, puisque quatre, six, huit, dix, douze, quinze, seize, vingt, &c. sont composez des premiers, deux, trois & cinq ; mais lorsque les points, les syncopes & autres passages de cette nature viennent à nôtre rencontre, nous ne pouvons y être sensibles que par une longue habitude.", "english": "We can derive meter from the principle of harmony, since it consists only in the numbers two, three, and four, which give us the octave divided arithmetically and harmonically. Moreover, since meter consists only in equal movements, we can reduce it to two beats: the interval between the first and second movements naturally continues equally. Experience proves this in our natural movements—walking, repeatedly striking with the hand, or moving the head. All subsequent movements will equal the first two unless we deliberately alter them by a will contrary to nature. Meter would therefore present little difficulty in music if only one sound or note were heard per beat, as in plainchant. The difficulty would still be easy to remove if all notes within one beat were equal, since equal movement is natural to us. Their number produces no new proportions, just as the numbers containing the ratios of all chords do not: four, six, eight, ten, twelve, fifteen, sixteen, twenty, and so forth are composed of the first numbers two, three, and five. But dots, syncopations, and similar passages can be felt only through long practice.", "sources": [ { "pdf_page": 182, "source_image": "source-pages/bnf-182.png", "printed_page": 150, "bbox_pixels": [ 419, 1972, 2171, 1594 ], "crop_image": "assets/II.23-004.png" }, { "pdf_page": 183, "source_image": "source-pages/bnf-183.png", "printed_page": 151, "bbox_pixels": [ 419, 393, 2171, 307 ], "crop_image": "assets/II.23-005.png" } ] }, { "id": "II.23-006", "type": "paragraph", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1051, "original": "Il seroit à propos, que pour former l’oreille d’une personne, on lui laissât prendre à sa discretion un mouvement égal, qui fut cependant un peu lent ; en ne lui faisant passer d’abord qu’une Notte à chaque tems, soit en chantant, soit en joüant d’un instrument ; & lorsque l’habitude en seroit parfaitement formée, on lui en feroit passer ensuite deux, 4, 8, & 16. à chaque tems, sans changer le mouvement, en s’arrêtant à chacun de ces passages autant de tems qu’il seroit necessaire, pour qu’il ne devint qu’un jeu, puis on lui en feroit passer trois & 6. de même qu’auparavant ; les points, les syncopes & autres passages de cette espece étant reservez pour la fin ; après quoy il ne sera pas difficile de lui faire repeter les mêmes choses dans un mouvement plus vif ou plus lent, de lui faire sentir les premiers & les derniers tems de chaque mesure, & de les lui faire marquer par certains mouvemens de la main ou du pied, le tout ne dépendant que de la patience du Maître & de l’Ecolier.", "english": "To train someone’s ear, it would be appropriate to let them choose an even, somewhat slow tempo. At first, have them sing or play only one note per beat. Once this habit is fully established, have them perform two, four, eight, and sixteen notes per beat without changing the tempo. Remain with each exercise as long as necessary for it to become effortless. Then proceed similarly with three and six notes. Reserve dots, syncopations, and similar passages for last. Afterward it will be easy to repeat these things faster or slower, to make the first and last beats of each measure perceptible, and to mark them with tempos of the hand or foot. All this depends only on the teacher’s and pupil’s patience.", "sources": [ { "pdf_page": 183, "source_image": "source-pages/bnf-183.png", "printed_page": 151, "bbox_pixels": [ 419, 698, 2171, 1117 ], "crop_image": "assets/II.23-006.png" } ] }, { "id": "II.23-007", "type": "paragraph", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1052, "original": "Je crois que ce petit avis, qui pourroit paroître hors de propos à quelques-uns, ne déplaira pas à quelqu’autres, parce que j’ai remarqué que beaucoup de personnes se dégoûtoient de la Musique, croyant que la nature leur refusoit ce qui ne dépend (comme l’on voit) que de l’habitude.", "english": "Some may think this little advice out of place, but I believe others will welcome it. I have noticed many people losing their taste for music because they think nature has denied them what, as we see, depends only on habit.", "sources": [ { "pdf_page": 183, "source_image": "source-pages/bnf-183.png", "printed_page": 151, "bbox_pixels": [ 419, 1815, 2171, 367 ], "crop_image": "assets/II.23-007.png" } ] }, { "id": "II.23-008", "type": "paragraph", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1053, "original": "Pour sçavoir distinguer la mesure dans la Musique, il faut connoître ce que signifient les chiffres que l’on met à la tête de chaque Piece, & la valeur des differents caracteres que nous appellons Notes, Soûpirs, &c. ce que l’on trouvera parfaitement bien expliqué dans les Livres de Messieurs de Brossard, Loullier, l’Affillard & autres, n’y ayant d’ailleurs guere de Musiciens qui ne soient capables de l’enseigner ; c’est pourquoi nous n’en rapporterons ici aucun Exemple, supposant que l’on doit être instruit de toutes ces choses, lorsqu’on veut apprendre la Composition ou l’Accompagnement. Cependant plusieurs personnes m’ayant fait remarquer la difficulté qu’elles avoient à distinguer la difference des mesures par la differente disposition des chiffres qui servent à les marquer. Voici comment on pourroit applanir cette difficulté, en se servant des seuls chiffres 2. 3. & 4. pour faire distinguer toutes les differentes mesures que l’on peut pratiquer.", "english": "To distinguish meter in music, one must know the numerals placed at the beginning of a piece and the values of the signs we call notes, rests, and so forth. These are thoroughly explained in the books of Messrs. de Brossard, Loullier, l’Affillard, and others; scarcely any musician is unable to teach them. We shall therefore give no examples here, assuming anyone studying composition or accompaniment already knows these things. Several people, however, have pointed out their difficulty distinguishing meters from the different arrangements of numerals used to mark them. Here is how that difficulty could be removed, using only 2, 3, and 4 to distinguish every usable meter.", "sources": [ { "pdf_page": 183, "source_image": "source-pages/bnf-183.png", "printed_page": 151, "bbox_pixels": [ 419, 2183, 2171, 1126 ], "crop_image": "assets/II.23-008.png" } ] }, { "id": "II.23-009", "type": "paragraph", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1054, "original": "Il faut supposer d’abord, que puisque la mesure ne se distingue qu’en 2, 3, ou 4. tems, nous n’avons pas besoin d’autres chiffres pour la marquer, & rien ne seroit plus propre à nous faire distinguer sa lenteur & sa vitesse, que la valeur des Nottes dont chaque mesure peut être remplie ; car sçachant que le mouvement de la Ronde est plus lent que celui de la Blanche, & ainsi de la Blanche à la Noire, de la Noire à la Croche, & de la Croche à la double-Croche ; qui est-ce qui ne comprendra pas sur le champ, qu’une mesure où la Ronde ne vaudra qu’un tems, sera plus lente que celle où la Blanche vaudra un tems, & ainsi de la Blanche à la Noire, &c.", "english": "First suppose that since meter is distinguished only as two, three, or four beats, no other numerals are needed. Nothing would better distinguish its slowness or speed than the note values filling each measure. Knowing that the whole note moves more slowly than the half note, and likewise the half more slowly than the quarter, the quarter than the eighth, and the eighth than the sixteenth, who would not immediately understand that a whole-note beat means slower tempo than a half-note beat, and similarly from half to quarter, and so on?", "sources": [ { "pdf_page": 183, "source_image": "source-pages/bnf-183.png", "printed_page": 151, "bbox_pixels": [ 419, 3309, 2171, 249 ], "crop_image": "assets/II.23-009.png" }, { "pdf_page": 184, "source_image": "source-pages/bnf-184.png", "printed_page": 152, "bbox_pixels": [ 419, 361, 2171, 529 ], "crop_image": "assets/II.23-010.png" } ] }, { "id": "II.23-011", "type": "paragraph", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1055, "original": "La mesure où la Ronde ne vaudroit qu’un tems, seroit la plus lente de toutes, que les Italiens distinguent par les termes d’Adagio, ou de Largo.", "english": "A whole-note beat would give the slowest meter of all, distinguished by the Italians as Adagio or Largo.", "sources": [ { "pdf_page": 184, "source_image": "source-pages/bnf-184.png", "printed_page": 152, "bbox_pixels": [ 419, 889, 2171, 223 ], "crop_image": "assets/II.23-011.png" } ] }, { "id": "II.23-012", "type": "paragraph", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1056, "original": "Celle où la Blanche ne vaudroit qu’un tems seroit un peu moins lente, elle pourroit servir aux Chants tendres & gracieux, & ce seroit elle que les Italiens distinguent par les termes d’Andante ou de Gratioso.", "english": "A half-note beat would be somewhat less slow, suitable for tender and graceful melodies: what Italians distinguish as Andante or Gratioso.", "sources": [ { "pdf_page": 184, "source_image": "source-pages/bnf-184.png", "printed_page": 152, "bbox_pixels": [ 419, 1113, 2171, 296 ], "crop_image": "assets/II.23-012.png" } ] }, { "id": "II.23-013", "type": "paragraph", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1057, "original": "Celle où la Noire vaudroit un temps, tiendroit du vif & du gai, que les Italiens distinguent sous les termes de Vivace ou d’Allegro.", "english": "A quarter-note beat would have a lively, cheerful character, distinguished by Italians as Vivace or Allegro.", "sources": [ { "pdf_page": 184, "source_image": "source-pages/bnf-184.png", "printed_page": 152, "bbox_pixels": [ 419, 1409, 2171, 161 ], "crop_image": "assets/II.23-013.png" } ] }, { "id": "II.23-014", "type": "paragraph", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1058, "original": "Celle où la Croche voudroit un temps seroit la plus vive, que les Italiens distinguent par le terme de Presto ; & dans une mesure à trois temps, l’on pourroit se servir encore de la double-Croche pour chaque temps, pour exprimer ce mouvement très-vif, que les Italiens appellent Prestissimo ; car dans une mesure à deux temps, ce mouvement peut s’exprimer par une Croche pour chaque temps. Ainsi les Chants lents, moins lents, vifs, gais & très-vifs, étant distinguez par la valeur des Notes comprises dans chaque temps, il ne resteroit plus qu’à ajoûter certains termes plus expressifs, comme tendrement, gracieusement, détaché, lié, louré, & aux mouvemens où ces expressions conviendroient.", "english": "An eighth-note beat would be the fastest, called Presto by the Italians. In three-beat meter, one could also use a sixteenth note per beat for the very rapid movement they call Prestissimo; in two-beat meter, an eighth-note beat can express that movement. With slow, less slow, lively, cheerful, and very rapid music thus distinguished by beat values, only more expressive terms need be added where appropriate: tenderly, gracefully, detached, connected, or louré.", "sources": [ { "pdf_page": 184, "source_image": "source-pages/bnf-184.png", "printed_page": 152, "bbox_pixels": [ 419, 1571, 2171, 819 ], "crop_image": "assets/II.23-014.png" } ] }, { "id": "II.23-015", "type": "paragraph", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1059, "original": "Le chiffre mis à la tête d’une Piece nous marquant la quantité des temps de chaque mesure ; & ne s’agissant plus que de sçavoir distinguer la valeur de la Notte qui doit remplir chaque temps, l’Auteur pourra (pour l’intelligence des Concertans) mettre immédiatement avant la Clef, la Notte qui conviendra pour lors, pour épargner la peine de calculer une certaine quantité de Nottes, dont chaque temps peut être composé, & dont la valeur doit égaler celle des Nottes qui valent pour lors un temps ; l’on peut mettre de plus cette Notte sur la ligne du Ton dans lequel la Piece est composée, comme nous l’observerons dans les Exemples suivans.", "english": "The numeral at a piece’s beginning tells us its beats per measure. To identify the value of each beat, the author can place the appropriate note immediately before the clef for the performers’ understanding. This saves calculating the collection of notes in each beat, whose total must equal that beat’s note value. Furthermore, this note may be placed at the staff position of the piece’s key, as in the following examples.", "sources": [ { "pdf_page": 184, "source_image": "source-pages/bnf-184.png", "printed_page": 152, "bbox_pixels": [ 419, 2389, 2171, 752 ], "crop_image": "assets/II.23-015.png" } ] }, { "id": "II.23-016", "type": "heading", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1060, "original": "EXEMPLES.", "english": "EXAMPLES.", "sources": [ { "pdf_page": 185, "source_image": "source-pages/bnf-185.png", "printed_page": 153, "bbox_pixels": [ 419, 447, 2171, 90 ], "alternate_image": "source-pages/alternate/bne-189-native.png", "crop_image": "assets/II.23-016.png" } ] }, { "id": "II.23-017", "type": "heading", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1061, "original": "A quatre Temps.", "english": "Four beats.", "sources": [ { "pdf_page": 185, "source_image": "source-pages/bnf-185.png", "printed_page": 153, "bbox_pixels": [ 419, 561, 2171, 88 ], "alternate_image": "source-pages/alternate/bne-189-native.png", "crop_image": "assets/II.23-017.png" } ] }, { "id": "II.23-018", "type": "music", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1062, "original": "Tres lentement.", "english": "Very slowly.", "sources": [ { "pdf_page": 185, "source_image": "source-pages/bnf-185.png", "printed_page": 153, "bbox_pixels": [ 413, 589, 1034, 432 ], "alternate_image": "source-pages/alternate/bne-189-native.png", "crop_image": "assets/II.23-018.png" } ], "original_title": "Tres lentement.", "english_title": "Very slowly.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.23-018" ], "music_asset_refs": [ "II.23-018" ] }, { "id": "II.23-019", "type": "music", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1063, "original": "Lentement.", "english": "Slowly.", "sources": [ { "pdf_page": 185, "source_image": "source-pages/bnf-185.png", "printed_page": 153, "bbox_pixels": [ 1419, 589, 1060, 432 ], "alternate_image": "source-pages/alternate/bne-189-native.png", "crop_image": "assets/II.23-019.png" } ], "original_title": "Lentement.", "english_title": "Slowly.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.23-019" ], "music_asset_refs": [ "II.23-019" ] }, { "id": "II.23-020", "type": "music", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1064, "original": "Un peu vif ou gay.", "english": "Somewhat lively or cheerful.", "sources": [ { "pdf_page": 185, "source_image": "source-pages/bnf-185.png", "printed_page": 153, "bbox_pixels": [ 415, 967, 774, 440 ], "alternate_image": "source-pages/alternate/bne-189-native.png", "crop_image": "assets/II.23-020.png" } ], "original_title": "Un peu vif ou gay.", "english_title": "Somewhat lively or cheerful.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.23-020" ], "music_asset_refs": [ "II.23-020" ] }, { "id": "II.23-021", "type": "music", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1065, "original": "Vite.", "english": "Fast.", "sources": [ { "pdf_page": 185, "source_image": "source-pages/bnf-185.png", "printed_page": 153, "bbox_pixels": [ 1163, 967, 1413, 440 ], "alternate_image": "source-pages/alternate/bne-189-native.png", "crop_image": "assets/II.23-021.png" } ], "original_title": "Vite.", "english_title": "Fast.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.23-021" ], "music_asset_refs": [ "II.23-021" ] }, { "id": "II.23-022", "type": "heading", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1066, "original": "A deux Temps.", "english": "Two beats.", "sources": [ { "pdf_page": 185, "source_image": "source-pages/bnf-185.png", "printed_page": 153, "bbox_pixels": [ 419, 1412, 2171, 99 ], "alternate_image": "source-pages/alternate/bne-189-native.png", "crop_image": "assets/II.23-022.png" } ] }, { "id": "II.23-023", "type": "music", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1067, "original": "Lentement.", "english": "Slowly.", "sources": [ { "pdf_page": 185, "source_image": "source-pages/bnf-185.png", "printed_page": 153, "bbox_pixels": [ 413, 1461, 662, 406 ], "alternate_image": "source-pages/alternate/bne-189-native.png", "crop_image": "assets/II.23-023.png" } ], "original_title": "Lentement.", "english_title": "Slowly.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.23-023" ], "music_asset_refs": [ "II.23-023" ] }, { "id": "II.23-024", "type": "music", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1068, "original": "Gayement.", "english": "Cheerfully.", "sources": [ { "pdf_page": 185, "source_image": "source-pages/bnf-185.png", "printed_page": 153, "bbox_pixels": [ 1053, 1461, 563, 406 ], "alternate_image": "source-pages/alternate/bne-189-native.png", "crop_image": "assets/II.23-024.png" } ], "original_title": "Gayement.", "english_title": "Cheerfully.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.23-024" ], "music_asset_refs": [ "II.23-024" ] }, { "id": "II.23-025", "type": "music", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1069, "original": "Vite.", "english": "Fast.", "sources": [ { "pdf_page": 185, "source_image": "source-pages/bnf-185.png", "printed_page": 153, "bbox_pixels": [ 1582, 1461, 875, 406 ], "alternate_image": "source-pages/alternate/bne-189-native.png", "crop_image": "assets/II.23-025.png" } ], "original_title": "Vite.", "english_title": "Fast.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.23-025" ], "music_asset_refs": [ "II.23-025" ] }, { "id": "II.23-026", "type": "music", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1070, "original": "Tres vite.", "english": "Very fast.", "sources": [ { "pdf_page": 185, "source_image": "source-pages/bnf-185.png", "printed_page": 153, "bbox_pixels": [ 413, 1824, 821, 391 ], "alternate_image": "source-pages/alternate/bne-189-native.png", "crop_image": "assets/II.23-026.png" } ], "original_title": "Tres vite.", "english_title": "Very fast.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.23-026" ], "music_asset_refs": [ "II.23-026" ] }, { "id": "II.23-027", "type": "heading", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1071, "original": "A trois Temps.", "english": "Three beats.", "sources": [ { "pdf_page": 185, "source_image": "source-pages/bnf-185.png", "printed_page": 153, "bbox_pixels": [ 419, 2194, 2171, 92 ], "alternate_image": "source-pages/alternate/bne-189-native.png", "crop_image": "assets/II.23-027.png" } ] }, { "id": "II.23-028", "type": "music", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1072, "original": "Tres lentement.", "english": "Very slowly.", "sources": [ { "pdf_page": 185, "source_image": "source-pages/bnf-185.png", "printed_page": 153, "bbox_pixels": [ 413, 2245, 630, 428 ], "alternate_image": "source-pages/alternate/bne-189-native.png", "crop_image": "assets/II.23-028.png" } ], "original_title": "Tres lentement.", "english_title": "Very slowly.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.23-028" ], "music_asset_refs": [ "II.23-028" ] }, { "id": "II.23-029", "type": "music", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1073, "original": "Lentement.", "english": "Slowly.", "sources": [ { "pdf_page": 185, "source_image": "source-pages/bnf-185.png", "printed_page": 153, "bbox_pixels": [ 1015, 2245, 589, 428 ], "alternate_image": "source-pages/alternate/bne-189-native.png", "crop_image": "assets/II.23-029.png" } ], "original_title": "Lentement.", "english_title": "Slowly.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.23-029" ], "music_asset_refs": [ "II.23-029" ] }, { "id": "II.23-030", "type": "music", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1074, "original": "Gayement.", "english": "Cheerfully.", "sources": [ { "pdf_page": 185, "source_image": "source-pages/bnf-185.png", "printed_page": 153, "bbox_pixels": [ 1572, 2245, 703, 428 ], "alternate_image": "source-pages/alternate/bne-189-native.png", "crop_image": "assets/II.23-030.png" } ], "original_title": "Gayement.", "english_title": "Cheerfully.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.23-030" ], "music_asset_refs": [ "II.23-030" ] }, { "id": "II.23-031", "type": "music", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1075, "original": "Vite.", "english": "Fast.", "sources": [ { "pdf_page": 185, "source_image": "source-pages/bnf-185.png", "printed_page": 153, "bbox_pixels": [ 413, 2600, 535, 404 ], "alternate_image": "source-pages/alternate/bne-189-native.png", "crop_image": "assets/II.23-031.png" } ], "original_title": "Vite.", "english_title": "Fast.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.23-031" ], "music_asset_refs": [ "II.23-031" ] }, { "id": "II.23-032", "type": "music", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1076, "original": "Tres Vite.", "english": "Very fast.", "sources": [ { "pdf_page": 185, "source_image": "source-pages/bnf-185.png", "printed_page": 153, "bbox_pixels": [ 918, 2600, 660, 404 ], "alternate_image": "source-pages/alternate/bne-189-native.png", "crop_image": "assets/II.23-032.png" } ], "original_title": "Tres Vite.", "english_title": "Very fast.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.23-032" ], "music_asset_refs": [ "II.23-032" ] }, { "id": "II.23-033", "type": "paragraph", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1077, "original": "Il sera inutile de mettre ces mots lentement, vif &c. parce que cela est désigné par la lenteur ou par la vitesse naturelle aux Nottes placées à la tête de chaque Piece ; mais le triste & le lugubre étant naturels aux mouvemens lents ; le tendre & le gracieux aux mouvemens lents & gais ; le furieux aux mouvemens très-vifs &c. l’on peut y ajoûter ces mots, quand l’expression le demande.", "english": "Words such as slowly or lively will be unnecessary, since the natural slowness or speed of the notes at the beginning already indicates this. But sadness and mournfulness naturally belong to slow movements; tenderness and grace to slow and cheerful movements; fury to very rapid movements, and so forth. Such expressive words may be added when required.", "sources": [ { "pdf_page": 185, "source_image": "source-pages/bnf-185.png", "printed_page": 153, "bbox_pixels": [ 419, 3029, 2171, 464 ], "alternate_image": "source-pages/alternate/bne-189-native.png", "crop_image": "assets/II.23-033.png" } ] }, { "id": "II.23-034", "type": "paragraph", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1078, "original": "L’on voit dans la premiere mesure à quatre temps, que huit Noires, deux Blanches & une Ronde, valent quatre Rondes ; calcul que l’on peut éviter en mettant (comme nous l’avons dit) cette Ronde à la tête de la Piece ; ainsi des autres mouvemens où la Noire, la Blanche &c. doivent former un temps.", "english": "In the first four-beat measure, eight quarters, two halves, and one whole equal four whole notes. Placing the whole-note sign at the beginning, as proposed, avoids this calculation. The same applies to other movements where a quarter, half, or another note makes one beat.", "sources": [ { "pdf_page": 186, "source_image": "source-pages/bnf-186.png", "printed_page": 154, "bbox_pixels": [ 419, 395, 2171, 376 ], "crop_image": "assets/II.23-034.png" } ] }, { "id": "II.23-035", "type": "paragraph", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1079, "original": "Souvenez-vous qu’un temps ne se divise ordinairement qu’en quatre, qu’ainsi lorsque la Ronde vaut un temps, l’on peut mettre quatre Noires pour la valeur de cette Ronde, mais rarement huit Croches, quoique l’on puisse en faire passer quelques-unes pour le goût du chant ; & il n’y a que dans des passages accidentels, où le temps puisse se diviser en huit, & cette division ne s’exprime qu’en idée ; car il faut que toutes les Nottes qui ne composent que la valeur de celle qui vaut un temps, passent pendant ce temps à proportion de leur valeur.", "english": "Remember that a beat is ordinarily divided into no more than four parts. When a whole note is one beat, four quarters may fill it, but rarely eight eighths, although some may occur for the melody’s expression. Only in occasional passages can a beat divide into eight, and this division is conceived mentally. All the notes together equaling the beat value must pass within that beat in proportion to their values.", "sources": [ { "pdf_page": 186, "source_image": "source-pages/bnf-186.png", "printed_page": 154, "bbox_pixels": [ 419, 771, 2171, 677 ], "crop_image": "assets/II.23-035.png" } ] }, { "id": "II.23-036", "type": "paragraph", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1080, "original": "Plus les mouvemens sont vif, moins on divise le temps.", "english": "The faster the movement, the less the beat is subdivided.", "sources": [ { "pdf_page": 186, "source_image": "source-pages/bnf-186.png", "printed_page": 154, "bbox_pixels": [ 419, 1448, 2171, 77 ], "crop_image": "assets/II.23-036.png" } ] }, { "id": "II.23-037", "type": "paragraph", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1081, "original": "Pour marquer à present une mesure où l’on voudroit faire passer trois Nottes d’égale valeur dans un seul temps, il n’y a qu’à mettre avant la clef, une Notte avec un point, qui vaille les trois Nottes d’égale valeur.", "english": "To mark a meter with three equal notes in one beat, simply put before the clef a dotted note equal in value to those three notes.", "sources": [ { "pdf_page": 186, "source_image": "source-pages/bnf-186.png", "printed_page": 154, "bbox_pixels": [ 419, 1525, 2171, 294 ], "crop_image": "assets/II.23-037.png" } ] }, { "id": "II.23-038", "type": "heading", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1082, "original": "EXEMPLES.", "english": "EXAMPLES.", "sources": [ { "pdf_page": 187, "source_image": "source-pages/bnf-187.png", "printed_page": 155, "bbox_pixels": [ 419, 449, 2171, 86 ], "alternate_image": "source-pages/alternate/bne-191-native.png", "crop_image": "assets/II.23-038.png" } ] }, { "id": "II.23-039", "type": "heading", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1083, "original": "A trois Temps.", "english": "Three beats.", "sources": [ { 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"Slowly.", "sources": [ { "pdf_page": 187, "source_image": "source-pages/bnf-187.png", "printed_page": 155, "bbox_pixels": [ 1208, 595, 1056, 423 ], "alternate_image": "source-pages/alternate/bne-191-native.png", "crop_image": "assets/II.23-041.png" } ], "original_title": "Lentement.", "english_title": "Slowly.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.23-041" ], "music_asset_refs": [ "II.23-041" ] }, { "id": "II.23-042", "type": "music", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1086, "original": "Gay.", "english": "Cheerful.", "sources": [ { "pdf_page": 187, "source_image": "source-pages/bnf-187.png", "printed_page": 155, "bbox_pixels": [ 419, 975, 1081, 412 ], "alternate_image": "source-pages/alternate/bne-191-native.png", "crop_image": "assets/II.23-042.png" } ], "original_title": "Gay.", "english_title": "Cheerful.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.23-042" ], "music_asset_refs": [ "II.23-042" ] }, { "id": "II.23-043", "type": "music", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1087, "original": "Vite.", "english": "Fast.", "sources": [ { "pdf_page": 187, "source_image": "source-pages/bnf-187.png", "printed_page": 155, "bbox_pixels": [ 1462, 975, 1137, 412 ], "alternate_image": "source-pages/alternate/bne-191-native.png", "crop_image": "assets/II.23-043.png" } ], "original_title": "Vite.", "english_title": "Fast.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.23-043" ], "music_asset_refs": [ "II.23-043" ] }, { "id": "II.23-044", "type": "heading", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1088, "original": "A deux Temps.", "english": "Two beats.", "sources": [ { "pdf_page": 187, "source_image": "source-pages/bnf-187.png", "printed_page": 155, "bbox_pixels": [ 419, 1369, 2171, 88 ], "alternate_image": "source-pages/alternate/bne-191-native.png", "crop_image": "assets/II.23-044.png" } ] }, { "id": "II.23-045", "type": "music", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1089, "original": "Tres lentement.", "english": "Very slowly.", "sources": [ { "pdf_page": 187, "source_image": "source-pages/bnf-187.png", "printed_page": 155, "bbox_pixels": [ 419, 1412, 714, 438 ], "alternate_image": "source-pages/alternate/bne-191-native.png", "crop_image": "assets/II.23-045.png" } ], "original_title": "Tres lentement.", "english_title": "Very slowly.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.23-045" ], "music_asset_refs": [ "II.23-045" ] }, { "id": "II.23-046", "type": "music", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1090, "original": "Lentement.", "english": "Slowly.", "sources": [ { "pdf_page": 187, "source_image": "source-pages/bnf-187.png", "printed_page": 155, "bbox_pixels": [ 1101, 1412, 656, 438 ], "alternate_image": 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"Vite.", "english": "Fast.", "sources": [ { "pdf_page": 187, "source_image": "source-pages/bnf-187.png", "printed_page": 155, "bbox_pixels": [ 419, 1772, 832, 415 ], "alternate_image": "source-pages/alternate/bne-191-native.png", "crop_image": "assets/II.23-048.png" } ], "original_title": "Vite.", "english_title": "Fast.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.23-048" ], "music_asset_refs": [ "II.23-048" ] }, { "id": "II.23-049", "type": "heading", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1093, "original": "A quatre Temps.", "english": "Four beats.", "sources": [ { "pdf_page": 187, "source_image": "source-pages/bnf-187.png", "printed_page": 155, "bbox_pixels": [ 419, 2170, 2171, 88 ], "alternate_image": "source-pages/alternate/bne-191-native.png", "crop_image": "assets/II.23-049.png" } ] }, { "id": "II.23-050", "type": "music", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1094, "original": "Tres lent.", "english": "Very slow.", "sources": [ { "pdf_page": 187, "source_image": "source-pages/bnf-187.png", "printed_page": 155, "bbox_pixels": [ 419, 2200, 905, 453 ], "alternate_image": "source-pages/alternate/bne-191-native.png", "crop_image": "assets/II.23-050.png" } ], "original_title": "Tres lent.", "english_title": "Very slow.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.23-050" ], "music_asset_refs": [ "II.23-050" ] }, { "id": "II.23-051", "type": "music", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1095, "original": "Lent.", "english": "Slow.", "sources": [ { "pdf_page": 187, "source_image": "source-pages/bnf-187.png", "printed_page": 155, "bbox_pixels": [ 1294, 2200, 1114, 453 ], "alternate_image": "source-pages/alternate/bne-191-native.png", "crop_image": "assets/II.23-051.png" } ], "original_title": "Lent.", "english_title": "Slow.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.23-051" ], "music_asset_refs": [ "II.23-051" ] }, { "id": "II.23-052", "type": "music", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1096, "original": "Gay.", "english": "Cheerful.", "sources": [ { "pdf_page": 187, "source_image": "source-pages/bnf-187.png", "printed_page": 155, "bbox_pixels": [ 419, 2587, 1112, 432 ], "alternate_image": "source-pages/alternate/bne-191-native.png", "crop_image": "assets/II.23-052.png" } ], "original_title": "Gay.", "english_title": "Cheerful.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.23-052" ], "music_asset_refs": [ "II.23-052" ] }, { "id": "II.23-053", "type": "music", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1097, "original": "Vite.", "english": "Fast.", "sources": [ { "pdf_page": 187, "source_image": "source-pages/bnf-187.png", "printed_page": 155, "bbox_pixels": [ 1494, 2587, 1103, 432 ], "alternate_image": "source-pages/alternate/bne-191-native.png", "crop_image": "assets/II.23-053.png" } ], "original_title": "Vite.", "english_title": "Fast.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.23-053" ], "music_asset_refs": [ "II.23-053" ] }, { "id": "II.23-054", "type": "paragraph", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1098, "original": "Il y a encore des mouvemens à deux temps, à quatre temps, & même à six temps inégaux, qui ne different de ces derniers, qu’en ce que l’on partage chaque temps en deux ; le premier de ces deux temps valant toûjours le double du second ; ainsi pour faire distinguer ces sortes de mouvemens, l’on pourra marquer la valeur des deux premiers temps de chaque mesure par des Nottes équivalantes.", "english": "There are also movements with two, four, or even six unequal beats. They differ from the preceding ones only by dividing each beat in two, the first of the two always twice as long as the second. To distinguish such movements, mark the values of the first two beats of each measure with equivalent notes.", "sources": [ { "pdf_page": 187, "source_image": "source-pages/bnf-187.png", "printed_page": 155, "bbox_pixels": [ 419, 3029, 2171, 522 ], "alternate_image": "source-pages/alternate/bne-191-native.png", "crop_image": "assets/II.23-054.png" } ] }, { "id": "II.23-055", "type": "heading", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1099, "original": "EXEMPLES.", "english": "EXAMPLES.", "sources": [ { "pdf_page": 188, "source_image": "source-pages/bnf-188.png", "printed_page": 156, "bbox_pixels": [ 419, 451, 2171, 84 ], "alternate_image": "source-pages/alternate/bne-192-native.png", "crop_image": "assets/II.23-055.png" } ] }, { "id": "II.23-056", "type": "heading", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1100, "original": "A deux Temps inégaux.", "english": "Two unequal beats.", "sources": [ { "pdf_page": 188, "source_image": 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"source_image": "source-pages/bnf-188.png", "printed_page": 156, "bbox_pixels": [ 1056, 576, 826, 410 ], "alternate_image": "source-pages/alternate/bne-192-native.png", "crop_image": "assets/II.23-058.png" } ], "original_title": "gracieusement.", "english_title": "Gracefully.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.23-058" ], "music_asset_refs": [ "II.23-058" ] }, { "id": "II.23-059", "type": "music", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1103, "original": "Gay.", "english": "Cheerful.", "sources": [ { "pdf_page": 188, "source_image": "source-pages/bnf-188.png", "printed_page": 156, "bbox_pixels": [ 1849, 576, 628, 410 ], "alternate_image": "source-pages/alternate/bne-192-native.png", "crop_image": "assets/II.23-059.png" } ], "original_title": "Gay.", "english_title": "Cheerful.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.23-059" ], "music_asset_refs": [ "II.23-059" ] }, { "id": "II.23-060", "type": "music", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1104, "original": "Vite.", "english": "Fast.", "sources": [ { "pdf_page": 188, "source_image": "source-pages/bnf-188.png", "printed_page": 156, "bbox_pixels": [ 415, 924, 847, 363 ], "alternate_image": "source-pages/alternate/bne-192-native.png", "crop_image": "assets/II.23-060.png" } ], "original_title": "Vite.", "english_title": "Fast.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.23-060" ], "music_asset_refs": [ "II.23-060" ] }, { "id": "II.23-061", "type": "heading", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1105, "original": "A quatre Temps inégaux.", "english": "Four unequal beats.", "sources": [ { "pdf_page": 188, "source_image": "source-pages/bnf-188.png", "printed_page": 156, "bbox_pixels": [ 419, 1268, 2171, 92 ], "alternate_image": "source-pages/alternate/bne-192-native.png", "crop_image": "assets/II.23-061.png" } ] }, { "id": "II.23-062", "type": "music", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1106, "original": "Lentement.", "english": "Slowly.", "sources": [ { "pdf_page": 188, "source_image": "source-pages/bnf-188.png", "printed_page": 156, "bbox_pixels": [ 415, 1304, 596, 412 ], "alternate_image": "source-pages/alternate/bne-192-native.png", "crop_image": "assets/II.23-062.png" } ], "original_title": "Lentement.", "english_title": "Slowly.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.23-062" ], "music_asset_refs": [ "II.23-062" ] }, { "id": "II.23-063", "type": "music", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1107, "original": "Mouvement de Loure.", "english": "Loure movement.", "sources": [ { "pdf_page": 188, "source_image": "source-pages/bnf-188.png", "printed_page": 156, "bbox_pixels": [ 978, 1304, 1322, 412 ], "alternate_image": 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"original": "Vite.", "english": "Fast.", "sources": [ { "pdf_page": 188, "source_image": "source-pages/bnf-188.png", "printed_page": 156, "bbox_pixels": [ 1180, 1639, 1112, 406 ], "alternate_image": "source-pages/alternate/bne-192-native.png", "crop_image": "assets/II.23-065.png" } ], "original_title": "Vite.", "english_title": "Fast.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.23-065" ], "music_asset_refs": [ "II.23-065" ] }, { "id": "II.23-066", "type": "heading", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1110, "original": "A six Temps inégaux.", "english": "Six unequal beats.", "sources": [ { "pdf_page": 188, "source_image": "source-pages/bnf-188.png", "printed_page": 156, "bbox_pixels": [ 419, 2047, 2171, 99 ], "alternate_image": "source-pages/alternate/bne-192-native.png", "crop_image": "assets/II.23-066.png" } ] }, { "id": "II.23-067", "type": "music", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1111, "original": "Lentement.", "english": "Slowly.", "sources": [ { "pdf_page": 188, "source_image": "source-pages/bnf-188.png", "printed_page": 156, "bbox_pixels": [ 415, 2097, 1013, 397 ], "alternate_image": "source-pages/alternate/bne-192-native.png", "crop_image": "assets/II.23-067.png" } ], "original_title": "Lentement.", "english_title": "Slowly.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.23-067" ], "music_asset_refs": [ "II.23-067" ] }, { "id": "II.23-068", "type": "music", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1112, "original": "Gracieusement.", "english": "Gracefully.", "sources": [ { "pdf_page": 188, "source_image": "source-pages/bnf-188.png", "printed_page": 156, "bbox_pixels": [ 1397, 2097, 1165, 397 ], "alternate_image": "source-pages/alternate/bne-192-native.png", "crop_image": "assets/II.23-068.png" } ], "original_title": "Gracieusement.", "english_title": "Gracefully.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.23-068" ], "music_asset_refs": [ "II.23-068" ] }, { "id": "II.23-069", "type": "music", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1113, "original": "Gay.", "english": "Cheerful.", "sources": [ { "pdf_page": 188, "source_image": "source-pages/bnf-188.png", "printed_page": 156, "bbox_pixels": [ 415, 2447, 888, 400 ], "alternate_image": "source-pages/alternate/bne-192-native.png", "crop_image": "assets/II.23-069.png" } ], "original_title": "Gay.", "english_title": "Cheerful.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.23-069" ], "music_asset_refs": [ "II.23-069" ] }, { "id": "II.23-070", "type": "music", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1114, "original": "Vite.", "english": "Fast.", "sources": [ { "pdf_page": 188, "source_image": "source-pages/bnf-188.png", "printed_page": 156, "bbox_pixels": [ 1277, 2447, 1064, 400 ], "alternate_image": "source-pages/alternate/bne-192-native.png", "crop_image": "assets/II.23-070.png" } ], "original_title": "Vite.", "english_title": "Fast.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.23-070" ], "music_asset_refs": [ "II.23-070" ] }, { "id": "II.23-071", "type": "paragraph", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1115, "original": "L’habitude où l’on est de marquer des mêmes chiffres ces mouvemens à temps inégaux ; & ceux où l’on fait passer trois Nottes d’égale valeur pour chaque temps, nous ôte la facilité de les distinguer, & fait qu’on les confond souvent ; d’où il arrive que l’on ne donne pas toûjours à un Air le mouvement qui luy convient ; car les temps inégaux obligent d’appuyer un peu sur le second, le quatriéme & le sixiéme temps, en introduisant je ne sçai quoi de gracieux dans les premier, troisiéme & cinquiéme temps, dont l’effet est bien different de celui que produiroient ces mêmes mouvemens battus à temps égaux ; quoique la disposition des mesures à quatre temps inégaux, soit la même que celle des mesures à deux temps, où l’on fait passer trois Nottes d’égale valeur pour chaque temps ; ainsi des mesures à six temps inégaux avec celles à trois temps, où l’on fait passer encore trois Nottes d’égale valeur pour chaque temps, & de celles à deux temps inégaux avec celles à trois temps ordinaires ; mais il est facile de les distinguer par la difference des Nottes que nous mettons à la tête de chaque Air.", "english": "The habit of using the same numerals for unequal-beat movements and for movements containing three equal notes per beat makes them hard to distinguish and often confuses them. An air consequently does not always receive its proper movement. Unequal beats require a slight emphasis on the second, fourth, and sixth beats, introducing an indefinable grace into the first, third, and fifth. Their effect is very different from beating the same music in equal beats, although four unequal beats have the same arrangement as two beats containing three equal notes each. Likewise, six unequal beats correspond to three beats containing three equal notes each; and two unequal beats correspond to ordinary three-beat meter. Our different note signs at the beginning of each air make them easy to distinguish.", "sources": [ { "pdf_page": 188, "source_image": "source-pages/bnf-188.png", "printed_page": 156, "bbox_pixels": [ 419, 2847, 2171, 688 ], "alternate_image": "source-pages/alternate/bne-192-native.png", "crop_image": "assets/II.23-071.png" }, { "pdf_page": 189, "source_image": "source-pages/bnf-189.png", "printed_page": 157, "bbox_pixels": [ 419, 395, 2171, 599 ], "crop_image": "assets/II.23-072.png" } ] }, { "id": "II.23-073", "type": "paragraph", "section": "II.23", "lesson": 38, "exercise": 38, "reading_order": 1116, "original": "La mesure à six temps inégaux n’est pas fort en usage, par la difficulté qu’il y a à la battre : Ceux qui voudront cependant s’en servir (car il est certain qu’elle convient à des expressions particulieres) pourront frapper le premier temps, baisser la main au deuxiéme par un mouvement du poignet, & la baisser encore plus au troisiéme par un mouvement du bras, en le levant ensuite pour les autres temps, comme dans la mesure à quatre temps.", "english": "Six unequal beats are seldom used because they are difficult to conduct. Those wishing to use them—for they certainly suit particular expressions—may strike the first beat, lower the hand on the second with a wrist movement, lower it farther on the third with an arm movement, then raise the arm for the remaining beats as in four-beat meter.", "sources": [ { "pdf_page": 189, "source_image": "source-pages/bnf-189.png", "printed_page": 157, "bbox_pixels": [ 419, 995, 2171, 522 ], "crop_image": "assets/II.23-073.png" } ] }, { "id": "II.24-001", "type": "heading", "section": "II.24", "lesson": 39, "exercise": 39, "reading_order": 1117, "original": "CHAPITRE VINGT-QUATRIEME.", "english": "CHAPTER TWENTY-FOUR.", "sources": [ { "pdf_page": 189, "source_image": "source-pages/bnf-189.png", "printed_page": 157, "bbox_pixels": [ 589, 1591, 1858, 99 ], "crop_image": "assets/II.24-001.png" } ], "correction_refs": [ "supplement-159" ] }, { "id": "II.24-002", "type": "heading", "section": "II.24", "lesson": 39, "exercise": 39, "reading_order": 1118, "original": "De la proprieté des Modes & des Tons.", "english": "On the character of modes and keys.", "sources": [ { "pdf_page": 189, "source_image": "source-pages/bnf-189.png", "printed_page": 157, "bbox_pixels": [ 817, 1707, 1415, 101 ], "crop_image": "assets/II.24-002.png" } ] }, { "id": "II.24-003", "type": "paragraph", "section": "II.24", "lesson": 39, "exercise": 39, "reading_order": 1119, "original": "Nous avons déja dit qu’il n’y avoit que deux Modes, le majeur & le mineur, & chacun de ces Modes pouvant se prendre sur chaque Notte du systême chromatique, l’on peut dire qu’il y a vingt-quatre Tons, parce que l’on donne le nom de Ton à la Notte qui sert de Principale à un Mode.", "english": "We have already said that there are only two modes, major and minor. Since each can be taken on every note of the chromatic system, we may say that there are twenty-four keys, for the name key is given to the note that serves as the principal note of a mode.", "sources": [ { "pdf_page": 189, "source_image": "source-pages/bnf-189.png", "printed_page": 157, "bbox_pixels": [ 447, 1823, 2126, 387 ], "crop_image": "assets/II.24-003.png" } ] }, { "id": "II.24-004", "type": "paragraph", "section": "II.24", "lesson": 39, "exercise": 39, "reading_order": 1120, "original": "Le Mode majeur suit la nature de la Tierce majeure, & le Mode mineur suit celle de la Tierce mineure ; mais la differente situation des semi-Tons, qui sont répandus dans l’Octave de chaque Notte, que l’on peut prendre pour principale ou tonique, cause une certaine difference dans la Modulation de ces Octaves, dont il est à propos d’expliquer la proprieté.", "english": "The major mode follows the nature of the major third, and the minor mode that of the minor third. But the different positions of the semitones distributed within the octave of each note that can be taken as principal or tonic cause a certain difference in the melodic and harmonic movement of these octaves. It is appropriate to explain their character.", "sources": [ { "pdf_page": 189, "source_image": "source-pages/bnf-189.png", "printed_page": 157, "bbox_pixels": [ 447, 2210, 2124, 441 ], "crop_image": "assets/II.24-004.png" } ] }, { "id": "II.24-005", "type": "paragraph", "section": "II.24", "lesson": 39, "exercise": 39, "reading_order": 1121, "original": "Le Mode majeur pris dans l’Octave des Nottes, Ut, Ré ou La, convient aux Chants d’allegresse & de rejoüissance ; dans l’Octave des Nottes Fa ou Si ♭, il convient aux tempestes, aux furies & autres sujets de cette espece. Dans l’Octave des Nottes Sol ou Mi, il convient également aux Chants tendres & gais ; le grand & le magnifique ont encore lieu dans l’Octave des Nottes Ré, La ou Mi.", "english": "The major mode, taken within the octave of C, D, or A, suits songs of gladness and rejoicing; within the octave of F or B♭, it suits storms, furies, and other subjects of that kind. Within the octave of G or E, it suits tender and cheerful songs equally. Grandeur and magnificence also find their place within the octave of D, A, or E.", "sources": [ { "pdf_page": 189, "source_image": "source-pages/bnf-189.png", "printed_page": 157, "bbox_pixels": [ 445, 2651, 2135, 454 ], "crop_image": "assets/II.24-005.png" } ] }, { "id": "II.24-006", "type": "paragraph", "section": "II.24", "lesson": 39, "exercise": 39, "reading_order": 1122, "original": "Le Mode mineur pris dans l’Octave des Nottes Ré, Sol, Si ou Mi, convient à la douceur & à la tendresse ; dans l’Octave des Nottes Ut ou Fa, il convient à la tendresse & aux plaintes ; dans l’Octave des Nottes Fa ou Si ♭, il convient aux Chants lugubres. Les autres Tons ne sont pas d’un grand usage, & l’experience est le plus sûr moyen d’en connoître la proprieté.", "english": "The minor mode, taken within the octave of D, G, B, or E, suits gentleness and tenderness; within the octave of C or F, it suits tenderness and lamentation; within the octave of F or B♭, it suits mournful songs. The other keys are not much used, and experience is the surest means of learning their character.", "sources": [ { "pdf_page": 189, "source_image": "source-pages/bnf-189.png", "printed_page": 157, "bbox_pixels": [ 445, 3100, 2131, 454 ], "crop_image": "assets/II.24-006.png" } ] }, { "id": "II.25-001", "type": "heading", "section": "II.25", "lesson": 40, "exercise": 40, "reading_order": 1123, "original": "CHAPITRE VINGT-CINQUIEME.", "english": "CHAPTER TWENTY-FIVE.", "sources": [ { "pdf_page": 190, "source_image": "source-pages/bnf-190.png", "printed_page": 158, "bbox_pixels": [ 568, 458, 1944, 114 ], "crop_image": "assets/II.25-001.png" } ], "correction_refs": [ "supplement-160" ] }, { "id": "II.25-002", "type": "heading", "section": "II.25", "lesson": 40, "exercise": 40, "reading_order": 1124, "original": "De l’utilité que l’on peut tirer de cette nouvelle maniere de marquer les differentes Mesures.", "english": "The usefulness of this new way of marking different meters.", "sources": [ { "pdf_page": 190, "source_image": "source-pages/bnf-190.png", "printed_page": 158, "bbox_pixels": [ 527, 578, 1991, 183 ], "crop_image": "assets/II.25-002.png" } ] }, { "id": "II.25-003", "type": "paragraph", "section": "II.25", "lesson": 40, "exercise": 40, "reading_order": 1125, "original": "Premierement si les habiles gens trouvent cette nouveauté inutile pour eux, ils ne peuvent disconvenir qu’elle ne soit très-utile aux commençans ; puisqu’en leur faisant remarquer seulement que le Chiffre mis à la tête de chaque Piece, marque la quantité des temps dont chaque mesure est composée ; & que la Notte mise avant la Clef, marque la valeur de chaque temps ; ils sont d’abord au fait de toutes sortes de mesures ; ils en conçoivent la difference, & la quantité ne les ébloüit point, parce que les caracteres qui servent à les marquer leur sont non seulement familiers, mais ils sont encore en petit nombre, & ne changent point de situation. Si l’on veut sçavoir ensuite le Ton dans lequel l’Air est composé, il se trouve d’abord déclaré par la situation de cette Notte ; & ce Ton pouvant être majeur ou mineur, il n’y a qu’à mettre un Dieze au-dessus ou au-dessous de cette Notte, pour marquer que le Ton est majeur, & un B-mol pour marquer qu’il est mineur.", "english": "First, even if accomplished musicians find this innovation unnecessary for themselves, they cannot deny its great usefulness to beginners. We need only point out that the numeral at the beginning of each piece gives the number of beats in each measure, and that the note placed before the clef gives the value of each beat. Beginners immediately understand every kind of meter and perceive their differences. Their number does not bewilder them, because the signs used to mark them are not only familiar but few, and do not change position. If one then wishes to know the key in which the air is composed, the position of this note declares it at once. Since that key may be major or minor, one need only place a sharp above or below this note to mark a major key, and a flat to mark a minor key.", "sources": [ { "pdf_page": 190, "source_image": "source-pages/bnf-190.png", "printed_page": 158, "bbox_pixels": [ 460, 800, 2126, 1131 ], "crop_image": "assets/II.25-003.png" } ] }, { "id": "II.25-004", "type": "image", "section": "II.25", "lesson": 40, "exercise": 40, "reading_order": 1126, "original": "Ainsi.\nTon majeur.\nTon mineur.", "english": "Thus.\nMajor key.\nMinor key.", "sources": [ { "pdf_page": 190, "source_image": "source-pages/bnf-190.png", "printed_page": 158, "bbox_pixels": [ 434, 1913, 1079, 331 ], "crop_image": "assets/II.25-004.png" } ], "original_title": "Marques de mode placées autour de la Notte avant la Clef.", "english_title": "Mode signs placed around the note before the clef.", "format": "preformatted", "asset_refs": [ "II.25-004" ] }, { "id": "II.25-005", "type": "paragraph", "section": "II.25", "lesson": 40, "exercise": 40, "reading_order": 1127, "original": "Cette marque évite aux Musiciens la peine de calculer les diezes ou les B-mols, qui se trouvent à la suite des Clefs, pour distinguer les Nottes que l’on doit appeller Si ou Fa ; parce qu’en appellant Ut la Notte accompagnée d’un Dieze, & Ré celle qui est accompagnée d’un B-mol, l’on pourra solfier toute sorte de Musique sans se tromper, vû que l’arrangement des Diezes ou des B-mols, & leur nombre ne soit pas observé exactement par tout. Ainsi qui que ce soit n’aura plus besoin de s’embarrasser du nombre de ces ♯ ou de ces ♭, ni de les calculer pour trouver les Nottes que l’on doit appeller Si ou Fa ; puisque la difference du Dieze ou du B-mol suffit pour cette connoissance.", "english": "This sign saves musicians the trouble of counting the sharps or flats after the clefs to distinguish the notes that should receive the solmization names “si” or “fa.” For by calling the note accompanied by a sharp “ut,” and the note accompanied by a flat “ré,” one can sol-fa every kind of music without error, even though the arrangement and number of sharps or flats are not observed exactly everywhere. Thus no one need trouble themselves any longer about the number of these ♯ or ♭ signs, or count them to find the notes to be called “si” or “fa.” The distinction between the sharp and the flat suffices for that knowledge. Here “ut,” “ré,” “si,” and “fa” are movable singing syllables, not fixed pitches.", "sources": [ { "pdf_page": 190, "source_image": "source-pages/bnf-190.png", "printed_page": 158, "bbox_pixels": [ 439, 1937, 2141, 897 ], "crop_image": "assets/II.25-005.png" } ] }, { "id": "II.25-006", "type": "paragraph", "section": "II.25", "lesson": 40, "exercise": 40, "reading_order": 1128, "original": "Par le moyen des Chiffres simples qui marquent la quantité des temps, & par celuy des Nottes qui en désignent la valeur, un Maître de Musique pourra laisser hardiment la direction de la Piece à un autre, sans craindre que l’exécution manque par-là ; défaut assez ordinaire, qui est plus facile à éviter de cette maniere, qu’avec le Chronometre de Mr. Loullier, dont on a negligé l’usage à cause de la difficulté ; quoique ce soit d’ailleurs une invention ingenieuse, & propre à déterminer avec une exactitude très-précise les divers degrez de mouvemens que l’on a dessein de donner à ses Compositions.", "english": "With simple numerals marking the number of beats, and notes designating their value, a music master can confidently entrust the direction of a piece to another, without fearing that its performance will fail on that account. This fairly common fault is more easily avoided in this way than with Mr. Loullier's chronometer, whose use has been neglected because of its difficulty. Nevertheless, that is an ingenious invention, well suited to determining with very precise accuracy the various degrees of tempo one intends for one's compositions.", "sources": [ { "pdf_page": 190, "source_image": "source-pages/bnf-190.png", "printed_page": 158, "bbox_pixels": [ 432, 2831, 2137, 765 ], "crop_image": "assets/II.25-006.png" } ] }, { "id": "II.26-001", "type": "heading", "section": "II.26", "lesson": 41, "exercise": 41, "reading_order": 1129, "original": "CHAPITRE VINGT-SIXIEME.", "english": "CHAPTER TWENTY-SIX.", "sources": [ { "pdf_page": 191, "source_image": "source-pages/bnf-191.png", "printed_page": 159, "bbox_pixels": [ 606, 408, 1739, 114 ], "alternate_image": "source-pages/alternate/bne-195-native.png", "crop_image": "assets/II.26-001.png" } ] }, { "id": "II.26-002", "type": "heading", "section": "II.26", "lesson": 41, "exercise": 41, "reading_order": 1130, "original": "De la quantité de Mesures dont chaque Air doit être composé, & de leur mouvement particulier.", "english": "On the number of measures in each air and its particular movement.", "sources": [ { "pdf_page": 191, "source_image": "source-pages/bnf-191.png", "printed_page": 159, "bbox_pixels": [ 415, 533, 2143, 181 ], "alternate_image": "source-pages/alternate/bne-195-native.png", "crop_image": "assets/II.26-002.png" } ] }, { "id": "II.26-003", "type": "paragraph", "section": "II.26", "lesson": 41, "exercise": 41, "reading_order": 1131, "original": "Les nombres qui nous marquent la quantité des temps dont une mesure doit être remplie, nous marquent encore la quantité de mesures, dont un Air propre à la danse, doit être composé, sur tout, les nombres deux & quatre, qui sont les principaux, la Cadence se faisant toûjours sentir à la quatrième mesure, souvent à la seconde, & rarement à la troisième.", "english": "The numbers indicating how many beats fill a measure also indicate how many measures should compose an air intended for dancing. This applies especially to two and four, the principal numbers: the cadence is always felt at the fourth measure, often at the second, and rarely at the third.", "sources": [ { "pdf_page": 191, "source_image": "source-pages/bnf-191.png", "printed_page": 159, "bbox_pixels": [ 426, 737, 2141, 460 ], "alternate_image": "source-pages/alternate/bne-195-native.png", "crop_image": "assets/II.26-003.png" } ] }, { "id": "II.26-004", "type": "paragraph", "section": "II.26", "lesson": 41, "exercise": 41, "reading_order": 1132, "original": "Comme on divise ordinairement ces sortes d’Airs en deux parties, les plus parfaits sont ceux dont chaque Partie est composée de quatre, de huit, de douze ou de seize mesures, rarement de cinq ou de six, encore moins de trois, étant certain que le nombre quatre étant multiplié par tel autre nombre que l’on veut, est le plus parfait de tous dans cette occasion, les nombres 7. 9. 11. 13. 14. 15. 17. &c. ne produisant aucun bon effet.", "english": "Such airs are ordinarily divided into two sections. The most perfect have sections of four, eight, twelve, or sixteen measures; rarely five or six, and still less often three. Four multiplied by any other number is certainly the most perfect number here. Numbers 7, 9, 11, 13, 14, 15, 17, and so forth produce no good effect.", "sources": [ { "pdf_page": 191, "source_image": "source-pages/bnf-191.png", "printed_page": 159, "bbox_pixels": [ 432, 1191, 2133, 518 ], "alternate_image": "source-pages/alternate/bne-195-native.png", "crop_image": "assets/II.26-004.png" } ] }, { "id": "II.26-005", "type": "paragraph", "section": "II.26", "lesson": 41, "exercise": 41, "reading_order": 1133, "original": "Pour ce qui est des mouvemens naturels à chaque Air, en voicy le dénombrement.", "english": "Here is a list of the movements natural to each air.", "sources": [ { "pdf_page": 191, "source_image": "source-pages/bnf-191.png", "printed_page": 159, "bbox_pixels": [ 432, 1709, 2128, 159 ], "alternate_image": "source-pages/alternate/bne-195-native.png", "crop_image": "assets/II.26-005.png" } ] }, { "id": "II.26-006", "type": "music", "section": "II.26", "lesson": 41, "exercise": 41, "reading_order": 1134, "original": "De l’Allemande. Mouvement.", "english": "The allemande. Beat.", "sources": [ { "pdf_page": 191, "source_image": "source-pages/bnf-191.png", "printed_page": 159, "bbox_pixels": [ 692, 1795, 1873, 307 ], "alternate_image": "source-pages/alternate/bne-195-native.png", "crop_image": "assets/II.26-006.png" } ], "original_title": "De l’Allemande.", "english_title": "The allemande.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.26-006" ], "music_asset_refs": [ "II.26-006" ] }, { "id": "II.26-007", "type": "music", "section": "II.26", "lesson": 41, "exercise": 41, "reading_order": 1135, "original": "De la Courante.", "english": "The courante.", "sources": [ { "pdf_page": 191, "source_image": "source-pages/bnf-191.png", "printed_page": 159, "bbox_pixels": [ 701, 2083, 1866, 335 ], "alternate_image": "source-pages/alternate/bne-195-native.png", "crop_image": "assets/II.26-007.png" } ], "original_title": "De la Courante.", "english_title": "The courante.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.26-007" ], "music_asset_refs": [ "II.26-007" ] }, { "id": "II.26-008", "type": "music", "section": "II.26", "lesson": 41, "exercise": 41, "reading_order": 1136, "original": "De la Sarabande, selon nos observations. Mouvement.", "english": "The sarabande, according to our observations. Beat.", "sources": [ { "pdf_page": 191, "source_image": "source-pages/bnf-191.png", "printed_page": 159, "bbox_pixels": [ 705, 2358, 1862, 312 ], "alternate_image": "source-pages/alternate/bne-195-native.png", "crop_image": "assets/II.26-008.png" } ], "original_title": "De la Sarabande, selon nos observations.", "english_title": "The sarabande, according to our observations.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.26-008" ], "music_asset_refs": [ "II.26-008" ] }, { "id": "II.26-009", "type": "music", "section": "II.26", "lesson": 41, "exercise": 41, "reading_order": 1137, "original": "De la Sarabande, selon la coûtume, mais il faut y ajoûter pour lors : Lentement.", "english": "The sarabande, according to custom; in this case add: Slowly.", "sources": [ { "pdf_page": 191, "source_image": "source-pages/bnf-191.png", "printed_page": 159, "bbox_pixels": [ 703, 2623, 1866, 408 ], "alternate_image": "source-pages/alternate/bne-195-native.png", "crop_image": "assets/II.26-009.png" } ], "original_title": "De la Sarabande, selon la coûtume.", "english_title": "The sarabande, according to custom.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.26-009" ], "music_asset_refs": [ "II.26-009" ] }, { "id": "II.26-010", "type": "music", "section": "II.26", "lesson": 41, "exercise": 41, "reading_order": 1138, "original": "Du Menuet. Mouvement.", "english": "The minuet. Beat.", "sources": [ { "pdf_page": 191, "source_image": "source-pages/bnf-191.png", "printed_page": 159, "bbox_pixels": [ 701, 2978, 1866, 340 ], "alternate_image": "source-pages/alternate/bne-195-native.png", "crop_image": "assets/II.26-010.png" } ], "original_title": "Du Menuet.", "english_title": "The minuet.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.26-010" ], "music_asset_refs": [ "II.26-010" ] }, { "id": "II.26-011", "type": "music", "section": "II.26", "lesson": 41, "exercise": 41, "reading_order": 1139, "original": "Du Menuet, selon la coûtume.", "english": "The minuet, according to custom.", "sources": [ { "pdf_page": 191, "source_image": "source-pages/bnf-191.png", "printed_page": 159, "bbox_pixels": [ 697, 3289, 1870, 335 ], "alternate_image": "source-pages/alternate/bne-195-native.png", "crop_image": "assets/II.26-011.png" } ], "original_title": "Du Menuet, selon la coûtume.", "english_title": "The minuet, according to custom.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.26-011" ], "music_asset_refs": [ "II.26-011" ] }, { "id": "II.26-012", "type": "music", "section": "II.26", "lesson": 41, "exercise": 41, "reading_order": 1140, "original": "Du Passepied. Mouvement.", "english": "The passepied. Beat.", "sources": [ { "pdf_page": 192, "source_image": "source-pages/bnf-192.png", "printed_page": 160, "bbox_pixels": [ 761, 329, 1819, 333 ], "alternate_image": "source-pages/alternate/bne-196-native.png", "crop_image": "assets/II.26-012.png" } ], "original_title": "Du Passepied.", "english_title": "The passepied.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.26-012" ], "music_asset_refs": [ "II.26-012" ] }, { "id": "II.26-013", "type": "music", "section": "II.26", "lesson": 41, "exercise": 41, "reading_order": 1141, "original": "Du Canaris.", "english": "The canary.", "sources": [ { "pdf_page": 192, "source_image": "source-pages/bnf-192.png", "printed_page": 160, "bbox_pixels": [ 772, 641, 1799, 316 ], "alternate_image": "source-pages/alternate/bne-196-native.png", "crop_image": "assets/II.26-013.png" } ], "original_title": "Du Canaris.", "english_title": "The canary.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.26-013" ], "music_asset_refs": [ "II.26-013" ] }, { "id": "II.26-014", "type": "music", "section": "II.26", "lesson": 41, "exercise": 41, "reading_order": 1142, "original": "De la Gigue Françoise. Mouvement.", "english": "The French gigue. Beat.", "sources": [ { "pdf_page": 192, "source_image": "source-pages/bnf-192.png", "printed_page": 160, "bbox_pixels": [ 763, 991, 1810, 316 ], "alternate_image": "source-pages/alternate/bne-196-native.png", "crop_image": "assets/II.26-014.png" } ], "original_title": "De la Gigue Françoise.", "english_title": "The French gigue.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.26-014" ], "music_asset_refs": [ "II.26-014" ] }, { "id": "II.26-015", "type": "music", "section": "II.26", "lesson": 41, "exercise": 41, "reading_order": 1143, "original": "De la Gigue Italienne.", "english": "The Italian gigue.", "sources": [ { "pdf_page": 192, "source_image": "source-pages/bnf-192.png", "printed_page": 160, "bbox_pixels": [ 714, 1292, 1868, 331 ], "alternate_image": "source-pages/alternate/bne-196-native.png", "crop_image": "assets/II.26-015.png" } ], "original_title": "De la Gigue Italienne.", "english_title": "The Italian gigue.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.26-015" ], "music_asset_refs": [ "II.26-015" ] }, { "id": "II.26-016", "type": "music", "section": "II.26", "lesson": 41, "exercise": 41, "reading_order": 1144, "original": "ou", "english": "or", "sources": [ { "pdf_page": 192, "source_image": "source-pages/bnf-192.png", "printed_page": 160, "bbox_pixels": [ 944, 1634, 1638, 305 ], "alternate_image": "source-pages/alternate/bne-196-native.png", "crop_image": "assets/II.26-016.png" } ], "original_title": "De la Gigue Italienne, autre notation.", "english_title": "The Italian gigue, another notation.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.26-016" ], "music_asset_refs": [ "II.26-016" ] }, { "id": "II.26-017", "type": "music", "section": "II.26", "lesson": 41, "exercise": 41, "reading_order": 1145, "original": "ou", "english": "or", "sources": [ { "pdf_page": 192, "source_image": "source-pages/bnf-192.png", "printed_page": 160, "bbox_pixels": [ 944, 1984, 1638, 359 ], "alternate_image": "source-pages/alternate/bne-196-native.png", "crop_image": "assets/II.26-017.png" } ], "original_title": "De la Gigue Italienne, troisième notation.", "english_title": "The Italian gigue, third notation.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.26-017" ], "music_asset_refs": [ "II.26-017" ] }, { "id": "II.26-018", "type": "music", "section": "II.26", "lesson": 41, "exercise": 41, "reading_order": 1146, "original": "De la Loure. Mouvement.", "english": "The loure. Beat.", "sources": [ { "pdf_page": 192, "source_image": "source-pages/bnf-192.png", "printed_page": 160, "bbox_pixels": [ 722, 2311, 1860, 322 ], "alternate_image": "source-pages/alternate/bne-196-native.png", "crop_image": "assets/II.26-018.png" } ], "original_title": "De la Loure.", "english_title": "The loure.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.26-018" ], "music_asset_refs": [ "II.26-018" ] }, { "id": "II.26-019", "type": "music", "section": "II.26", "lesson": 41, "exercise": 41, "reading_order": 1147, "original": "De la Gavotte.", "english": "The gavotte.", "sources": [ { "pdf_page": 192, "source_image": "source-pages/bnf-192.png", "printed_page": 160, "bbox_pixels": [ 720, 2614, 1862, 331 ], "alternate_image": "source-pages/alternate/bne-196-native.png", "crop_image": "assets/II.26-019.png" } ], "original_title": "De la Gavotte.", "english_title": "The gavotte.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.26-019" ], "music_asset_refs": [ "II.26-019" ] }, { "id": "II.26-020", "type": "music", "section": "II.26", "lesson": 41, "exercise": 41, "reading_order": 1148, "original": "Du Rigaudon. Mouvement.", "english": "The rigaudon. Beat.", "sources": [ { "pdf_page": 192, "source_image": "source-pages/bnf-192.png", "printed_page": 160, "bbox_pixels": [ 703, 2950, 1875, 329 ], "alternate_image": "source-pages/alternate/bne-196-native.png", "crop_image": "assets/II.26-020.png" } ], "original_title": "Du Rigaudon.", "english_title": "The rigaudon.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.26-020" ], "music_asset_refs": [ "II.26-020" ] }, { "id": "II.26-021", "type": "music", "section": "II.26", "lesson": 41, "exercise": 41, "reading_order": 1149, "original": "De la Bourée.", "english": "The bourrée.", "sources": [ { "pdf_page": 192, "source_image": "source-pages/bnf-192.png", "printed_page": 160, "bbox_pixels": [ 690, 3261, 1888, 325 ], "alternate_image": "source-pages/alternate/bne-196-native.png", "crop_image": "assets/II.26-021.png" } ], "original_title": "De la Bourée.", "english_title": "The bourrée.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.26-021" ], "music_asset_refs": [ "II.26-021" ] }, { "id": "II.26-022", "type": "paragraph", "section": "II.26", "lesson": 41, "exercise": 41, "reading_order": 1150, "original": "Les Rigaudons & Bourées sont ordinairement désignez par le même mouvement que celuy de la Gavotte ; la Gigue Françoise est encore souvent désignée par le mouvement de la Loûre, comme celle qui est dans le Prologue de l’Opera de Roland ; c’est pourquoy l’on doit avoir moins d’égard à ces observations pour les Musiques écrites, que pour celles qui sont à écrire.", "english": "Rigaudons and bourrées are ordinarily marked with the same movement as the gavotte. The French gigue is also often marked with the loure’s movement, as in the gigue in the Prologue to the opera Roland. These observations should therefore be applied less to music already written than to music yet to be written.", "sources": [ { "pdf_page": 193, "source_image": "source-pages/bnf-193.png", "printed_page": 161, "bbox_pixels": [ 325, 391, 2111, 460 ], "crop_image": "assets/II.26-022.png" } ] }, { "id": "II.26-023", "type": "paragraph", "section": "II.26", "lesson": 41, "exercise": 41, "reading_order": 1151, "original": "Les Airs tres-graves peuvent se marquer par des Blanches pour chaque temps dans une mesure à quatre temps, & par des Rondes dans une mesure à deux ou à trois temps.", "english": "Very slow airs can be marked with half notes for each beat in a four-beat measure, and whole notes in a two- or three-beat measure.", "sources": [ { "pdf_page": 193, "source_image": "source-pages/bnf-193.png", "printed_page": 161, "bbox_pixels": [ 335, 847, 2096, 217 ], "crop_image": "assets/II.26-023.png" } ] }, { "id": "II.26-024", "type": "paragraph", "section": "II.26", "lesson": 41, "exercise": 41, "reading_order": 1152, "original": "Chaque caractere & chaque passion ont leur mouvement particulier ; mais cela dépend plus du goût que des Règles.", "english": "Every character and every passion has its own movement, but this depends more on taste than on rules.", "sources": [ { "pdf_page": 193, "source_image": "source-pages/bnf-193.png", "printed_page": 161, "bbox_pixels": [ 333, 1066, 2100, 148 ], "crop_image": "assets/II.26-024.png" } ] }, { "id": "II.27-001", "type": "heading", "section": "II.27", "lesson": 42, "exercise": 42, "reading_order": 1153, "original": "CHAPITRE VINGT-SEPTIEME.", "english": "CHAPTER TWENTY-SEVEN.", "sources": [ { "pdf_page": 193, "source_image": "source-pages/bnf-193.png", "printed_page": 161, "bbox_pixels": [ 497, 1363, 1763, 92 ], "crop_image": "assets/II.27-001.png" } ] }, { "id": "II.27-002", "type": "heading", "section": "II.27", "lesson": 42, "exercise": 42, "reading_order": 1154, "original": "Ce qu’il faut observer pour mettre des Paroles en chant.", "english": "What to observe when setting words to music.", "sources": [ { "pdf_page": 193, "source_image": "source-pages/bnf-193.png", "printed_page": 161, "bbox_pixels": [ 477, 1483, 1817, 101 ], "crop_image": "assets/II.27-002.png" } ] }, { "id": "II.27-003", "type": "paragraph", "section": "II.27", "lesson": 42, "exercise": 42, "reading_order": 1155, "original": "Les Commençans qui veulent mettre des Paroles en chant, doivent préférer les Vers à la Prose, ainsi qu’il est d’usage ; parce que les Vers ont une certaine Cadence, qui oblige d’y conformer le Chant, de maniere que cette Cadence en annonce le mouvement convenable, & les occasions où le repos doit s’y faire sentir.", "english": "Beginners wishing to set words to music should prefer verse to prose, as is customary. Verse has a certain cadence to which the melody must conform; that cadence indicates the appropriate movement and the places where repose should be felt.", "sources": [ { "pdf_page": 193, "source_image": "source-pages/bnf-193.png", "printed_page": 161, "bbox_pixels": [ 342, 1634, 2103, 451 ], "crop_image": "assets/II.27-003.png" } ] }, { "id": "II.27-004", "type": "paragraph", "section": "II.27", "lesson": 42, "exercise": 42, "reading_order": 1156, "original": "Les Vers propres aux Airs de mouvement, sont ceux qui contiennent entr’eux une égale quantité de syllabes ou de pieds, & dont le sens est, en quelque façon, terminé à la fin de chaque Vers. Pour les mettre en chant, il faut que la derniere syllabe de chaque Vers soit entenduë dans le premier instant du premier Temps d’une Mesure, en remarquant deux choses ; La premiere, que la penultième syllabe des Vers dont la rime est féminine peut participer de la Règle précédente ; Et la seconde, qu’il faut éviter, autant que cela se peut, de faire entendre une Cadence finale sur les dernieres syllabes des Vers, qui ne terminent pas absolument le sens de la phrase.", "english": "Lines suited to airs with a definite rhythmic movement contain equal numbers of syllables or feet, and their meaning is in some sense complete at the end of each line. In setting them, make the last syllable of each line sound at the first instant of a measure's first beat. Observe two qualifications: first, the penultimate syllable of a line with a feminine rhyme may come under this rule; second, avoid as far as possible making a final cadence on the last syllables of lines that do not completely finish the sentence's meaning.", "sources": [ { "pdf_page": 193, "source_image": "source-pages/bnf-193.png", "printed_page": 161, "bbox_pixels": [ 344, 2085, 2103, 817 ], "crop_image": "assets/II.27-004.png" } ] }, { "id": "II.27-005", "type": "heading", "section": "II.27", "lesson": 42, "exercise": 42, "reading_order": 1157, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 193, "source_image": "source-pages/bnf-193.png", "printed_page": 161, "bbox_pixels": [ 1073, 2937, 671, 99 ], "crop_image": "assets/II.27-005.png" } ] }, { "id": "II.27-006", "type": "music", "section": "II.27", "lesson": 42, "exercise": 42, "reading_order": 1158, "original": "Chantez. Rime masculine.\nJe chante. Rime féminine.", "english": "Chantez (“Sing”). Masculine rhyme.\nJe chante (“I sing”). Feminine rhyme.", "sources": [ { "pdf_page": 193, "source_image": "source-pages/bnf-193.png", "printed_page": 161, "bbox_pixels": [ 892, 3040, 983, 471 ], "crop_image": "assets/II.27-006.png" } ], "original_title": "Rime masculine et rime féminine.", "english_title": "Masculine and feminine rhyme.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.27-006" ], "music_asset_refs": [ "II.27-006" ] }, { "id": "II.27-007", "type": "paragraph", "section": "II.27", "lesson": 42, "exercise": 42, "reading_order": 1159, "original": "Ces especes de Cadences qui s’entendent ainsi à la fin de chaque Vers, sont d’un grand secours aux commençans ; s’ils ne peuvent s’empêcher d’en faire entendre qui ayent du rapport à des parfaites, lorsque le sens n’est pas absolument terminé, ils peuvent les déguiser par le moyen de la Basse, en luy donnant une progression diatonique, que l’on compose des Sons que renferment les Accords, dont la Basse-fondamentale d’une Cadence parfaite est accompagnée, & encore en donnant à cette Basse une progression de Cadence irreguliere ou rompuë.", "english": "These kinds of cadences heard at the end of each line are a great help to beginners. If they cannot avoid cadences resembling perfect cadences when the meaning is not fully complete, they can disguise them through the bass. Give it a diatonic progression made from the sounds contained in the chords accompanying a perfect cadence's fundamental bass; or give it the progression of an irregular or interrupted cadence.", "sources": [ { "pdf_page": 194, "source_image": "source-pages/bnf-194.png", "printed_page": 162, "bbox_pixels": [ 507, 449, 2090, 671 ], "crop_image": "assets/II.27-007.png" } ] }, { "id": "II.27-008", "type": "paragraph", "section": "II.27", "lesson": 42, "exercise": 42, "reading_order": 1160, "original": "Il y a plus de circonspection à garder dans les Récitatifs que dans les Airs ; car, s’il s’agit de narrer ou de reciter quelques histoires, ou autres faits de cette nature, il faut que le Chant imite la parole, de sorte qu’il semble que l’on parle, au lieu de chanter ; ainsi les Cadences parfaites ne doivent y être employées qu’aux endroits où le sens se termine ; & c’est icy où l’on a besoin de toutes les connoissances, dont nous avons dit qu’un bon Musicien devoit être doüé, en s’attachant encore à exprimer les syllabes longues du discours par des Nottes d’une valeur convenable, & celles qui sont breves par des Nottes de moindre valeur ; de sorte que l’on puisse en entendre le nombre aussi aisément que par la prononciation d’un Déclameur, quoique l’on puisse faire passer plusieurs syllabes longues & breves sur des Nottes d’égale valeur, pourvû que l’on fasse entendre les longues dans le premier moment de chaque temps, & surtout, dans le premier temps.", "english": "Recitative requires more caution than airs. When narrating or reciting stories or similar events, the melody must imitate speech so that one seems to speak rather than sing. Perfect cadences should therefore occur only where the meaning comes to a close. Here all the abilities we have said a good musician needs are required. Long syllables should also be expressed by notes of suitable value, and short syllables by shorter notes, so that their rhythm can be heard as easily as in a declaimer's pronunciation. Nevertheless, several long and short syllables may be set to notes of equal value, provided the long syllables are heard at the beginning of each beat, and especially on the first beat.", "sources": [ { "pdf_page": 194, "source_image": "source-pages/bnf-194.png", "printed_page": 162, "bbox_pixels": [ 503, 1118, 2090, 1198 ], "crop_image": "assets/II.27-008.png" } ] }, { "id": "II.27-009", "type": "paragraph", "section": "II.27", "lesson": 42, "exercise": 42, "reading_order": 1161, "original": "L’on trouvera dans les Opera & dans plusieurs autres bons ouvrages de Musique, la preuve de ce que nous avançons icy ; c’est souvent à force de voir & d’entendre ces ouvrages, que le goût se forme plutôt que sur les Regles.", "english": "Operas and many other good musical works provide evidence for what we say here. Taste is often formed through repeatedly seeing and hearing these works rather than through rules.", "sources": [ { "pdf_page": 194, "source_image": "source-pages/bnf-194.png", "printed_page": 162, "bbox_pixels": [ 501, 2311, 2085, 305 ], "crop_image": "assets/II.27-009.png" } ] }, { "id": "II.28-001", "type": "heading", "section": "II.28", "lesson": 43, "exercise": 43, "reading_order": 1162, "original": "CHAPITRE VINGT-HUITIEME.", "english": "CHAPTER TWENTY-EIGHT.", "sources": [ { "pdf_page": 194, "source_image": "source-pages/bnf-194.png", "printed_page": 162, "bbox_pixels": [ 748, 2761, 1617, 101 ], "crop_image": "assets/II.28-001.png" } ], "correction_refs": [ "supplement-186" ] }, { "id": "II.28-002", "type": "heading", "section": "II.28", "lesson": 43, "exercise": 43, "reading_order": 1163, "original": "Du Dessein, de l’Imitation, de la Fugue, & de leurs proprietez.", "english": "On design, imitation, fugue, and their properties.", "sources": [ { "pdf_page": 194, "source_image": "source-pages/bnf-194.png", "printed_page": 162, "bbox_pixels": [ 497, 2911, 2081, 118 ], "crop_image": "assets/II.28-002.png" } ] }, { "id": "II.28-003", "type": "paragraph", "section": "II.28", "lesson": 43, "exercise": 43, "reading_order": 1164, "original": "Les paroles que l’on met en Musique, ont toûjours une certaine expression, soit triste, soit gaye, que l’on ne peut se dispenser de rendre, tant par le Chant & par l’Harmonie, que par le mouvement ; & tel qui ne prend point de paroles pour guide, s’imagine toûjours un sujet qui le tient à peu près dans le même esclavage ; si bien que tout le dessein de la Piece roule sur ce Chant, sur cette Harmonie & sur ce Mouvement, en se proposant d’abord un Ton, un Mode, un Mouvement & un Chant convenable aux expressions, & en conformant ensuite son Harmonie au Chant qui aura été composé pour ce sujet : Ainsi le Mouvement ne devant point changer, excepté que le sens de la parole ne le demande ; & le Ton ou le Mode ne changeant que pour introduire de la diversité dans le Chant & dans l’Harmonie ; c’est principalement sur la suite, & sur le progrès du Chant que roule tout le dessein.", "english": "Words set to music always have a particular expression, sad or cheerful, which must be conveyed through melody, harmony, and movement alike. Even someone not guided by words imagines a subject that imposes much the same constraint. The entire design of the piece therefore turns upon this melody, harmony, and movement. One first chooses a key, mode, movement, and melody appropriate to the expression, then conforms the harmony to the melody composed for that subject. Since the movement should not change unless the words' meaning demands it, and key or mode changes only to introduce variety into melody and harmony, the entire design rests chiefly on the melody's continuation and development.", "sources": [ { "pdf_page": 194, "source_image": "source-pages/bnf-194.png", "printed_page": 162, "bbox_pixels": [ 492, 3089, 2094, 389 ], "crop_image": "assets/II.28-003.png" }, { "pdf_page": 195, "source_image": "source-pages/bnf-195.png", "printed_page": 163, "bbox_pixels": [ 430, 329, 2131, 679 ], "crop_image": "assets/II.28-004.png" } ] }, { "id": "II.28-005", "type": "paragraph", "section": "II.28", "lesson": 43, "exercise": 43, "reading_order": 1165, "original": "Après s’être proposé un certain Chant, l’on doit remarquer si dans la suite des paroles, il se trouve des sentimens qui demandent à peu près les mêmes expressions, ou si les mêmes paroles ne sont pas repetées quelquefois, ou bien s’il ne seroit pas à propos de les faire répeter ; parce que c’est dans ces occasions où l’Imitation & la Fugue, qui font partie du Dessein conviennent fort.", "english": "After devising a particular melody, examine whether the subsequent words contain feelings requiring roughly the same expression, whether the same words are repeated, or whether repeating them would be appropriate. These are precisely the occasions where imitation and fugue, which belong to design, are especially suitable.", "sources": [ { "pdf_page": 195, "source_image": "source-pages/bnf-195.png", "printed_page": 163, "bbox_pixels": [ 436, 1010, 2128, 447 ], "crop_image": "assets/II.28-005.png" } ] }, { "id": "II.28-006", "type": "paragraph", "section": "II.28", "lesson": 43, "exercise": 43, "reading_order": 1166, "original": "S’il se trouve une conformité de sentimens dans plusieurs endroits des paroles, c’est pour lors qu’il est à propos de faire rencontrer la même conformité dans le Chant dont on se sert pour les exprimer, ce que nous appellons Imitation ; & cette Imitation n’a d’autres bornes, que celles de ne point ennuyer l’Auditeur par sa longueur, ou par une trop grande répétition, étant libre d’imiter une partie du Chant ou le tout, selon le juste discernement du Compositeur ; & les Cordes sur lesquelles doit rouler cette imitation, dépendent absolument de nôtre goût, pourvû que l’on puisse y remarquer l’uniformité de Chant que l’on aura voulu y faire entendre.", "english": "If feelings correspond in several passages of the words, a corresponding likeness should appear in the melody used to express them. This is what we call imitation. Its only limits are that its length or excessive repetition must not weary the listener. The composer is free to imitate part or all of the melody according to sound judgment. The pitches upon which this imitation proceeds depend entirely on taste, provided the melodic uniformity intended can be recognized.", "sources": [ { "pdf_page": 195, "source_image": "source-pages/bnf-195.png", "printed_page": 163, "bbox_pixels": [ 439, 1453, 2133, 748 ], "crop_image": "assets/II.28-006.png" } ] }, { "id": "II.28-007", "type": "paragraph", "section": "II.28", "lesson": 43, "exercise": 43, "reading_order": 1167, "original": "Si les mêmes paroles repetent quelquefois, ou si elles peuvent se repeter, il est bon de les faire toûjours entendre avec le même Chant ; ce qui introduit une nouvelle espece d’Imitation, qui est plus bornée que la précedente, & qu’on appelle Fugue : Nous en prescrivons les Règles au troisième Livre.", "english": "If the same words recur, or can be repeated, it is good to make them always heard with the same melody. This introduces another kind of imitation, more restricted than the preceding kind, called fugue. We prescribe its rules in Book III.", "sources": [ { "pdf_page": 195, "source_image": "source-pages/bnf-195.png", "printed_page": 163, "bbox_pixels": [ 456, 2202, 2118, 374 ], "crop_image": "assets/II.28-007.png" } ] }, { "id": "II.28-008", "type": "paragraph", "section": "II.28", "lesson": 43, "exercise": 43, "reading_order": 1168, "original": "L’on distingue la Fugue, de l’Imitation, en ce que celle-cy peut n’avoir lieu que dans une seule Partie, qui est ordinairement celle qu’on appelle le Sujet, au lieu que la Fugue doit être entenduë alternativement dans chaque Partie, où il semble que celle qui a commencé suit celle qui la suit, & ainsi par enchaînement de l’une à l’autre.", "english": "Fugue differs from imitation in that imitation may occur in a single part, ordinarily the one called the subject. Fugue, however, must be heard alternately in each part, where the part that began seems to follow the one that follows it, continuing in a chain from one to another.", "sources": [ { "pdf_page": 195, "source_image": "source-pages/bnf-195.png", "printed_page": 163, "bbox_pixels": [ 458, 2569, 2126, 387 ], "crop_image": "assets/II.28-008.png" } ] }, { "id": "II.29-001", "type": "heading", "section": "II.29", "lesson": 44, "exercise": 44, "reading_order": 1169, "original": "CHAPITRE VINGT-NEUVIEME.", "english": "CHAPTER TWENTY-NINE.", "sources": [ { "pdf_page": 195, "source_image": "source-pages/bnf-195.png", "printed_page": 163, "bbox_pixels": [ 561, 2997, 1946, 97 ], "crop_image": "assets/II.29-001.png" } ], "correction_refs": [ "supplement-186", "supplement-188", "supplement-190" ] }, { "id": "II.29-002", "type": "heading", "section": "II.29", "lesson": 44, "exercise": 44, "reading_order": 1170, "original": "Des Intervales qui doivent être distinguez en majeurs & en mineurs ; en justes ou parfaits ; en superflus & en diminuez.", "english": "Intervals distinguished as major and minor; just or perfect; augmented and diminished.", "sources": [ { "pdf_page": 195, "source_image": "source-pages/bnf-195.png", "printed_page": 163, "bbox_pixels": [ 469, 3104, 2124, 183 ], "crop_image": "assets/II.29-002.png" } ] }, { "id": "II.29-003", "type": "paragraph", "section": "II.29", "lesson": 44, "exercise": 44, "reading_order": 1171, "original": "L’Octave qui est la source de tous les Intervales, ne peut souffrir aucune alteration dans l’Harmonie.", "english": "The octave, the source of all intervals, admits no alteration in harmony.", "sources": [ { "pdf_page": 195, "source_image": "source-pages/bnf-195.png", "printed_page": 163, "bbox_pixels": [ 469, 3298, 2122, 166 ], "crop_image": "assets/II.29-003.png" } ] }, { "id": "II.29-004", "type": "paragraph", "section": "II.29", "lesson": 44, "exercise": 44, "reading_order": 1172, "original": "La Quinte & la Quarte qui proviennent de la division de l’Octave peuvent bien être alterées ; mais elles perdent en même-temps toute la perfection qu’elles reçoivent de leur origine ; & si elles conservent encore leur nom dans cette alteration, ce n’est seulement que pour déterminer l’étenduë de l’Intervale qui en est formé. La Quinte diminuée ou fausse, provient de l’addition de deux Tierces mineures, & la Quinte superfluë provient de celle de deux Tierces majeures ; la Quarte superfluë ou le Triton, se formant du renversement de la fausse-Quinte, & la Quarte diminuée, qui ne peut avoir lieu dans l’Harmonie, pour les raisons que nous avons dites ailleurs, se formant du renversement de la Quinte superfluë ; ainsi ces Intervales alterez ne pouvant plus être considerez comme tels qu’ils ont paru en premier lieu, nous representent pour lors ceux dont ils tiennent leur imperfection.", "english": "The fifth and fourth, arising from the octave’s division, can indeed be altered, but thereby lose all the perfection received from their origin. If they retain their names after alteration, those names merely determine the span of the resulting interval. The diminished or false fifth arises from adding two minor thirds; the augmented fifth from adding two major thirds. The augmented fourth, or tritone, is the inversion of the diminished fifth; the diminished fourth, which cannot occur in harmony for reasons stated elsewhere, is the inversion of the augmented fifth. These altered intervals can no longer be considered what they originally were; they now represent the intervals from which they receive their imperfection.", "sources": [ { "pdf_page": 195, "source_image": "source-pages/bnf-195.png", "printed_page": 163, "bbox_pixels": [ 546, 3459, 2045, 92 ], "crop_image": "assets/II.29-004.png" }, { "pdf_page": 196, "source_image": "source-pages/bnf-196.png", "printed_page": 164, "bbox_pixels": [ 432, 355, 2146, 976 ], "crop_image": "assets/II.29-005.png" } ] }, { "id": "II.29-006", "type": "paragraph", "section": "II.29", "lesson": 44, "exercise": 44, "reading_order": 1173, "original": "La division de la Quinte nous donne deux Tierces de differentes especes, que nous ne pouvons nous dispenser de distinguer en majeure & en mineure, puisqu’elles sont toûjours Tierces de côté & d’autre ; au lieu que la Quinte & la Quarte ne peuvent être susceptibles de cette distinction, en ce qu’elles dérogent de leur origine dans leur alteration : Aussi les distingue-t-on en justes ou parfaites, superfluës & diminuées, leur perfection provenant de leur premiere origine qui les rend indépendantes ; & les termes de superflu & de diminué, qu’on leur associe dans leur alteration, se rapportant au majeur & au mineur, qui se rencontrent dans les Tierces dont tous les Intervales alterez sont formez.", "english": "Dividing the fifth gives two different kinds of third, which must be distinguished as major and minor, since each remains a third. The fifth and fourth cannot admit this distinction, because alteration makes them depart from their origin. They are accordingly distinguished as just or perfect, augmented, and diminished. Their perfection comes from their first origin, which makes them independent. The terms augmented and diminished, applied when they are altered, correspond to the major and minor found in the thirds from which all altered intervals are formed.", "sources": [ { "pdf_page": 196, "source_image": "source-pages/bnf-196.png", "printed_page": 164, "bbox_pixels": [ 447, 1333, 2135, 821 ], "crop_image": "assets/II.29-006.png" } ] }, { "id": "II.29-007", "type": "paragraph", "section": "II.29", "lesson": 44, "exercise": 44, "reading_order": 1174, "original": "La division de la Tierce majeure nous donnera encore deux Tons de differentes especes, qu’il faudra toûjours distinguer en majeurs & en mineurs ; mais comme cette difference est insensible à l’oreille, nous pouvons dire dans la pratique, qu’il n’y a qu’une espece de Ton, de Seconde & de Septiéme ; car c’est le Ton qui forme la Seconde, & c’est du renversement de cette Seconde que se forme la Septiéme, quoique l’on soit dans l’habitude de les distinguer en majeur & en mineur.", "english": "Dividing the major third likewise gives two kinds of whole tone, which must always be distinguished as major and minor. Since the ear cannot perceive this difference, however, we may say in practice that there is only one kind of tone, second, and seventh. The tone forms the second, and the second’s inversion forms the seventh, although custom distinguishes these as major and minor.", "sources": [ { "pdf_page": 196, "source_image": "source-pages/bnf-196.png", "printed_page": 164, "bbox_pixels": [ 449, 2161, 2131, 596 ], "crop_image": "assets/II.29-007.png" } ] }, { "id": "II.29-008", "type": "paragraph", "section": "II.29", "lesson": 44, "exercise": 44, "reading_order": 1175, "original": "Le semi-Ton majeur & le mineur qui proviennent de la division du Ton majeur n’ont pas le même rapport au Ton, que la Tierce majeure l’a avec la mineure ; puisque l’origine du Ton est differente de celle de ces semi-Tons, au lieu que les Tierces sont engendrées de la division de la seule Quinte. Donc, si nous remarquons que le semi-Ton mineur fait la difference de la Tierce majeure à la mineure, nous devons conclure de-là, que si l’on peut alterer un autre Intervale d’un pareil semi-Ton, cela ne provient que de la force & de la puissance de ces Tierces, qui ont été engendrées avec cette difference ; au lieu que la Quinte, la Quarte & le Ton n’en ont point été susceptibles dans leur origine. Cependant la difference que l’on fait de la Septiéme majeure à la mineure, n’est causée que par ce semi-Ton, de même que celle de la Quinte à la fausse-Quinte ; quoique l’on n’ait jamais osé appeller la Quinte fausse, Quinte mineure ; ni la superfluë, Quinte majeure. Ce qui nous prouve évidemment que la difference du majeur au mineur, ne consiste absolument que dans les Tierces ; & que par conséquent ces épithetes de majeur & de mineur, ne conviennent qu’à elles ou à ce qui en dépend directement ; aussi les appliquons-nous aux Sixtes, qui proviennent du renversement de ces Tierces, & aux Modes, dont la difference ne provient que de celle de ces Tierces ; mais s’il s’agit d’alterer la Quinte & la Quarte qui ne sont point engendrées des Tierces, & dont au contraire celles-cy sont engendrées ; on les distingue pour lors en superfluës & diminuées, pour donner à connoître qu’elles ne sont pas dans leur juste proportion.", "english": "The major and minor semitones obtained by dividing the major tone do not stand in the same relation to the tone as the major third does to the minor third. The tone has a different origin from these semitones, whereas both thirds are generated by dividing the single fifth. Since the minor semitone is the difference between major and minor thirds, we must conclude that altering any other interval by that semitone arises solely from the power of those thirds, generated with this difference. Fifth, fourth, and tone possessed no such difference at their origin. Yet the difference called major versus minor seventh is caused only by this same semitone, as is the difference between fifth and diminished fifth. No one has dared call the diminished fifth a minor fifth, or the augmented fifth a major fifth. This plainly proves that the major/minor distinction belongs strictly to thirds, and those adjectives belong only to them or to what directly depends on them. We therefore apply them to sixths, inversions of thirds, and to modes, whose difference depends only on thirds. But altered fifths and fourths are called augmented and diminished to show that they lack their proper proportion: they are not generated from thirds; on the contrary, thirds are generated from them.", "sources": [ { "pdf_page": 196, "source_image": "source-pages/bnf-196.png", "printed_page": 164, "bbox_pixels": [ 460, 2761, 2122, 834 ], "crop_image": "assets/II.29-008.png" }, { "pdf_page": 197, "source_image": "source-pages/bnf-197.png", "printed_page": 165, "bbox_pixels": [ 439, 374, 2133, 1045 ], "alternate_image": "source-pages/alternate/bne-201-native.png", "crop_image": "assets/II.29-009.png" } ] }, { "id": "II.29-010", "type": "paragraph", "section": "II.29", "lesson": 44, "exercise": 44, "reading_order": 1176, "original": "De plus, si nous avons égard au lieu que chaque intervale doit occuper dans l’étenduë d’une Octave, nous trouverons que suivant la bonne Modulation, la Quinte, la Quarte, la Septiéme & la Seconde y sont immobiles, & qu’il n’y a de mobile que la Tierce & la Sixte : Donc il n’y aura que la Tierce & la Sixte qui pourront y être distinguées en majeures & en mineures ; de sorte que la même distinction qui se fera de la Quinte & de la Quarte, devra se faire aussi de la Septiéme & de la Seconde. L’on peut dire, à la verité, que la Septiéme change dans les Tons mineurs ; mais seulement en descendant, de même que la Sixte y change en montant ; ce qui ne se fait que pour conformer la progression de ces deux Intervales à celle que doit tenir l’Intervale qui va tomber sur l’une des principales Nottes du Mode, qui sont ou la tonique ou sa dominante : mais l’on ne peut pas dire que la Seconde change ; ainsi la Seconde & la Septiéme étant deux Intervales renversez l’un de l’autre, l’on ne peut rien approprier à l’un, dont l’autre ne doive participer.", "english": "Consider also each interval’s place within the octave. In proper modulation, fifth, fourth, seventh, and second are fixed; only third and sixth are movable. Only third and sixth, then, should be distinguished as major and minor. The distinction used for fifth and fourth should also be used for seventh and second. The seventh admittedly changes in minor keys, but only in descent, just as the sixth changes in ascent. This merely brings their movement into conformity with the interval approaching one of the mode’s principal notes, tonic or dominant. The second cannot be said to change. Since second and seventh are inversions of one another, nothing can be assigned to either without the other sharing it.", "sources": [ { "pdf_page": 197, "source_image": "source-pages/bnf-197.png", "printed_page": 165, "bbox_pixels": [ 447, 1419, 2131, 1187 ], "alternate_image": "source-pages/alternate/bne-201-native.png", "crop_image": "assets/II.29-010.png" } ] }, { "id": "II.29-011", "type": "paragraph", "section": "II.29", "lesson": 44, "exercise": 44, "reading_order": 1177, "original": "Si nous avons encore égard à la distinction que l’on peut faire de chaque Intervale, nous trouverons que ceux qui se distinguent en majeurs & en mineurs, peuvent l’être encore en superflus & en diminuez.", "english": "Furthermore, intervals distinguished as major and minor can also be distinguished as augmented and diminished.", "sources": [ { "pdf_page": 197, "source_image": "source-pages/bnf-197.png", "printed_page": 165, "bbox_pixels": [ 458, 2608, 2109, 301 ], "alternate_image": "source-pages/alternate/bne-201-native.png", "crop_image": "assets/II.29-011.png" } ] }, { "id": "II.29-012", "type": "heading", "section": "II.29", "lesson": 44, "exercise": 44, "reading_order": 1178, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 197, "source_image": "source-pages/bnf-197.png", "printed_page": 165, "bbox_pixels": [ 1148, 2894, 768, 92 ], "alternate_image": "source-pages/alternate/bne-201-native.png", "crop_image": "assets/II.29-012.png" } ] }, { "id": "II.29-013", "type": "music", "section": "II.29", "lesson": 44, "exercise": 44, "reading_order": 1179, "original": "Tierce diminuée. Sixte superfluë. Tierce mineure. Sixte majeure. Tierce majeure. Sixte mineure. Tierce superfluë. Sixte diminuée.", "english": "Diminished third. Augmented sixth. Minor third. Major sixth. Major third. Minor sixth. Augmented third. Diminished sixth.", "sources": [ { "pdf_page": 197, "source_image": "source-pages/bnf-197.png", "printed_page": 165, "bbox_pixels": [ 458, 2948, 2118, 456 ], "alternate_image": "source-pages/alternate/bne-201-native.png", "crop_image": "assets/II.29-013.png" } ], "original_title": "Quatre genres de Tierces et de Sixtes.", "english_title": "Four kinds of thirds and sixths.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.29-013" ], "music_asset_refs": [ "II.29-013" ] }, { "id": "II.29-014", "type": "paragraph", "section": "II.29", "lesson": 44, "exercise": 44, "reading_order": 1180, "original": "Cet Exemple nous prouve qu’il y a quatre genres de Tierces & de Sixtes, ce que l’on ne trouvera pas dans aucun autre Intervale.", "english": "This example proves that thirds and sixths have four kinds, something found in no other interval.", "sources": [ { "pdf_page": 197, "source_image": "source-pages/bnf-197.png", "printed_page": 165, "bbox_pixels": [ 462, 3405, 2109, 174 ], "alternate_image": "source-pages/alternate/bne-201-native.png", "crop_image": "assets/II.29-014.png" } ] }, { "id": "II.29-015", "type": "heading", "section": "II.29", "lesson": 44, "exercise": 44, "reading_order": 1181, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 198, "source_image": "source-pages/bnf-198.png", "printed_page": 166, "bbox_pixels": [ 1187, 327, 785, 92 ], "crop_image": "assets/II.29-015.png" } ] }, { "id": "II.29-016", "type": "music", "section": "II.29", "lesson": 44, "exercise": 44, "reading_order": 1182, "original": "Unisson. Octave. Unisson diminué. Octave superflu. Unisson superflu. Octave diminué.", "english": "Unison. Octave. Diminished unison. Augmented octave. Augmented unison. Diminished octave.", "sources": [ { "pdf_page": 198, "source_image": "source-pages/bnf-198.png", "printed_page": 166, "bbox_pixels": [ 445, 381, 1963, 445 ], "crop_image": "assets/II.29-016.png" } ], "original_title": "Unisson et Octave.", "english_title": "Unison and octave.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.29-016" ], "music_asset_refs": [ "II.29-016" ] }, { "id": "II.29-017", "type": "music", "section": "II.29", "lesson": 44, "exercise": 44, "reading_order": 1183, "original": "Quinte. Quarte. Fausse-Quinte. Triton. Quinte superfluë. Quarte diminuée.", "english": "Fifth. Fourth. Diminished fifth. Tritone. Augmented fifth. Diminished fourth.", "sources": [ { "pdf_page": 198, "source_image": "source-pages/bnf-198.png", "printed_page": 166, "bbox_pixels": [ 443, 795, 1963, 439 ], "crop_image": "assets/II.29-017.png" } ], "original_title": "Quinte et Quarte.", "english_title": "Fifth and fourth.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.29-017" ], "music_asset_refs": [ "II.29-017" ] }, { "id": "II.29-018", "type": "music", "section": "II.29", "lesson": 44, "exercise": 44, "reading_order": 1184, "original": "Septiéme. Seconde. 7me superfluë. 2de diminuée. 7me diminuée. 2de superfluë.", "english": "Seventh. Second. Augmented seventh. Diminished second. Diminished seventh. Augmented second.", "sources": [ { "pdf_page": 198, "source_image": "source-pages/bnf-198.png", "printed_page": 166, "bbox_pixels": [ 445, 1195, 1959, 454 ], "crop_image": "assets/II.29-018.png" } ], "original_title": "Septiéme et Seconde.", "english_title": "Seventh and second.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.29-018" ], "music_asset_refs": [ "II.29-018" ] }, { "id": "II.29-019", "type": "paragraph", "section": "II.29", "lesson": 44, "exercise": 44, "reading_order": 1185, "original": "Si nous distinguons la Septiéme, & la Septiéme superfluë en mineure & en majeure, nous ne pourrons plus trouver la superfluë comme dans la Tierce & dans la Sixte, nous ne pourrons trouver pareillement la Seconde diminuée, si nous appellons celle-cy mineure ; par conséquent si la Septiéme & la Seconde ne peuvent se distinguer qu’en trois genres, de même que la Quinte & la Quarte ; pourquoi ne pas se servir des mêmes termes pour les unes & pour les autres ? Au lieu qu’en distinguant la Septiéme & la Seconde en majeure & en mineure, c’est leur approprier les qualitez de la Tierce & de la Sixte. Il est vrai que Mr de Brossard pour autoriser le nom de majeur qu’il donne à la veritable Septiéme superfluë, nous fait part d’une autre Septiéme superflue entre Si ♭ & La ♯. Ainsi *", "english": "If we call the seventh and augmented seventh minor and major, there will be no further augmented form as there is for third and sixth. Likewise, calling the diminished second minor leaves no diminished form. If seventh and second have only three kinds, like fifth and fourth, why not use the same terms for both pairs? Calling seventh and second major and minor assigns them qualities belonging to third and sixth. Mr. de Brossard, it is true, seeks to justify calling the true augmented seventh major by giving another augmented seventh between B♭ and A♯. Thus:*", "sources": [ { "pdf_page": 198, "source_image": "source-pages/bnf-198.png", "printed_page": 166, "bbox_pixels": [ 441, 1662, 2131, 909 ], "crop_image": "assets/II.29-019.png" } ] }, { "id": "II.29-020", "type": "music", "section": "II.29", "lesson": 44, "exercise": 44, "reading_order": 1186, "original": "Ainsi *", "english": "Thus.*", "sources": [ { "pdf_page": 198, "source_image": "source-pages/bnf-198.png", "printed_page": 166, "bbox_pixels": [ 2229, 2481, 342, 264 ], "crop_image": "assets/II.29-020.png" } ], "original_title": "Septiéme proposée par Brossard : Si bémol et La dièze.", "english_title": "Seventh proposed by Brossard: B-flat and A-sharp.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.29-020" ], "music_asset_refs": [ "II.29-020" ] }, { "id": "II.29-021", "type": "paragraph", "section": "II.29", "lesson": 44, "exercise": 44, "reading_order": 1187, "original": "Bien qu’il avoüë qu’elle ne soit d’aucun usage, & que plusieurs la confondent avec l’Octave : Aussi ne devons nous point nous arrêter à ce dernier Intervale, si ce n’est pour voir en quoi cet Auteur s’est trompé. La Seconde diminuée est contenuë, dit-il, * entre Ut & Ut ♯ ; ce qui n’a aucun rapport avec cette Septiéme superfluë qu’il propose ; car l’on sçait assez que ces deux Intervales qui sont renversez l’un de l’autre, doivent être formez des mêmes Nottes, comme on peut s’en appercevoir dans l’Exemple précedent, & dans la Table du premier Livre, Chap. V. D’ailleurs tout Intervale dont le nom des Nottes ne change que par un Dieze ou par un ♭mol, doit porter toûjours le même nom, en y ajoûtant seulement l’épithete de majeur ou de mineur, ou de superfluë, ou de diminuée, selon le cas : Ainsi cette Seconde diminuée entre Ut & Ut ♯, n’est qu’un Unisson superflue ; mais cette Septiéme superflue entre Si ♭ & La ♯, est plus grande qu’une Octave diminuée, pour ne pas dire que c’est une Octave ; car Si ♭ & La ♯ ne sont qu’une même touche sur l’Orgue & sur la plûpart des autres Instrumens. L’on pourroit nous faire icy quelques difficultez, que nous ne relevons point pour abreger, & parce qu’elles sont très-faciles à résoudre.", "english": "He admits, however, that it has no use and that many confuse it with the octave. We need consider this interval only to see his error. The diminished second, he says,* lies between C and C♯. This has no relation to his proposed augmented seventh, since inverted intervals must consist of the same notes, as the preceding example and the table in Book I, chapter V show. Furthermore, if the note names of an interval change only through a sharp or flat, the interval must keep its name, adding only major, minor, augmented, or diminished as appropriate. His diminished second C–C♯ is therefore merely an augmented unison. His augmented seventh B♭–A♯ is larger than a diminished octave, if not an octave outright: B♭ and A♯ occupy the same key on the organ and most other instruments. Some objections might be raised here; we omit them for brevity and because they are very easy to resolve.", "sources": [ { "pdf_page": 198, "source_image": "source-pages/bnf-198.png", "printed_page": 166, "bbox_pixels": [ 439, 2569, 2131, 978 ], "crop_image": "assets/II.29-021.png" }, { "pdf_page": 199, "source_image": "source-pages/bnf-199.png", "printed_page": 167, "bbox_pixels": [ 456, 378, 2122, 454 ], "crop_image": "assets/II.29-024.png" } ] }, { "id": "II.29-022", "type": "footnote", "section": "II.29", "lesson": 44, "exercise": 44, "reading_order": 1188, "original": "* Voyez Settima dans son Dictionnaire.", "english": "* See Settima in his dictionary.", "sources": [ { "pdf_page": 198, "source_image": "source-pages/bnf-198.png", "printed_page": 166, "bbox_pixels": [ 482, 3558, 952, 82 ], "crop_image": "assets/II.29-022.png" } ] }, { "id": "II.29-023", "type": "footnote", "section": "II.29", "lesson": 44, "exercise": 44, "reading_order": 1189, "original": "* Voyez Seconda.", "english": "* See Seconda.", "sources": [ { "pdf_page": 198, "source_image": "source-pages/bnf-198.png", "printed_page": 166, "bbox_pixels": [ 1475, 3558, 492, 82 ], "crop_image": "assets/II.29-023.png" } ] }, { "id": "II.29-025", "type": "paragraph", "section": "II.29", "lesson": 44, "exercise": 44, "reading_order": 1190, "original": "Cet Auteur n’a pas mieux réüssi dans l’idée qu’il nous donne de l’Accord de la Septiéme, & de la maniere de la sauver ; car sans expliquer s’il parle de la superflue, * il dit qu’on la pratique ainsi.", "english": "This author is no more successful in explaining the seventh chord or its resolution. Without specifying whether he means the augmented seventh,* he says it is used thus.", "sources": [ { "pdf_page": 199, "source_image": "source-pages/bnf-199.png", "printed_page": 167, "bbox_pixels": [ 458, 834, 2120, 213 ], "crop_image": "assets/II.29-025.png" } ] }, { "id": "II.29-026", "type": "music", "section": "II.29", "lesson": 44, "exercise": 44, "reading_order": 1191, "original": "7, 6, 4, 2, 1.", "english": "7, 6, 4, 2, 1.", "sources": [ { "pdf_page": 199, "source_image": "source-pages/bnf-199.png", "printed_page": 167, "bbox_pixels": [ 458, 1017, 462, 310 ], "crop_image": "assets/II.29-026.png" } ], "original_title": "Accord donné par Brossard.", "english_title": "Chord given by Brossard.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "II.29-026" ], "music_asset_refs": [ "II.29-026" ] }, { "id": "II.29-027", "type": "paragraph", "section": "II.29", "lesson": 44, "exercise": 44, "reading_order": 1192, "original": "Il n’a certainement pas consulté son oreille dans cet Accord ; car il ne vaut rien : S’il eut cependant joint un ♭mol au 6, ou s’il eut dit que cela ne se pratiquoit que dans les Tons mineurs, il auroit été plus excusable ; bien que l’on ne doive exposer une Règle sans exception, qu’elle ne soit generale ; & que pour que celle-cy fût telle en quelque façon, il eût fallu mettre la Quinte au lieu de la Sixte.", "english": "He certainly did not consult his ear: this chord is worthless. Adding a flat to the 6, or specifying minor keys only, would have made him more excusable. Yet a rule stated without exception must be general; to make this one even somewhat general, the fifth should have replaced the sixth.", "sources": [ { "pdf_page": 199, "source_image": "source-pages/bnf-199.png", "printed_page": 167, "bbox_pixels": [ 454, 1049, 2118, 516 ], "crop_image": "assets/II.29-027.png" } ] }, { "id": "II.29-028", "type": "paragraph", "section": "II.29", "lesson": 44, "exercise": 44, "reading_order": 1193, "original": "Malgré tout ce détail, l’on voudra peut-être encore distinguer toûjours la Septiéme & la Seconde en majeure & en mineure ; parce qu’il nous est permis de les pratiquer sous cette idée ; mais si l’on fait un peu d’attention à la juste distinction que nous avons faite des Dissonances, en appellant majeures, celles qui proviennent de la Tierce majeure ; & mineures, celles qui proviennent de la Tierce mineure ; vû que les majeures & les mineures suivent en tout la nature & la proprieté des Tierces, dont nous les faisons dépendre : Comment pourra-t-on donner le nom de majeur à un Intervale qui suivra la proprieté de la Tierce mineure ? La Septiéme de quelque nature qu’elle soit, doit toûjours descendre, si elle n’est superflue ; & si la Septiéme que l’on appelle majeure, ne peut se prendre que dans le même Intervale de celle que nous appellons superfluë, il est constant qu’il faut opter. Dans les raisons, nous les avons trouvées l’une & l’autre entre les nombres 8. 15. la superfluë monte, & suit en cela la proprieté de la Tierce majeure, dont on voit qu’elle est formée en effet, puisque ce n’est autre chose que la Tierce majeure de la dominante tonique selon l’Harmonie fondamentale : La majeure au contraire descend toûjours & suit en cela la proprieté de la Tierce mineure ; outre que nous avons fait sentir, que la Neuviéme étoit presque toûjours sous-entenduë dans un Accord où regne cette derniere Septiéme ; qui pour lors, selon l’Harmonie fondamentale, ne nous represente plus qu’une Quinte. Or quel inconvenient y-a-t-il de dire, que la Septiéme qui est la premiere de toutes les Dissonances est une Dissonance parfaite ou juste, sans étendre la force des mots de parfait & de juste au-delà des bornes de la Dissonance, en la distinguant ensuite en diminuée & en superfluë, comme on voit que cela ne peut se faire autrement ?", "english": "Despite this discussion, some may still prefer to call sevenths and seconds major and minor, since we are allowed to use them under that conception. But consider our proper distinction of dissonances: major ones derive from the major third, minor ones from the minor third, and follow the nature and properties of those thirds in every respect. How can an interval following the minor third’s property be called major? Every seventh must descend unless augmented. If the so-called major seventh occupies the same interval as what we call augmented, a choice must be made. We found both in the ratio 8:15. The augmented one ascends, following the major third’s property, from which it is indeed formed: in fundamental harmony it is simply the major third of the tonic dominant. The major one, conversely, always descends and follows the minor third’s property. We also showed that a ninth is almost always implied in a chord dominated by this latter seventh; in fundamental harmony the seventh then represents only a fifth. What objection is there to calling the seventh, the first of all dissonances, a perfect or just dissonance—without extending perfect and just beyond the bounds of dissonance—and then distinguishing it as diminished and augmented, as evidently must be done?", "sources": [ { "pdf_page": 199, "source_image": "source-pages/bnf-199.png", "printed_page": 167, "bbox_pixels": [ 447, 1565, 2133, 1950 ], "crop_image": "assets/II.29-028.png" }, { "pdf_page": 200, "source_image": "source-pages/bnf-200.png", "printed_page": 168, "bbox_pixels": [ 454, 385, 2109, 163 ], "crop_image": "assets/II.29-030.png" } ] }, { "id": "II.29-029", "type": "footnote", "section": "II.29", "lesson": 44, "exercise": 44, "reading_order": 1194, "original": "* Voyez Settima.", "english": "* See Settima.", "sources": [ { "pdf_page": 199, "source_image": "source-pages/bnf-199.png", "printed_page": 167, "bbox_pixels": [ 507, 3517, 426, 62 ], "crop_image": "assets/II.29-029.png" } ] }, { "id": "II.29-031", "type": "paragraph", "section": "II.29", "lesson": 44, "exercise": 44, "reading_order": 1195, "original": "Nous pouvons confirmer encore ceci par les mêmes inconveniens qui se rencontrent dans la Quinte & dans la Quarte. Lorsque l’on donne un Accord de Septiéme à une seconde Notte d’un Ton mineur, la fausse-Quinte qui doit s’y rencontrer naturellement, est-elle en effet cette fausse-Quinte que nous pratiquons ordinairement ; trouvons-nous que le Son grave de cet intervale doive monter d’un semi-Ton, comme c’est sa proprieté, lorsqu’il provient de la Tierce majeure ? Nous sentons au contraire qu’il peut rester sur le même degré, ou plutôt qu’il doit descendre de Quinte, pendant que le Son aigu de cette fausse-Quinte descend, parce qu’elle n’est point ici l’objet de l’Accord, & que tout y suit la progression que la Septiéme y détermine ; trouvons-nous encore que le Triton doive monter, après avoir été entendu dans un Accord de petite Sixte sur une sixième Notte d’un Ton mineur : nous trouvons au contraire qu’il reste sur le même degré ; & cela, parce que (comme nous l’avons déja dit au premier Livre ;) ces intervales occupent ici la place de ceux qui devroient s’y rencontrer naturellement, n’y étant soufferts que par rapport à la Modulation ; mais on n’a pas encore dit qu’on appellât, en ce cas, la fausse-Quinte, une Quinte mineure, ni le Triton, une Quarte majeure : Ce sont des épithetes absolument défenduës pour ces Intervales, qui sont en effet Justes & Parfaits ; ainsi l’on ne peut accorder ces épithetes à la Septiéme, qui ne devient majeure, que par rapport à la Modulation ; sinon il faudra les accorder également à tous les intervales.", "english": "The same difficulties with fifth and fourth confirm this. Give the second note of a minor key a seventh chord: is its naturally occurring diminished fifth really the diminished fifth ordinarily used? Must its lower sound rise a semitone, as it does when derived from the major third? Instead, we feel that it may remain still—or rather must descend a fifth—while the upper sound descends. The diminished fifth is not the chord’s governing object here; everything follows the movement determined by the seventh. Again, must a tritone ascend after sounding in a small-sixth chord on the sixth note of a minor key? No: it stays on the same degree. As Book I explained, these intervals occupy the places of those that should naturally occur and are admitted only for the sake of modulation. Yet no one calls the diminished fifth a minor fifth or the tritone a major fourth in these cases. Such adjectives are absolutely forbidden for intervals that are in themselves just and perfect. We therefore cannot grant them to the seventh, which becomes major only through modulation; otherwise we must grant them equally to every interval.", "sources": [ { "pdf_page": 200, "source_image": "source-pages/bnf-200.png", "printed_page": 168, "bbox_pixels": [ 445, 544, 2126, 1806 ], "crop_image": "assets/II.29-031.png" } ] }, { "id": "II.29-032", "type": "paragraph", "section": "II.29", "lesson": 44, "exercise": 44, "reading_order": 1196, "original": "Les Tierces sont les arbitres de la Modulation, la Quinte, la Quarte & la Septiéme, qui peuvent s’y rencontrer majeures ou mineures, selon ce que nous venons de dire, ne font que suivre en cela ce qui leur est déterminé par cette Modulation, & n’y déterminent rien ; donc si l’on distingue le Mode en majeur & en mineur, ces termes ne doivent être appropriez qu’aux Intervales qui en déterminent l’ordre & la progression.", "english": "Thirds govern modulation. Fifth, fourth, and seventh, which may occur in major or minor forms in the sense just explained, merely follow what modulation prescribes and determine nothing themselves. If mode is distinguished as major or minor, these terms should belong only to the intervals determining its order and progression.", "sources": [ { "pdf_page": 200, "source_image": "source-pages/bnf-200.png", "printed_page": 168, "bbox_pixels": [ 439, 2343, 2133, 527 ], "crop_image": "assets/II.29-032.png" } ] }, { "id": "II.29-033", "type": "paragraph", "section": "II.29", "lesson": 44, "exercise": 44, "reading_order": 1197, "original": "Ce que nous avons dit de la Septiéme, doit s’entendre aussi de la Seconde & de la Neuviéme, en ce que la Seconde est renversée de la Septiéme, & que la Neuviéme n’est qu’une replique de la Seconde, ou que selon l’Harmonie fondamentale elle represente toûjours la Septiéme.", "english": "What we have said of the seventh also applies to second and ninth: the second is the seventh’s inversion, and the ninth merely repeats the second, or, in fundamental harmony, always represents the seventh.", "sources": [ { "pdf_page": 200, "source_image": "source-pages/bnf-200.png", "printed_page": 168, "bbox_pixels": [ 441, 2868, 2128, 376 ], "crop_image": "assets/II.29-033.png" } ] }, { "id": "II.29-034", "type": "paragraph", "section": "II.29", "lesson": 44, "exercise": 44, "reading_order": 1198, "original": "Pour ce qui est de la Onziéme dite Quarte, son Intervale ne change jamais.", "english": "The eleventh, called the fourth, never changes its interval.", "sources": [ { "pdf_page": 200, "source_image": "source-pages/bnf-200.png", "printed_page": 168, "bbox_pixels": [ 441, 3240, 2126, 166 ], "crop_image": "assets/II.29-034.png" } ] }, { "id": "II.29-035", "type": "heading", "section": "II.29", "lesson": 44, "exercise": 44, "reading_order": 1199, "original": "FIN DU SECOND LIVRE.", "english": "END OF BOOK II.", "sources": [ { "pdf_page": 200, "source_image": "source-pages/bnf-200.png", "printed_page": 168, "bbox_pixels": [ 858, 3474, 1318, 101 ], "crop_image": "assets/II.29-035.png" } ] }, { "id": "III.01-001", "type": "heading", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1200, "original": "LIVRE TROISIÉME.", "english": "BOOK III.", "sources": [ { "pdf_page": 201, "source_image": "source-pages/bnf-201.png", "printed_page": 169, "bbox_pixels": [ 470, 625, 2070, 110 ], "crop_image": "assets/III.01-001.png" } ], "correction_refs": [ "supplement-194", "supplement-195", "supplement-196", "supplement-197", "supplement-198", "supplement-199", "supplement-200" ] }, { "id": "III.01-002", "type": "heading", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1201, "original": "Principes de Composition.", "english": "Principles of composition.", "sources": [ { "pdf_page": 201, "source_image": "source-pages/bnf-201.png", "printed_page": 169, "bbox_pixels": [ 470, 800, 2070, 110 ], "crop_image": "assets/III.01-002.png" } ] }, { "id": "III.01-003", "type": "heading", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1202, "original": "CHAPITRE PREMIER.", "english": "CHAPTER ONE.", "sources": [ { "pdf_page": 201, "source_image": "source-pages/bnf-201.png", "printed_page": 169, "bbox_pixels": [ 470, 995, 2070, 110 ], "crop_image": "assets/III.01-003.png" } ] }, { "id": "III.01-004", "type": "heading", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1203, "original": "Introduction à la Musique-pratique.", "english": "Introduction to practical music.", "sources": [ { "pdf_page": 201, "source_image": "source-pages/bnf-201.png", "printed_page": 169, "bbox_pixels": [ 470, 1140, 2070, 110 ], "crop_image": "assets/III.01-004.png" } ] }, { "id": "III.01-005", "type": "heading", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1204, "original": "De la Gamme.", "english": "The scale.", "sources": [ { "pdf_page": 201, "source_image": "source-pages/bnf-201.png", "printed_page": 169, "bbox_pixels": [ 470, 1290, 2070, 110 ], "crop_image": "assets/III.01-005.png" } ] }, { "id": "III.01-006", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1205, "original": "COMME il n’y a que sept Sons diatoniques *, c’est-à-dire, sept Degrez successifs dans la voix naturelle, il n’y a aussi dans la Musique que les sept Nottes Ut, Ré, Mi, Fa, Sol, La, Si, ce qu’on appelle Gamme, ne pouvant augmenter ce nombre de Nottes, qu’en recommençant par la premiere après la derniere, & continuant toûjours selon l’ordre qui leur est prescrit icy. Ces mêmes Nottes ainsi repetées, qui ne sont que la replique les unes des autres, s’appellent Octaves.", "english": "There are only seven diatonic sounds,* that is, seven successive degrees in the natural voice. Music therefore has only the seven notes C, D, E, F, G, A, B, called the scale. To extend their number, begin again with the first after the last and continue in this prescribed order. These repeated notes, which merely replicate one another, are called octaves.", "sources": [ { "pdf_page": 201, "source_image": "source-pages/bnf-201.png", "printed_page": 169, "bbox_pixels": [ 425, 1415, 2140, 595 ], "crop_image": "assets/III.01-006.png" } ] }, { "id": "III.01-007", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1206, "original": "Il est bon d’ajoûter l’Octave de la premiere Notte à la fin de la Gamme, pour s’accoûtumer à distinguer cette Octave ; ainsi Ut, Ré, Mi, Fa, Sol, La, Si, Ut ; en se souvenant que cette progression de Nottes, qui se fait icy en montant, doit être également connuë en descendant ; ainsi Ut, Si, La, Sol, Fa, Mi, Ré, Ut.", "english": "Add the first note’s octave at the scale’s end to become accustomed to recognizing it: C D E F G A B C. Remember to know this progression downward as well as upward: C B A G F E D C.", "sources": [ { "pdf_page": 201, "source_image": "source-pages/bnf-201.png", "printed_page": 169, "bbox_pixels": [ 425, 2010, 2140, 380 ], "crop_image": "assets/III.01-007.png" } ] }, { "id": "III.01-008", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1207, "original": "Si l’on veut faire commencer & finir cette Gamme par une autre Notte que par celle d’Ut (ce qui est bon à pratiquer, quoique contre l’ordre diatonique) l’on voit icy par l’Octave ajoûtée, qu’il n’y a qu’à ajoûter également les Octaves des autres Nottes ; de sorte que si l’on commence par Sol, il n’y a qu’à dire Sol, La, Si, Ut, Ré, Mi, Fa, Sol, en montant ; & Sol, Fa, Mi, Ré, Ut, Si, La, Sol, en descendant, & ainsi des autres.", "english": "To begin and end this scale on a note other than C—good practice, though contrary to the diatonic order—simply add the other notes’ octaves as we added C’s. Beginning on G gives G A B C D E F G ascending and G F E D C B A G descending; likewise for the others.", "sources": [ { "pdf_page": 201, "source_image": "source-pages/bnf-201.png", "printed_page": 169, "bbox_pixels": [ 425, 2390, 2140, 525 ], "crop_image": "assets/III.01-008.png" } ] }, { "id": "III.01-009", "type": "heading", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1208, "original": "Des Intervales.", "english": "Intervals.", "sources": [ { "pdf_page": 201, "source_image": "source-pages/bnf-201.png", "printed_page": 169, "bbox_pixels": [ 470, 2920, 2070, 110 ], "crop_image": "assets/III.01-009.png" } ] }, { "id": "III.01-010", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1209, "original": "Il faut non-seulement sçavoir décompter la Gamme, tant en montant qu’en descendant, & la faire commencer tantôt par une Notte, tantôt par une autre : Il faut de plus remarquer la distance qu’il y a d’une Notte à une autre, selon l’ordre des nombres, en se souvenant que cette observation ne se fait pour lors qu’en montant.", "english": "Not only must one recite the scale ascending and descending, beginning on different notes; one must also observe the numerical distance between notes. For the moment this observation is made only upward.", "sources": [ { "pdf_page": 201, "source_image": "source-pages/bnf-201.png", "printed_page": 169, "bbox_pixels": [ 425, 3040, 2140, 390 ], "crop_image": "assets/III.01-010.png" } ] }, { "id": "III.01-011", "type": "footnote", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1210, "original": "* Voyez la Table des Termes.", "english": "* See the glossary.", "sources": [ { "pdf_page": 201, "source_image": "source-pages/bnf-201.png", "printed_page": 169, "bbox_pixels": [ 500, 3440, 1520, 65 ], "crop_image": "assets/III.01-011.png" } ] }, { "id": "III.01-012", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1211, "original": "C’est de cette distance que se forment tous les Intervales de la Musique ; & ces Intervales qui tirent leur dénomination des nombres de l’Arithmetique, s’appellent,", "english": "These distances form every musical interval. The intervals take their names from arithmetic numbers and are called:", "sources": [ { "pdf_page": 202, "source_image": "source-pages/bnf-202.png", "printed_page": 170, "bbox_pixels": [ 425, 385, 2140, 235 ], "crop_image": "assets/III.01-012.png" } ] }, { "id": "III.01-013", "type": "image", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1212, "original": "2 Seconde ; 3 Tierce ; 4 Quarte ; 5 Quinte ; 6 Sixte ; 7 Septiéme & 8 Octave.", "english": "2 Second; 3 Third; 4 Fourth; 5 Fifth; 6 Sixth; 7 Seventh; 8 Octave.", "sources": [ { "pdf_page": 202, "source_image": "source-pages/bnf-202.png", "printed_page": 170, "bbox_pixels": [ 460, 620, 2040, 140 ], "crop_image": "assets/III.01-013.png" } ], "original_title": "Nombres & noms des Intervales", "english_title": "Numbers and names of intervals", "asset_refs": [ "III.01-013" ] }, { "id": "III.01-014", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1213, "original": "Nous avons mis les nombres au-dessus du nom dont chaque Intervale tire sa dénomination, parce que nous ne nous servirons dans la suite que de ces nombres, pour désigner l’Intervale dont nous aurons à parler ; de sorte qu’il faut bien se ressouvenir que 2. désigne la Seconde, 3 la Tierce, 4 la Quarte ; ainsi du reste jusqu’à l’Octave désignée par le nombre 8.", "english": "Numbers have been placed above the interval names because henceforth we shall use only the numbers to indicate them. Remember clearly that 2 means second, 3 third, 4 fourth, and so on to 8, the octave.", "sources": [ { "pdf_page": 202, "source_image": "source-pages/bnf-202.png", "printed_page": 170, "bbox_pixels": [ 425, 750, 2140, 445 ], "crop_image": "assets/III.01-014.png" } ] }, { "id": "III.01-015", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1214, "original": "Pour trouver ces Intervales, l’on se propose d’abord une Notte pour principe, ou pour premier degré ; puis en comptant de cette Notte à une autre, la même quantité de Nottes que l’on a comptées, désigne l’Intervale qui se trouve entre la premiere Notte & celle où l’on s’arrête. Par exemple, si l’on prend Ut pour premier degré, l’on juge d’abord que Ré en fait la Seconde, Mi la troisiéme, Fa la quatriéme, Sol la cinquiéme, &c. pareillement si l’on prend Ré pour premier degré, Mi en fait la seconde, Si la sixiéme, Ut la septiéme ; ainsi de toutes les autres Nottes que l’on voudra, & qu’il faut absolument se proposer pour premiers degrez. Afin que l’on soit si bien au fait de ces Intervales, que l’on puisse dire sur le champ que Mi fait la Quinte de La, Si celle de Mi, Ré celle de Sol &c. L’on peut se servir pour cet effet de la Gamme suivante.", "english": "To find an interval, choose a note as origin or first degree. Count from it to another note; the number of notes counted names the interval between the first and last. From C, D is second, E third, F fourth, G fifth, and so forth. From D, E is second, B sixth, C seventh. Practice taking every note as the first degree until you can immediately say that E is A’s fifth, B is E’s fifth, D is G’s fifth, and so forth. The following scale can help.", "sources": [ { "pdf_page": 202, "source_image": "source-pages/bnf-202.png", "printed_page": 170, "bbox_pixels": [ 425, 1200, 2140, 970 ], "crop_image": "assets/III.01-015.png" } ] }, { "id": "III.01-016", "type": "image", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1215, "original": "Gamme circulaire — distances d’Intervales", "english": "Circular scale—interval distances", "sources": [ { "pdf_page": 202, "source_image": "source-pages/bnf-202.png", "printed_page": 170, "bbox_pixels": [ 450, 2220, 1260, 1150 ], "crop_image": "assets/III.01-016.png" } ], "original_title": "Gamme circulaire — distances d’Intervales", "english_title": "Circular scale—interval distances", "asset_refs": [ "III.01-016" ] }, { "id": "III.01-017", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1216, "original": "En prenant Ut pour premiere Notte ou pour premier degré, l’on trouvera dans cette Gamme une ligne qui conduit d’un à deux au-dessous de Ré, à trois au-dessous de Mi, ainsi en tournant toûjours jusqu’à huit qui représente l’Octave de ce même Ut ; car l’Octave qui n’est qu’une replique (comme nous l’avons déja dit) est toûjours representée par la même Notte & sous le même nom ; pareillement si l’on prend Ré pour premiere Notte, le chiffre 1. qui est au-dessous conduit à 2. au-dessous de Mi, à 3. au-dessous de Fa, &c. ces nombres marquant les Intervales que forment les Nottes au-dessous desquelles ils se trouvent avec celles qui commencent par 1. d’où l’on passe à 2. à 3. à 4. &c. par le moyen des petites lignes, qui toutes ensemble forment un cercle depuis 1. jusqu’à 8.", "english": "Taking C as first degree, follow the line from 1 to 2 beneath D, to 3 beneath E, and around to 8, C’s octave. The octave merely repeats the note and therefore has the same name. Taking D instead, its 1 leads to 2 beneath E, 3 beneath F, and so on. Each number gives the interval between the note above it and the note bearing 1. The small connecting lines lead through 2, 3, 4, and so forth, forming a complete circle from 1 to 8.", "sources": [ { "pdf_page": 202, "source_image": "source-pages/bnf-202.png", "printed_page": 170, "bbox_pixels": [ 425, 2180, 2140, 1355 ], "crop_image": "assets/III.01-017.png" }, { "pdf_page": 203, "source_image": "source-pages/bnf-203.png", "printed_page": 171, "bbox_pixels": [ 425, 370, 2140, 300 ], "crop_image": "assets/III.01-018.png" } ] }, { "id": "III.01-019", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1217, "original": "Souvenez-vous bien que lorsque nous parlerons simplement de la Tierce, de la Quarte, &c. ces Intervales se prendront toûjours dans la Gamme en montant depuis la Notte proposée pour premier degré, parce que cette Notte est toûjours censée la plus Basse.", "english": "Whenever we simply say third, fourth, and so forth, take the interval upward in the scale from the proposed first degree, which is always assumed to be the lowest note.", "sources": [ { "pdf_page": 203, "source_image": "source-pages/bnf-203.png", "printed_page": 171, "bbox_pixels": [ 425, 670, 2140, 295 ], "crop_image": "assets/III.01-019.png" } ] }, { "id": "III.01-020", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1218, "original": "L’on ne doit pas moins s’exercer à chercher les Intervales dans la Gamme en descendant ; L’on trouvera que la Quarte au-dessous d’Ut, est Sol, de même que la Quarte au-dessus de Sol, est Ut ; ce qui n’est pas difficile à comprendre, & ce qui peut être très-utile dans l’occasion.", "english": "Practice finding downward intervals no less thoroughly. A fourth below C is G, just as a fourth above G is C. This is easy to understand and can be very useful.", "sources": [ { "pdf_page": 203, "source_image": "source-pages/bnf-203.png", "printed_page": 171, "bbox_pixels": [ 425, 965, 2140, 300 ], "crop_image": "assets/III.01-020.png" } ] }, { "id": "III.01-021", "type": "heading", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1219, "original": "Du renversement des Intervales.", "english": "Inversion of intervals.", "sources": [ { "pdf_page": 203, "source_image": "source-pages/bnf-203.png", "printed_page": 171, "bbox_pixels": [ 470, 1330, 2070, 110 ], "crop_image": "assets/III.01-021.png" } ] }, { "id": "III.01-022", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1220, "original": "Les deux Nottes qui forment l’Octave, & qui ne sont dans le fond qu’une même Notte, servent de limites à tous les Intervales ; puisqu’en effet toutes les Nottes de la Gamme sont renfermées dans l’étendue de l’Octave. Regardant donc les deux Ut qui commencent & finissent la Gamme comme une seule Notte, l’on jugera d’abord que telle autre Notte que l’on comparera à chacune de ces deux Ut, ne pourra donner deux Intervales differens ; mais aussi en remarquant que le premier Ut est au-dessous de la Notte qu’on luy compare, & que le second est au-dessus, cela y fera appercevoir une difference qu’il faut expliquer.", "english": "The two notes of an octave, essentially the same note, bound all intervals because every scale note lies within the octave. Regarding the two Cs beginning and ending the scale as one note, another note compared with each should not give two different intervals. Yet the first C lies below the compared note and the second above it. This reveals a difference requiring explanation.", "sources": [ { "pdf_page": 203, "source_image": "source-pages/bnf-203.png", "printed_page": 171, "bbox_pixels": [ 425, 1440, 2140, 755 ], "crop_image": "assets/III.01-022.png" } ] }, { "id": "III.01-023", "type": "image", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1221, "original": "Renversement des Intervales — Gamme & nombres", "english": "Interval inversion—scale and numbers", "sources": [ { "pdf_page": 203, "source_image": "source-pages/bnf-203.png", "printed_page": 171, "bbox_pixels": [ 1080, 2200, 1520, 1250 ], "crop_image": "assets/III.01-023.png" } ], "original_title": "Renversement des Intervales — Gamme & nombres", "english_title": "Interval inversion—scale and numbers", "asset_refs": [ "III.01-023" ] }, { "id": "III.01-024", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1222, "original": "En considerant la Gamme de cette façon, l’on remarque que Ré fait la seconde du premier Ut, & que le second Ut fait la sept de ce Ré ; que Mi fait la Tierce du premier Ut, & que le second Ut fait la Sixte de ce Mi ; que Fa fait la Quarte du premier Ut, & que le second Ut fait la Quinte de ce Fa ; enfin que Sol fait la Quinte du premier Ut, & la Quarte du second, pouvant encore s’exprimer de la sorte ; si bien que par ce moyen l’on connoît qu’il doit naître toûjours un Intervale d’un autre ; car si l’on prend une autre Notte pour premier degré, en la mettant au commencement & à la fin de la Gamme, il n’y a qu’à y faire les observations que nous venons de faire à l’égard d’Ut, pour y trouver la même chose, c’est-à-dire, que la seconde de la premiere Notte deviendra toûjours septiéme de l’Octave de cette premiere Notte, &c.", "english": "Viewed this way, D is a second above the first C, while the second C is a seventh above D. E is a third above the first C; the second C a sixth above E. F is a fourth above the first C; the second C a fifth above F. Finally, G is a fifth from the first C and a fourth from the second, as we may also put it. One interval must thus arise from another. Put any other note at both ends of the scale and the same observations apply: the second above the first note always becomes a seventh in relation to its octave, and so forth.", "sources": [ { "pdf_page": 203, "source_image": "source-pages/bnf-203.png", "printed_page": 171, "bbox_pixels": [ 425, 2300, 2140, 1210 ], "crop_image": "assets/III.01-024.png" }, { "pdf_page": 204, "source_image": "source-pages/bnf-204.png", "printed_page": 172, "bbox_pixels": [ 425, 365, 2140, 355 ], "crop_image": "assets/III.01-025.png" } ] }, { "id": "III.01-026", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1223, "original": "Pour une plus grande intelligence, il faut s’imaginer toûjours que l’Octave est inséparable de la Notte que l’on prend pour premier degré ; de sorte qu’après avoir comparé une Notte à ce premier degré, on la compare ensuite à l’Octave de ce premier degré, d’où naîtront deux Intervales, dont le premier est appellé Fondamental ou Principal, & le second Renversé ; car en effet, si l’on compare Ut à Mi, puis Mi à Ut, il ne se trouve-là qu’un Renversement de comparaisons ; de même que par les nombres, en supposant que 8. & 1. représentent une même Notte, cette comparaison se fait d’abord d’1. à 3. puis de 3. à 8.", "english": "For clarity, always imagine the octave as inseparable from the first degree. After comparing a note with that first degree, compare it with the octave. Two intervals result: the first called fundamental or principal, the second inverted. Comparing C with E and then E with C simply reverses the comparison. Numerically, since 8 and 1 represent the same note, compare 1 to 3, then 3 to 8.", "sources": [ { "pdf_page": 204, "source_image": "source-pages/bnf-204.png", "printed_page": 172, "bbox_pixels": [ 425, 725, 2140, 755 ], "crop_image": "assets/III.01-026.png" } ] }, { "id": "III.01-027", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1224, "original": "De tous les Intervales, il n’y en a que trois qui soient Fondamentaux, & dont par consequent il faille se ressouvenir ; ce sont la 3, la 5, & la 7, que l’on peut arranger de la sorte. Chaque premiere Notte répond à 1, & leur 3, leur 5 & leur 7 répondent aux nombres qui désignent ces Intervales : Or quand on connoît une fois ces trois Intervales par rapport à l’une des sept Nottes prise pour premier degré, il n’y a qu’à ajoûter l’Octave de ce premier degré pour y trouver que la Tierce devient Sixte ; que la Quinte devient Quarte, & que la Septiéme devient Seconde ; ces trois derniers Intervales, la Sixte, la Quarte & la Seconde étant pour lors Renversez des trois premiers & fondamentaux.", "english": "Only three intervals are fundamental and therefore need remembering: third, fifth, seventh. Arrange them as shown. Every first note corresponds to 1; its third, fifth, and seventh correspond to their interval numbers. Once these are known from any of the seven starting notes, add that starting note’s octave: third becomes sixth, fifth fourth, seventh second. These last three—sixth, fourth, second—are inversions of the first three fundamentals.", "sources": [ { "pdf_page": 204, "source_image": "source-pages/bnf-204.png", "printed_page": 172, "bbox_pixels": [ 425, 1480, 2140, 900 ], "crop_image": "assets/III.01-027.png" } ] }, { "id": "III.01-028", "type": "image", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1225, "original": "Ut Mi Sol Si ; Ré Fa La Ut ; Mi Sol Si Ré ; Fa La Ut Mi ; Sol Si Ré Fa ; La Ut Mi Sol ; Si Ré Fa La.", "english": "C E G B; D F A C; E G B D; F A C E; G B D F; A C E G; B D F A.", "sources": [ { "pdf_page": 204, "source_image": "source-pages/bnf-204.png", "printed_page": 172, "bbox_pixels": [ 2150, 1620, 420, 440 ], "crop_image": "assets/III.01-028.png" } ], "original_title": "Intervales fondamentaux 1, 3, 5, 7", "english_title": "Fundamental intervals 1, 3, 5, 7", "asset_refs": [ "III.01-028" ] }, { "id": "III.01-029", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1226, "original": "Il ne faut point passer trop legerement sur cet Article ; car plus on sera persuadé par sa propre experience de la verité que nous y avançons, plus on aura de facilité à comprendre le reste.", "english": "Do not pass lightly over this topic. The more your own experience convinces you of its truth, the easier everything else will become.", "sources": [ { "pdf_page": 204, "source_image": "source-pages/bnf-204.png", "printed_page": 172, "bbox_pixels": [ 425, 2385, 2140, 220 ], "crop_image": "assets/III.01-029.png" } ] }, { "id": "III.01-030", "type": "heading", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1227, "original": "De la Portée, c’est-à-dire, des lignes qui servent à placer les Nottes.", "english": "The staff: the lines on which notes are placed.", "sources": [ { "pdf_page": 204, "source_image": "source-pages/bnf-204.png", "printed_page": 172, "bbox_pixels": [ 470, 2660, 2070, 180 ], "crop_image": "assets/III.01-030.png" } ] }, { "id": "III.01-031", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1228, "original": "Les Nottes de la Musique dont le nom nous est connu, sont representées par differens caracteres, qui en marquent la durée, & se placent sur & entre cinq lignes arrangées orizontalement pour en faire distinguer les degrez.", "english": "The note names we know are represented by different signs indicating duration. They are placed on and between five horizontal lines to distinguish their degrees.", "sources": [ { "pdf_page": 204, "source_image": "source-pages/bnf-204.png", "printed_page": 172, "bbox_pixels": [ 425, 2840, 2140, 310 ], "crop_image": "assets/III.01-031.png" } ] }, { "id": "III.01-032", "type": "image", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1229, "original": "PORTÉE — cinq lignes numérotées", "english": "STAFF—five numbered lines", "sources": [ { "pdf_page": 204, "source_image": "source-pages/bnf-204.png", "printed_page": 172, "bbox_pixels": [ 440, 3150, 480, 270 ], "crop_image": "assets/III.01-032.png" } ], "original_title": "PORTÉE — cinq lignes numérotées", "english_title": "STAFF—five numbered lines", "asset_refs": [ "III.01-032" ] }, { "id": "III.01-033", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1230, "original": "Ces cinq Lignes toutes ensemble s’appellent Portée, chaque ligne en particulier s’appelle Ligne ou Regle ; & chaque entre-ligne s’appelle Milieu ou Espace. La plus basse de ces lignes en est la premiere, & par consequent la plus haute en est la cinquiéme.", "english": "The five lines together form the staff. Each individual line is called a line or rule; the interval between them a space. The lowest line is first, and consequently the highest fifth.", "sources": [ { "pdf_page": 204, "source_image": "source-pages/bnf-204.png", "printed_page": 172, "bbox_pixels": [ 425, 3190, 2140, 400 ], "crop_image": "assets/III.01-033.png" } ] }, { "id": "III.01-034", "type": "heading", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1231, "original": "Des Clefs.", "english": "Clefs.", "sources": [ { "pdf_page": 205, "source_image": "source-pages/bnf-205.png", "printed_page": 173, "bbox_pixels": [ 470, 440, 2070, 110 ], "crop_image": "assets/III.01-034.png" } ] }, { "id": "III.01-035", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1232, "original": "Il y a trois Clefs dans la Musique, dont voicy les differens caracteres, & le nom de la Notte que chacune désigne.", "english": "Music has three clefs. Here are their signs and the note name each designates.", "sources": [ { "pdf_page": 205, "source_image": "source-pages/bnf-205.png", "printed_page": 173, "bbox_pixels": [ 425, 560, 2140, 170 ], "crop_image": "assets/III.01-035.png" } ] }, { "id": "III.01-036", "type": "image", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1233, "original": "Clef de Fa : deux caracteres alternatifs. Clef d’Ut. Clef de Sol.", "english": "F clef: two alternative signs. C clef. G clef.", "sources": [ { "pdf_page": 205, "source_image": "source-pages/bnf-205.png", "printed_page": 173, "bbox_pixels": [ 750, 750, 1380, 340 ], "crop_image": "assets/III.01-036.png" } ], "original_title": "Clef de Fa, Clef d’Ut, Clef de Sol", "english_title": "F clef, C clef, G clef", "asset_refs": [ "III.01-036" ] }, { "id": "III.01-037", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1234, "original": "La Clef est toûjours censée sur la Ligne qui la traverse ; & cette Ligne prend le nom de la Clef. On ne pose qu’une Clef à la fois au commencement de chaque Portée ; mais l’on peut luy substituer une autre, quand & en tel endroit que l’on veut, pourvû que ce soit sur une Ligne ; la derniere Clef donnant toûjours son nom à la Ligne qui la traverse.", "english": "A clef is understood to lie on the line passing through it, which takes its name. Only one clef is placed at a time at the beginning of a staff, but another may replace it wherever desired, provided it lies on a line. The latest clef always names the line passing through it.", "sources": [ { "pdf_page": 205, "source_image": "source-pages/bnf-205.png", "printed_page": 173, "bbox_pixels": [ 425, 1110, 2140, 460 ], "crop_image": "assets/III.01-037.png" } ] }, { "id": "III.01-038", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1235, "original": "La Clef de Fa qui est la plus basse de toutes, se place ordinairement sur la quatriéme ou sur la troisiéme Ligne.", "english": "The F clef, lowest of all, is ordinarily placed on the fourth or third line.", "sources": [ { "pdf_page": 205, "source_image": "source-pages/bnf-205.png", "printed_page": 173, "bbox_pixels": [ 425, 1610, 2140, 170 ], "crop_image": "assets/III.01-038.png" } ] }, { "id": "III.01-039", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1236, "original": "La Clef d’Ut par laquelle on doit juger que l’Ut qu’elle désigne doit se prendre une Quinte au-dessus du Fa désigné par la Clef même de Fa, se place sur toutes les Lignes, excepté sur la cinquiéme.", "english": "The C designated by the C clef lies a fifth above the F designated by the F clef. C clef may be placed on any line except the fifth.", "sources": [ { "pdf_page": 205, "source_image": "source-pages/bnf-205.png", "printed_page": 173, "bbox_pixels": [ 425, 1820, 2140, 305 ], "crop_image": "assets/III.01-039.png" } ] }, { "id": "III.01-040", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1237, "original": "La Clef de Sol dont le Sol est encore une Quinte au-dessus de l’Ut désigné par la Clef même d’Ut, se place ordinairement sur la premiere ou sur la seconde Ligne.", "english": "The G clef’s G lies another fifth above the C clef’s C. It is ordinarily placed on the first or second line.", "sources": [ { "pdf_page": 205, "source_image": "source-pages/bnf-205.png", "printed_page": 173, "bbox_pixels": [ 425, 2160, 2140, 245 ], "crop_image": "assets/III.01-040.png" } ] }, { "id": "III.01-041", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1238, "original": "Chaque Clef donnant son nom à la Ligne qui la traverse, l’on doit juger de-là qu’une Notte qui sera traversée de la même Ligne doit porter le nom de la Clef, en donnant indifferemment le nom de la Clef à la Ligne ou à la Notte : Or comme nous n’avons point encore parlé de la figure des Nottes, celles dont nous nous servirons icy en attendant, seront faites comme des O ; les unes seront traversées d’une Ligne ; & les autres seront placées dans les Milieux ; de sorte qu’en comptant selon l’ordre de la Gamme depuis la Notte qui prend le nom de la Clef, & en remarquant que l’on monte de la premiere Ligne à la cinquiéme, que l’on descend de la cinquiéme à la premiere, & que les Milieux retiennent le nom des Nottes, aussi-bien que les Lignes, on ne pourra se tromper : C’est ce qu’il faut examiner dans l’Exemple suivant.", "english": "Since a clef names its line, a note on that line has the same name. We may apply the clef’s name equally to line or note. Until note shapes are discussed, we shall use O-shaped notes, some crossed by lines and others in spaces. Count in scale order from the clef-named note. Moving from first to fifth line ascends; from fifth to first descends. Spaces bear note names just as lines do. With these observations one cannot go wrong. Examine the following example.", "sources": [ { "pdf_page": 205, "source_image": "source-pages/bnf-205.png", "printed_page": 173, "bbox_pixels": [ 425, 2450, 2140, 1000 ], "crop_image": "assets/III.01-041.png" } ] }, { "id": "III.01-042", "type": "heading", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1239, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 206, "source_image": "source-pages/bnf-206.png", "printed_page": 174, "bbox_pixels": [ 470, 425, 2070, 110 ], "crop_image": "assets/III.01-042.png" } ] }, { "id": "III.01-043", "type": "music", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1240, "original": "Clef de Fa — fa, mi, ré, ut ; fa, sol, la, si", "english": "F clef—F, E, D, C; F, G, A, B", "sources": [ { "pdf_page": 206, "source_image": "source-pages/bnf-206.png", "printed_page": 174, "bbox_pixels": [ 480, 555, 1010, 415 ], "crop_image": "assets/III.01-043.png" } ], "original_title": "Clef de Fa — fa, mi, ré, ut ; fa, sol, la, si", "english_title": "F clef—F, E, D, C; F, G, A, B", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.01-043" ], "music_asset_refs": [ "III.01-043" ] }, { "id": "III.01-044", "type": "music", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1241, "original": "Clef d’Ut — ut, ré, mi, fa ; ut, si, la, sol", "english": "C clef—C, D, E, F; C, B, A, G", "sources": [ { "pdf_page": 206, "source_image": "source-pages/bnf-206.png", "printed_page": 174, "bbox_pixels": [ 1490, 555, 1110, 415 ], "crop_image": "assets/III.01-044.png" } ], "original_title": "Clef d’Ut — ut, ré, mi, fa ; ut, si, la, sol", "english_title": "C clef—C, D, E, F; C, B, A, G", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.01-044" ], "music_asset_refs": [ "III.01-044" ] }, { "id": "III.01-045", "type": "music", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1242, "original": "Clef de Sol — sol, fa, mi, ré ; sol, la, si, sol", "english": "G clef—G, F, E, D; G, A, B, G", "sources": [ { "pdf_page": 206, "source_image": "source-pages/bnf-206.png", "printed_page": 174, "bbox_pixels": [ 480, 1100, 1450, 350 ], "crop_image": "assets/III.01-045.png" } ], "original_title": "Clef de Sol — sol, fa, mi, ré ; sol, la, si, sol", "english_title": "G clef—G, F, E, D; G, A, B, G", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.01-045" ], "music_asset_refs": [ "III.01-045" ] }, { "id": "III.01-046", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1243, "original": "De même que nous plaçons la premiere Notte sur la Ligne de la Clef, on peut la placer également sur, ou entre quelques Lignes que ce soit, n’y ayant qu’à compter depuis la Clef, pour sçavoir le nom de cette Notte. Comme il est absolument necessaire de sçavoir sur le champ le nom d’une Notte qui peut se trouver sur, ou entre quelque Ligne que ce soit : Pour n’être point occupé d’un si petit objet quand il s’agit de composer, il faut se proposer une Clef que l’on met sur l’une des Lignes qui luy convient, & apprendre par cœur le nom des Lignes & des Milieux par rapport à celuy de cette Clef. Par exemple, la Clef de Fa étant posée sur la quatriéme Ligne, il faut pouvoir dire d’abord que la troisiéme Ligne s’appelle Ré, la seconde Si, la premiere Sol & la cinquiéme La ; que le milieu au-dessus de la Clef s’appelle Sol, que celuy d’au-dessous s’appelle Mi, &c. en donnant à ces Lignes & à ces Milieux le nom des Nottes qui peuvent y être placées.", "english": "The first note need not be on the clef line; it can lie on any line or space. Count from the clef to find its name. One must instantly recognize any note’s name so such a small matter does not distract from composing. Choose a clef on a suitable line and memorize all line and space names relative to it. With F clef on the fourth line, immediately know that the third line is D, second B, first G, fifth A; the space above the clef is G and below it E, and so forth. Lines and spaces take the names of notes placed there.", "sources": [ { "pdf_page": 206, "source_image": "source-pages/bnf-206.png", "printed_page": 174, "bbox_pixels": [ 425, 1490, 2140, 1135 ], "crop_image": "assets/III.01-046.png" } ] }, { "id": "III.01-047", "type": "heading", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1244, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 206, "source_image": "source-pages/bnf-206.png", "printed_page": 174, "bbox_pixels": [ 470, 2680, 2070, 110 ], "crop_image": "assets/III.01-047.png" } ] }, { "id": "III.01-048", "type": "music", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1245, "original": "Lignes & Milieux — noms des Nottes", "english": "Lines and spaces—note names", "sources": [ { "pdf_page": 206, "source_image": "source-pages/bnf-206.png", "printed_page": 174, "bbox_pixels": [ 465, 2790, 2145, 360 ], "crop_image": "assets/III.01-048.png" } ], "original_title": "Lignes & Milieux — noms des Nottes", "english_title": "Lines and spaces—note names", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.01-048" ], "music_asset_refs": [ "III.01-048" ] }, { "id": "III.01-049", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1246, "original": "Quand l’on sçait parfaitement tous ces noms, on place la même Clef dans un autre endroit, où l’on fait les mêmes remarques, & ainsi des autres Clefs.", "english": "Once these names are thoroughly known, place the same clef elsewhere and make the same observations. Do likewise with the other clefs.", "sources": [ { "pdf_page": 206, "source_image": "source-pages/bnf-206.png", "printed_page": 174, "bbox_pixels": [ 425, 3175, 2140, 235 ], "crop_image": "assets/III.01-049.png" } ] }, { "id": "III.01-050", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1247, "original": "L’on peut ajoûter de nouvelles Lignes au-dessus & au-dessous des cinq lignes ordinaires, en y suivant le même ordre qu’icy.", "english": "Additional lines may be placed above or below the ordinary five, following the same order.", "sources": [ { "pdf_page": 206, "source_image": "source-pages/bnf-206.png", "printed_page": 174, "bbox_pixels": [ 425, 3410, 2140, 165 ], "crop_image": "assets/III.01-050.png" } ] }, { "id": "III.01-051", "type": "heading", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1248, "original": "Des Parties.", "english": "Parts.", "sources": [ { "pdf_page": 207, "source_image": "source-pages/bnf-207.png", "printed_page": 175, "bbox_pixels": [ 470, 420, 2070, 110 ], "crop_image": "assets/III.01-051.png" } ] }, { "id": "III.01-052", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1249, "original": "Comme l’Harmonie consiste dans l’union de plusieurs Sons differens, qui s’accordent ensemble ; & comme ces Sons ne peuvent être rendus que par des Voix ou des Instrumens, chaque voix & chaque instrument s’appelle Partie, & chaque Partie a de plus un nom particulier, dont on ne fait pas toûjours mention, mais qui se reconnoît par la difference ou par la differente situation des Clefs.", "english": "Harmony unites different sounds that agree together. Since voices or instruments produce those sounds, each voice or instrument is called a part. Each part also has its particular name, not always stated but recognizable from the clef’s kind or position.", "sources": [ { "pdf_page": 207, "source_image": "source-pages/bnf-207.png", "printed_page": 175, "bbox_pixels": [ 425, 535, 2140, 450 ], "crop_image": "assets/III.01-052.png" } ] }, { "id": "III.01-053", "type": "heading", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1250, "original": "EXEMPLES.", "english": "EXAMPLES.", "sources": [ { "pdf_page": 207, "source_image": "source-pages/bnf-207.png", "printed_page": 175, "bbox_pixels": [ 470, 1010, 2070, 110 ], "crop_image": "assets/III.01-053.png" } ] }, { "id": "III.01-054", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1251, "original": "4. Parties chantantes.", "english": "4 vocal parts.", "sources": [ { "pdf_page": 207, "source_image": "source-pages/bnf-207.png", "printed_page": 175, "bbox_pixels": [ 460, 1135, 670, 85 ], "crop_image": "assets/III.01-054.png" } ] }, { "id": "III.01-055", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1252, "original": "Pr. Dessus chantant.", "english": "First upper vocal part.", "sources": [ { "pdf_page": 207, "source_image": "source-pages/bnf-207.png", "printed_page": 175, "bbox_pixels": [ 940, 1140, 590, 375 ], "crop_image": "assets/III.01-055.png" } ] }, { "id": "III.01-056", "type": "music", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1253, "original": "Pr. Dessus chantant", "english": "First upper vocal part", "sources": [ { "pdf_page": 207, "source_image": "source-pages/bnf-207.png", "printed_page": 175, "bbox_pixels": [ 455, 1140, 495, 375 ], "crop_image": "assets/III.01-056.png" } ], "original_title": "Pr. Dessus chantant", "english_title": "First upper vocal part", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.01-056" ], "music_asset_refs": [ "III.01-056" ] }, { "id": "III.01-057", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1254, "original": "2d. Dessus chantant.", "english": "Second upper vocal part.", "sources": [ { "pdf_page": 207, "source_image": "source-pages/bnf-207.png", "printed_page": 175, "bbox_pixels": [ 940, 1500, 590, 315 ], "crop_image": "assets/III.01-057.png" } ] }, { "id": "III.01-058", "type": "music", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1255, "original": "2d. Dessus chantant", "english": "Second upper vocal part", "sources": [ { "pdf_page": 207, "source_image": "source-pages/bnf-207.png", "printed_page": 175, "bbox_pixels": [ 455, 1500, 495, 315 ], "crop_image": "assets/III.01-058.png" } ], "original_title": "2d. Dessus chantant", "english_title": "Second upper vocal part", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.01-058" ], "music_asset_refs": [ "III.01-058" ] }, { "id": "III.01-059", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1256, "original": "Haute-Contre… la plus aiguë des voix masculines.", "english": "Haute-contre—the highest male voice.", "sources": [ { "pdf_page": 207, "source_image": "source-pages/bnf-207.png", "printed_page": 175, "bbox_pixels": [ 940, 1815, 590, 325 ], "crop_image": "assets/III.01-059.png" } ] }, { "id": "III.01-060", "type": "music", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1257, "original": "Haute-Contre", "english": "Haute-contre", "sources": [ { "pdf_page": 207, "source_image": "source-pages/bnf-207.png", "printed_page": 175, "bbox_pixels": [ 455, 1815, 495, 325 ], "crop_image": "assets/III.01-060.png" } ], "original_title": "Haute-Contre", "english_title": "Haute-contre", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.01-060" ], "music_asset_refs": [ "III.01-060" ] }, { "id": "III.01-061", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1258, "original": "Haute-Taille… Partie moyenne qui approche de la précédente.", "english": "Haute-taille—a middle part approaching the preceding one.", "sources": [ { "pdf_page": 207, "source_image": "source-pages/bnf-207.png", "printed_page": 175, "bbox_pixels": [ 940, 2180, 590, 300 ], "crop_image": "assets/III.01-061.png" } ] }, { "id": "III.01-062", "type": "music", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1259, "original": "Haute-Taille", "english": "Haute-taille", "sources": [ { "pdf_page": 207, "source_image": "source-pages/bnf-207.png", "printed_page": 175, "bbox_pixels": [ 455, 2180, 495, 300 ], "crop_image": "assets/III.01-062.png" } ], "original_title": "Haute-Taille", "english_title": "Haute-taille", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.01-062" ], "music_asset_refs": [ "III.01-062" ] }, { "id": "III.01-063", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1260, "original": "Basse-Taille ou Concordant, Partie moyenne entre la précédente & la suivante.", "english": "Basse-taille or concordant—a middle part between the preceding and following ones.", "sources": [ { "pdf_page": 207, "source_image": "source-pages/bnf-207.png", "printed_page": 175, "bbox_pixels": [ 940, 2500, 590, 320 ], "crop_image": "assets/III.01-063.png" } ] }, { "id": "III.01-064", "type": "music", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1261, "original": "Basse-Taille ou Concordant", "english": "Basse-taille or concordant", "sources": [ { "pdf_page": 207, "source_image": "source-pages/bnf-207.png", "printed_page": 175, "bbox_pixels": [ 455, 2500, 495, 320 ], "crop_image": "assets/III.01-064.png" } ], "original_title": "Basse-Taille ou Concordant", "english_title": "Basse-taille or concordant", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.01-064" ], "music_asset_refs": [ "III.01-064" ] }, { "id": "III.01-065", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1262, "original": "Basse-Contre… la plus grave ; c’est à dire, la plus basse des voix masculines.", "english": "Basse-contre—the deepest, that is, lowest male voice.", "sources": [ { "pdf_page": 207, "source_image": "source-pages/bnf-207.png", "printed_page": 175, "bbox_pixels": [ 940, 2855, 590, 365 ], "crop_image": "assets/III.01-065.png" } ] }, { "id": "III.01-066", "type": "music", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1263, "original": "Basse-Contre", "english": "Basse-contre", "sources": [ { "pdf_page": 207, "source_image": "source-pages/bnf-207.png", "printed_page": 175, "bbox_pixels": [ 455, 2855, 495, 365 ], "crop_image": "assets/III.01-066.png" } ], "original_title": "Basse-Contre", "english_title": "Basse-contre", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.01-066" ], "music_asset_refs": [ "III.01-066" ] }, { "id": "III.01-067", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1264, "original": "Ces deux premieres Parties ne conviennent qu’à des voix feminines, dont les plus aiguës, c’est à dire, les plus hautes chantent le premier Dessus, & les moins aiguës chantent le second Dessus.", "english": "The first two parts suit only female voices: the higher voices sing the first upper part and the lower ones the second.", "sources": [ { "pdf_page": 207, "source_image": "source-pages/bnf-207.png", "printed_page": 175, "bbox_pixels": [ 425, 1140, 2140, 700 ], "crop_image": "assets/III.01-067.png" } ] }, { "id": "III.01-068", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1265, "original": "Parties Instrumentales.", "english": "Instrumental parts.", "sources": [ { "pdf_page": 207, "source_image": "source-pages/bnf-207.png", "printed_page": 175, "bbox_pixels": [ 1670, 1135, 850, 85 ], "crop_image": "assets/III.01-068.png" } ] }, { "id": "III.01-069", "type": "music", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1266, "original": "Dessus instrumental — Clefs de Sol alternatives", "english": "Upper instrumental part—alternative G clefs", "sources": [ { "pdf_page": 207, "source_image": "source-pages/bnf-207.png", "printed_page": 175, "bbox_pixels": [ 1530, 1210, 490, 340 ], "crop_image": "assets/III.01-069.png" } ], "original_title": "Dessus instrumental — Clefs de Sol alternatives", "english_title": "Upper instrumental part—alternative G clefs", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.01-069" ], "music_asset_refs": [ "III.01-069" ] }, { "id": "III.01-070", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1267, "original": "Dessus de Violon, de Viole, de Flûte, de Haut-bois, de Trompette, &c. L’on se sert ordinairement de la premiere Clef pour les trois derniers Instrumens.", "english": "Upper violin, viol, flute, oboe, trumpet, etc. The first clef is ordinarily used for the last three instruments.", "sources": [ { "pdf_page": 207, "source_image": "source-pages/bnf-207.png", "printed_page": 175, "bbox_pixels": [ 2010, 1295, 580, 380 ], "crop_image": "assets/III.01-070.png" } ] }, { "id": "III.01-071", "type": "music", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1268, "original": "Haute-Contre, Taille & Quinte de Violon", "english": "Haute-contre, taille, and quinte de violon", "sources": [ { "pdf_page": 207, "source_image": "source-pages/bnf-207.png", "printed_page": 175, "bbox_pixels": [ 1530, 1570, 490, 920 ], "crop_image": "assets/III.01-071.png" } ], "original_title": "Haute-Contre, Taille & Quinte de Violon", "english_title": "Haute-contre, taille, and quinte de violon", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.01-071" ], "music_asset_refs": [ "III.01-071" ] }, { "id": "III.01-072", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1269, "original": "Haute-Contre de Violon. Taille de Violon. Quinte de Violon. Ces trois Instrumens s’accordent de même, & ont par consequent une même étendue, dont le plus haut Son est marqué par une Notte dans la premiere Partie, & le plus bas dans la troisiéme.", "english": "Haute-contre de violon. Taille de violon. Quinte de violon. These three instruments have the same tuning and therefore the same range. Its highest sound is marked by a note in the first part, and its lowest in the third.", "sources": [ { "pdf_page": 207, "source_image": "source-pages/bnf-207.png", "printed_page": 175, "bbox_pixels": [ 2020, 1630, 575, 805 ], "crop_image": "assets/III.01-072.png" } ] }, { "id": "III.01-073", "type": "music", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1270, "original": "Basses instrumentales — étendues", "english": "Instrumental bass ranges", "sources": [ { "pdf_page": 207, "source_image": "source-pages/bnf-207.png", "printed_page": 175, "bbox_pixels": [ 1530, 2520, 490, 490 ], "crop_image": "assets/III.01-073.png" } ], "original_title": "Basses instrumentales — étendues", "english_title": "Instrumental bass ranges", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.01-073" ], "music_asset_refs": [ "III.01-073" ] }, { "id": "III.01-074", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1271, "original": "Orgue, Clavecin, Theorbe, Basson, Basses de Violon, de Viole, de Flûte, &c.", "english": "Organ, harpsichord, theorbo, bassoon, bass violin, bass viol, bass flute, etc.", "sources": [ { "pdf_page": 207, "source_image": "source-pages/bnf-207.png", "printed_page": 175, "bbox_pixels": [ 2010, 2650, 575, 230 ], "crop_image": "assets/III.01-074.png" } ] }, { "id": "III.01-075", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1272, "original": "Les six premieres Parties qui conviennent aux voix, ont une étendue bornée, que nous avons marquée précisément avec des Nottes ; de sorte que l’on peut faire passer chacune de ces Parties par tous les Intervales contenus entre les deux Nottes de chaque Clef ; & ces Guidons mis à côté des Nottes, signifient que l’on peut exceder cette étendue jusqu’à ce point, mais rarement, étant de la discretion du Compositeur de tenir les voix dans le juste milieu de leur étenduë, parce qu’elles sont presque toûjours forcées dans les extrémitez.", "english": "The first six parts, intended for voices, have limited ranges precisely marked by notes. Each may move through all intervals between the two notes shown with its clef. Guides beside these notes permit occasional extension to the indicated point, but rarely. The composer should judiciously keep voices near the middle of their range, since its extremes almost always force them.", "sources": [ { "pdf_page": 207, "source_image": "source-pages/bnf-207.png", "printed_page": 175, "bbox_pixels": [ 425, 3230, 2140, 380 ], "crop_image": "assets/III.01-075.png" }, { "pdf_page": 208, "source_image": "source-pages/bnf-208.png", "printed_page": 176, "bbox_pixels": [ 425, 380, 2140, 225 ], "crop_image": "assets/III.01-076.png" } ] }, { "id": "III.01-077", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1273, "original": "Pour ce qui est des Instrumens, chacun a son étenduë differente ; le Violon, par exemple, est borné à une Octave au-dessous de sa Clef, mais il ne l’est pas, pour ainsi dire au-dessus ; bien qu’il ne faille pas y exceder la Notte ou le Guidon, lorsqu’on ne se conduit point sur cet Instrument par sa propre experience. L’étendue ordinaire des Basses est marquée avec des Nottes, mais il n’y a que la Basse-de-Violle qui puisse aller jusqu’au plus bas Son. Nous passerons sous silence ce qui concerne l’étendue des autres Instrumens ; parce que pouvant faire executer sur le Violon toute sorte de Musique en general, l’on peut par consequent se passer des autres Instrumens, dont les connoissances nécessaires aux Compositeurs s’acquierent par le seul recit des personnes qui en possedent la pratique.", "english": "Every instrument has a different range. The violin, for example, is limited below to an octave beneath its clef, but is virtually unlimited above. Nevertheless, without personal experience of the instrument one should not exceed the printed note or guide. Notes mark the ordinary bass range, but only the bass viol can reach the lowest sound. We omit the other instruments’ ranges. Since every kind of music can generally be played on violin, one can dispense with the others; composers can learn what they need about them simply from people who play them.", "sources": [ { "pdf_page": 208, "source_image": "source-pages/bnf-208.png", "printed_page": 176, "bbox_pixels": [ 425, 610, 2140, 885 ], "crop_image": "assets/III.01-077.png" } ] }, { "id": "III.01-078", "type": "heading", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1274, "original": "De l’Unisson.", "english": "Unison.", "sources": [ { "pdf_page": 208, "source_image": "source-pages/bnf-208.png", "printed_page": 176, "bbox_pixels": [ 470, 1610, 2070, 110 ], "crop_image": "assets/III.01-078.png" } ] }, { "id": "III.01-079", "type": "music", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1275, "original": "UNISSONS — huit Clefs, un même Son", "english": "UNISONS—eight clefs, one sound", "sources": [ { "pdf_page": 208, "source_image": "source-pages/bnf-208.png", "printed_page": 176, "bbox_pixels": [ 430, 1510, 490, 2120 ], "crop_image": "assets/III.01-079.png" } ], "original_title": "UNISSONS — huit Clefs, un même Son", "english_title": "UNISONS—eight clefs, one sound", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.01-079" ], "music_asset_refs": [ "III.01-079" ] }, { "id": "III.01-080", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1276, "original": "On appelle Unissons deux Nottes en même degré, comme qui diroit une même Notte repetée plusieurs fois : Or pour connoître le lieu où les Nottes de chaque Partie doivent être placées, en sorte que les plus aigues soient toûjours au-dessus des plus graves ; nous allons mettre une Notte dans chacune de ces Parties sur la Ligne où elles se trouvent toutes à l’unisson.", "english": "Two notes on the same degree are called unisons—as if one note were repeated several times. To know where each part’s notes must lie so that higher parts stay above lower ones, we shall place one note in each part at the position where all are in unison.", "sources": [ { "pdf_page": 208, "source_image": "source-pages/bnf-208.png", "printed_page": 176, "bbox_pixels": [ 425, 1760, 2140, 625 ], "crop_image": "assets/III.01-080.png" } ] }, { "id": "III.01-081", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1277, "original": "Comme la diversité des Parties ne consiste que dans la difference des Sons, & non pas dans la quantité, l’on peut dire que toutes ces Parties n’en représentent qu’une ; de-là vient que l’Unisson est défendu dans la Composition ; cependant les Commençans pourroient s’en servir au lieu de l’Octave, jusqu’à ce qu’ils soient en état de mieux faire.", "english": "Parts differ through differences of sound, not through their number. All these parts can therefore be said to represent only one. This is why unison is forbidden in composition. Beginners may nevertheless use it instead of the octave until they can do better.", "sources": [ { "pdf_page": 208, "source_image": "source-pages/bnf-208.png", "printed_page": 176, "bbox_pixels": [ 425, 2385, 2140, 530 ], "crop_image": "assets/III.01-081.png" } ] }, { "id": "III.01-082", "type": "heading", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1278, "original": "De la Mesure.", "english": "Meter.", "sources": [ { "pdf_page": 208, "source_image": "source-pages/bnf-208.png", "printed_page": 176, "bbox_pixels": [ 470, 2980, 2070, 110 ], "crop_image": "assets/III.01-082.png" } ] }, { "id": "III.01-083", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1279, "original": "L’on ne peut gueres donner une Composition plus simple de la Mesure, que sur les mouvemens qui nous sont naturels, lesquels étant réïterez sont toûjours égaux, comme on peut le remarquer en marchant, pourvû qu’on n’altere pas le naturel.", "english": "One can scarcely give a simpler composition of meter than through our natural movements, which remain equal when repeated, as walking shows, provided their natural character is not altered.", "sources": [ { "pdf_page": 208, "source_image": "source-pages/bnf-208.png", "printed_page": 176, "bbox_pixels": [ 425, 3140, 2140, 420 ], "crop_image": "assets/III.01-083.png" } ] }, { "id": "III.01-084", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1280, "original": "Comme la Mesure se distingue en plusieurs Temps, l’on peut prendre chaque pas que l’on fait en marchant, pour un Temps ; & de ce que l’on peut marcher plus ou moins vîte, la Mesure peut avoir plus ou moins de vitesse.", "english": "Meter contains several beats. Each walking step may be taken as one beat. Just as walking can be faster or slower, meter can move faster or slower.", "sources": [ { "pdf_page": 209, "source_image": "source-pages/bnf-209.png", "printed_page": 177, "bbox_pixels": [ 425, 385, 2140, 300 ], "crop_image": "assets/III.01-084.png" } ] }, { "id": "III.01-085", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1281, "original": "Les Mesures se separent avec des Lignes tirées perpendiculairement, qu’on appelle Barres, ainsi chaque Mesure ne contient que deux, trois ou quatre Temps, & ces Temps se distinguent ordinairement par un mouvement de la main ou du pied : Le premier se fait sentir en frappant ou en baissant la main, le dernier la levant, & ceux du milieu en la portant à droite ou à gauche.", "english": "Measures are separated by perpendicular lines called bars. Each measure contains only two, three, or four beats, ordinarily marked by hand or foot movement. The first is felt by striking or lowering the hand, the last by raising it, and the intervening beats by moving it right or left.", "sources": [ { "pdf_page": 209, "source_image": "source-pages/bnf-209.png", "printed_page": 177, "bbox_pixels": [ 425, 685, 2140, 615 ], "crop_image": "assets/III.01-085.png" } ] }, { "id": "III.01-086", "type": "image", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1282, "original": "Barres qui séparent les Mesures", "english": "Barlines separating measures", "sources": [ { "pdf_page": 209, "source_image": "source-pages/bnf-209.png", "printed_page": 177, "bbox_pixels": [ 1450, 750, 1060, 280 ], "crop_image": "assets/III.01-086.png" } ], "original_title": "Barres qui séparent les Mesures", "english_title": "Barlines separating measures", "asset_refs": [ "III.01-086" ] }, { "id": "III.01-087", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1283, "original": "Le premier Temps s’appelle Bon ou Principal, & les autres Mauvais, excepté que dans la Mesure à quatre Temps, le premier & le troisiéme Temps sont également Bons.", "english": "The first beat is called good or principal, the others bad; in four-beat meter, however, first and third are equally good.", "sources": [ { "pdf_page": 209, "source_image": "source-pages/bnf-209.png", "printed_page": 177, "bbox_pixels": [ 425, 1300, 2140, 220 ], "crop_image": "assets/III.01-087.png" } ] }, { "id": "III.01-088", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1284, "original": "L’on devroit se servir des nombres pour désigner la quantité des Temps que contient chaque Mesure ; Par exemple, 2. seroit le signe de la Mesure à deux Temps ; 3. celuy de la Mesure à trois Temps, & 4. celuy de la Mesure à quatre Temps. Cependant il semble que la simplicité de ces signes les ait fait rejetter pour en choisir d’autres tout-à-fait équivoques.", "english": "Numbers should indicate beats per measure: 2 for two beats, 3 for three, 4 for four. Yet these signs seem to have been rejected for their very simplicity in favor of completely ambiguous ones.", "sources": [ { "pdf_page": 209, "source_image": "source-pages/bnf-209.png", "printed_page": 177, "bbox_pixels": [ 425, 1520, 2140, 455 ], "crop_image": "assets/III.01-088.png" } ] }, { "id": "III.01-089", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1285, "original": "L’on se sert d’un C pour marquer la Mesure à quatre Temps.", "english": "C marks four-beat meter.", "sources": [ { "pdf_page": 209, "source_image": "source-pages/bnf-209.png", "printed_page": 177, "bbox_pixels": [ 425, 1990, 2140, 160 ], "crop_image": "assets/III.01-089.png" } ] }, { "id": "III.01-090", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1286, "original": "D’un C barré pour la Mesure à deux Temps, &c.", "english": "A slashed C marks two-beat meter, etc.", "sources": [ { "pdf_page": 209, "source_image": "source-pages/bnf-209.png", "printed_page": 177, "bbox_pixels": [ 425, 2150, 2140, 130 ], "crop_image": "assets/III.01-090.png" } ] }, { "id": "III.01-091", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1287, "original": "Nôtre Art est déja trop abstrait de luy-même, sans vouloir y semer de nouvelles obscuritez : Il est vrai, que comme toutes les Musiques sont remplies de ces signes ambigus, il est bon d’en connoître les proprietez pour en juger, mais non pas pour apprendre ; c’est pourquoy nous croyons pouvoir nous dispenser d’en parler ; se trouvant assez d’Auteurs féconds en cette matiere : Voyez ce que nous en disons au Second Livre, Chapitre XXIII. Au reste celuy qui sçait mettre en usage la Mesure à deux Temps, acquiert facilement la pratique des autres Mouvemens, qui ne dépendent que du génie & du goût.", "english": "Our art is already abstract enough without adding new obscurities. Since written music is full of ambiguous signs, knowing their properties is useful for judging it, but not for learning. We therefore believe we can omit their discussion; many authors treat them abundantly. See Book II, chapter XXIII. Anyone who can use two-beat meter readily learns the other movements, which depend only on aptitude and taste.", "sources": [ { "pdf_page": 209, "source_image": "source-pages/bnf-209.png", "printed_page": 177, "bbox_pixels": [ 425, 2250, 2140, 745 ], "crop_image": "assets/III.01-091.png" } ] }, { "id": "III.01-092", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1288, "original": "Le Signe de la Mesure se place toûjours immediatement après la Clef, excepté qu’il ne se trouve quelques Diezes ou B-mols associez à la Clef, (comme nous le dirons ailleurs) lesquels doivent pour lors préceder ce Signe. De plus, si le Mouvement change au milieu d’un Air, le Signe qui doit marquer ce changement se met au commencement de la Mesure où cela a lieu.", "english": "The meter sign always comes immediately after the clef, unless sharps or flats accompany the clef, as explained elsewhere; those signs come before the meter. If the movement changes within an air, place the new sign at the beginning of the measure where the change occurs.", "sources": [ { "pdf_page": 209, "source_image": "source-pages/bnf-209.png", "printed_page": 177, "bbox_pixels": [ 425, 3010, 2140, 440 ], "crop_image": "assets/III.01-092.png" } ] }, { "id": "III.01-093", "type": "heading", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1289, "original": "Des Figures, du Nom, & de la valeur des Nottes & des Pauses.", "english": "The shapes, names, and values of notes and rests.", "sources": [ { "pdf_page": 210, "source_image": "source-pages/bnf-210.png", "printed_page": 178, "bbox_pixels": [ 470, 450, 2070, 160 ], "crop_image": "assets/III.01-093.png" } ] }, { "id": "III.01-094", "type": "music", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1290, "original": "Ronde, Blanche, Noire, Croche, Double & Triple croche", "english": "Whole, half, quarter, eighth, sixteenth, and thirty-second notes", "sources": [ { "pdf_page": 210, "source_image": "source-pages/bnf-210.png", "printed_page": 178, "bbox_pixels": [ 425, 660, 2155, 560 ], "crop_image": "assets/III.01-094.png" } ], "original_title": "Ronde, Blanche, Noire, Croche, Double & Triple croche", "english_title": "Whole, half, quarter, eighth, sixteenth, and thirty-second notes", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.01-094" ], "music_asset_refs": [ "III.01-094" ] }, { "id": "III.01-095", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1291, "original": "Ronde — Mesure. Blanche — Demie mesure. Noire — Soupir, ou quart de mesure. Croche — Demi soupir, ou demi quart de mesure. Double croche — Quart de soupir, ou la moitié du demi quart de mesure. Triple croche — Demi quart de soupir, ou le quart du demi quart de mesure.", "english": "Whole note—one measure. Half note—half a measure. Quarter note—quarter rest, or quarter of a measure. Eighth note—eighth rest, or half a quarter-measure. Sixteenth note—sixteenth rest, or half of half a quarter-measure. Thirty-second note—thirty-second rest, or a quarter of half a quarter-measure.", "sources": [ { "pdf_page": 210, "source_image": "source-pages/bnf-210.png", "printed_page": 178, "bbox_pixels": [ 470, 665, 2080, 545 ], "crop_image": "assets/III.01-095.png" } ] }, { "id": "III.01-096", "type": "music", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1292, "original": "Deux rondes, Quatre rondes & Croches liées", "english": "Two whole notes, four whole notes, and beamed eighths", "sources": [ { "pdf_page": 210, "source_image": "source-pages/bnf-210.png", "printed_page": 178, "bbox_pixels": [ 425, 1260, 2155, 490 ], "crop_image": "assets/III.01-096.png" } ], "original_title": "Deux rondes, Quatre rondes & Croches liées", "english_title": "Two whole notes, four whole notes, and beamed eighths", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.01-096" ], "music_asset_refs": [ "III.01-096" ] }, { "id": "III.01-097", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1293, "original": "Deux rondes. Quatre rondes. Croches doubles triples. Deux mesures. Quatre mesures. Croches doubles ou triples croches que l’on peut lier ensemble, plûtôt de les separer comme auparavant.", "english": "Two whole notes. Four whole notes. Eighths, sixteenths, thirty-seconds. Two measures. Four measures. Eighth, sixteenth, or thirty-second notes may be beamed together instead of separated as before.", "sources": [ { "pdf_page": 210, "source_image": "source-pages/bnf-210.png", "printed_page": 178, "bbox_pixels": [ 470, 1260, 2080, 460 ], "crop_image": "assets/III.01-097.png" } ] }, { "id": "III.01-098", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1294, "original": "L’on peut lier les Blanches de même que les Croches, & pour lors leur valeur diminuë de la moitié.", "english": "Half notes may be beamed like eighth notes; their value is then reduced by half.", "sources": [ { "pdf_page": 210, "source_image": "source-pages/bnf-210.png", "printed_page": 178, "bbox_pixels": [ 425, 1780, 2140, 165 ], "crop_image": "assets/III.01-098.png" } ] }, { "id": "III.01-099", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1295, "original": "Les differentes figures de chaque Nottes sont distinguées par des noms differens, qui sont écrits au-dessus, où l’on doit s’appercevoir par les noms d’en-bas que la Ronde vaut le double de la Blanche, celle-cy le double de la Noire, celle-cy le double de la Croche, ainsi de suite ; ou bien, que la triple-Croche vaut la moitié de la double ; celle-cy la moitié de la Croche, ainsi de suite en retrogradant ; de sorte que l’on peut se servir de deux Blanches, de quatre Noires, de huit Croches, de seize doubles-Croches, ou même de trente-deux triples-Croches au lieu de la Ronde ; & de même que celle-cy peut tenir lieu de toutes les autres Nottes, qui ensemble contiennent la juste valeur, étant indifferént de remplir une Mesure de quelques Nottes que ce soit, & d’y inserer de plusieurs valeurs differentes, pourvû que le tout accomplisse la valeur de chaque Temps de la Mesure.", "english": "The different note shapes have different names written above them. The names below show that a whole note equals twice a half note, a half twice a quarter, a quarter twice an eighth, and so forth. Conversely, a thirty-second is half a sixteenth, a sixteenth half an eighth, and so on backward. Thus two halves, four quarters, eight eighths, sixteen sixteenths, or thirty-two thirty-seconds may replace a whole note, just as a whole can replace any collection of notes totaling its value. A measure may contain any notes and mix different values, provided the full value of each beat is completed.", "sources": [ { "pdf_page": 210, "source_image": "source-pages/bnf-210.png", "printed_page": 178, "bbox_pixels": [ 425, 1945, 2140, 1050 ], "crop_image": "assets/III.01-099.png" } ] }, { "id": "III.01-100", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1296, "original": "Les caracteres qui sont au-dessous des Nottes, & dont le nom est aussi écrit au-dessous, s’appellent en general Pauses, & servent à marquer le repos ou le silence d’une Partie ; de sorte que si l’on veut faire cesser une Partie pour quelques temps, ou ne la faire commencer qu’après un demi quart ou un quart de Temps, après une demie Mesure ou une Mesure ; en un mot après autant de Temps ou de Mesures que la fantaisie le dicte, il faut se servir de ces Pauses au lieu des Nottes.", "english": "The signs below the notes, with names beneath them, are generally called rests. They indicate a part’s repose or silence. To stop a part for several beats, or delay its beginning by an eighth or quarter of a beat, half a measure, a measure, or any number of beats or measures desired, use these rests instead of notes.", "sources": [ { "pdf_page": 210, "source_image": "source-pages/bnf-210.png", "printed_page": 178, "bbox_pixels": [ 425, 2995, 2140, 610 ], "crop_image": "assets/III.01-100.png" } ] }, { "id": "III.01-101", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1297, "original": "Chaque Mesure étant séparée d’une Barre, comme nous l’avons remarqué, & le Signe de la Mesure dénotant la quantité des Temps qu’elle doit contenir, l’on remplit chaque Mesure d’autant de Nottes ou de Pauses qu’il est necessaire, pour que l’on puisse y distinguer cette quantité de Temps que le Signe dénote ; mais quoiqu’en général la Ronde vaille une Mesure, & la Blanche une demie Mesure, l’on peut néanmoins ne donner à chacune de ces Nottes que la valeur d’un Temps, en observant que les autres Nottes diminuent à proportion de leur valeur ; car la Ronde vaut toûjours deux Blanches, quatre Noires, huit Croches, ainsi du reste ; & à l’égard des Pauses, elles doivent être toûjours employées pour désigner le silence de la Notte à laquelle elles répondent ; excepté que celles qui marquent les Mesures entieres n’ont aucune dépendance, & doivent être employées indifferemment pour des Mesures à deux, à trois & à quatre Temps, de quelques Nottes que chaque Temps soit composé, à l’exception de la Ronde. L’on peut donc se servir de deux Rondes, de deux Blanches, de deux Noires, ou même de deux Croches, pour remplir une Mesure à deux Temps, en supposant que chacune de ces deux Nottes vaut pour lors un Temps. L’on peut aussi se servir de deux, de trois, de quatre, de six, ou même de huit Nottes d’égale valeur pour un seul Temps, & y entre-mêler à discretion des Nottes de toute sorte de valeur, pourvû que ces valeurs égalent celles des Nottes choisies pour composer un Temps ; mais il faut remarquer que plus on employe de Nottes pour un Temps, moins elles doivent avoir de valeur ; de sorte que la Ronde ne peut valoir moins d’un Temps, ainsi du reste à proportion.", "english": "Barlines separate measures, and the meter sign tells how many beats each contains. Fill each measure with enough notes or rests to account for that count. Although a whole note generally equals a measure and a half note half a measure, either may instead equal one beat, with the other notes proportionally adjusted. A whole always equals two halves, four quarters, eight eighths, and so forth. Rests indicate silence corresponding to their note values. Whole-measure rests are independent, however, and serve in two-, three-, or four-beat measures regardless of the notes making each beat, with the exception of the whole note. A two-beat measure can therefore contain two wholes, two halves, two quarters, or even two eighths, assuming each note equals a beat. A single beat can also contain two, three, four, six, or eight equal notes, or any mixture of values equaling the chosen beat. The more notes per beat, the smaller their values must be. Thus the whole note cannot be worth less than one beat, and the others follow proportionally.", "sources": [ { "pdf_page": 211, "source_image": "source-pages/bnf-211.png", "printed_page": 179, "bbox_pixels": [ 425, 365, 2140, 1940 ], "crop_image": "assets/III.01-101.png" } ] }, { "id": "III.01-102", "type": "heading", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1298, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 211, "source_image": "source-pages/bnf-211.png", "printed_page": 179, "bbox_pixels": [ 470, 2240, 2070, 110 ], "crop_image": "assets/III.01-102.png" } ] }, { "id": "III.01-103", "type": "music", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1299, "original": "Deux Temps — une Blanche pour chaque temps", "english": "Two beats—a half note for each beat", "sources": [ { "pdf_page": 211, "source_image": "source-pages/bnf-211.png", "printed_page": 179, "bbox_pixels": [ 370, 2300, 1345, 350 ], "crop_image": "assets/III.01-103.png" } ], "original_title": "Deux Temps — une Blanche pour chaque temps", "english_title": "Two beats—a half note for each beat", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.01-103" ], "music_asset_refs": [ "III.01-103" ] }, { "id": "III.01-104", "type": "music", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1300, "original": "Trois Temps — une Blanche pour chaque temps", "english": "Three beats—a half note for each beat", "sources": [ { "pdf_page": 211, "source_image": "source-pages/bnf-211.png", "printed_page": 179, "bbox_pixels": [ 370, 2300, 2170, 610 ], "crop_image": "assets/III.01-104.png" } ], "original_title": "Trois Temps — une Blanche pour chaque temps", "english_title": "Three beats—a half note for each beat", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.01-104" ], "music_asset_refs": [ "III.01-104" ] }, { "id": "III.01-105", "type": "music", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1301, "original": "Quatre Temps — valeurs variées", "english": "Four beats—varied note values", "sources": [ { "pdf_page": 211, "source_image": "source-pages/bnf-211.png", "printed_page": 179, "bbox_pixels": [ 370, 2920, 2170, 340 ], "crop_image": "assets/III.01-105.png" } ], "original_title": "Quatre Temps — valeurs variées", "english_title": "Four beats—varied note values", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.01-105" ], "music_asset_refs": [ "III.01-105" ] }, { "id": "III.01-106", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1302, "original": "Une Ronde, ou deux Blanches pour chaque temps.", "english": "One whole note or two half notes for each beat.", "sources": [ { "pdf_page": 211, "source_image": "source-pages/bnf-211.png", "printed_page": 179, "bbox_pixels": [ 480, 3160, 2050, 90 ], "crop_image": "assets/III.01-106.png" } ] }, { "id": "III.01-107", "type": "music", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1303, "original": "Trois Blanches pour chaque temps", "english": "Three half notes for each beat", "sources": [ { "pdf_page": 211, "source_image": "source-pages/bnf-211.png", "printed_page": 179, "bbox_pixels": [ 370, 3270, 2170, 330 ], "crop_image": "assets/III.01-107.png" } ], "original_title": "Trois Blanches pour chaque temps", "english_title": "Three half notes for each beat", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.01-107" ], "music_asset_refs": [ "III.01-107" ] }, { "id": "III.01-108", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1304, "original": "L’on peut se servir de Noires ou de Croches au lieu de Blanches ; & dans la Mesure à trois Temps, l’on peut de plus se servir de doubles-Croches, le tout pour faire distinguer la lenteur & la vitesse du Mouvement, comme nous l’avons expliqué au Second Livre, Chapitre XXIII.", "english": "Quarter or eighth notes may replace half notes; in three-beat meter sixteenths may also be used. All this distinguishes slower and faster movement, as Book II, chapter XXIII explains.", "sources": [ { "pdf_page": 212, "source_image": "source-pages/bnf-212.png", "printed_page": 180, "bbox_pixels": [ 425, 385, 2140, 375 ], "crop_image": "assets/III.01-108.png" } ] }, { "id": "III.01-109", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1305, "original": "Les chiffres qui sont au-dessus des Nottes, marquent les Temps ; 1. signifie le premier Temps, 2. le second, 3. le troisiéme & 4. le quatriéme ; de sorte que l’on peut s’appercevoir par-là de la liberté que l’on a de substituer à une des Nottes désignée pour un Temps, telles Pauses & telles autres Nottes que l’on veut, pourvû que la valeur du Temps soit contenuë dans ces Pauses & dans ces autres Nottes, pouvant encore commencer & continuer par d’autres Nottes que par celles que l’on a choisi pour chaque Temps, dès que la valeur du Temps y est contenuë.", "english": "The numbers above the notes mark beats: 1 first, 2 second, 3 third, 4 fourth. They show the freedom to replace a beat note with any rests or other notes totaling that beat’s value. One may likewise begin and continue with notes other than the chosen beat unit, provided their total contains the beat’s value.", "sources": [ { "pdf_page": 212, "source_image": "source-pages/bnf-212.png", "printed_page": 180, "bbox_pixels": [ 425, 760, 2140, 680 ], "crop_image": "assets/III.01-109.png" } ] }, { "id": "III.01-110", "type": "heading", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1306, "original": "Du Point, & de la Liaison.", "english": "The dot and the tie.", "sources": [ { "pdf_page": 212, "source_image": "source-pages/bnf-212.png", "printed_page": 180, "bbox_pixels": [ 470, 1440, 2070, 110 ], "crop_image": "assets/III.01-110.png" } ] }, { "id": "III.01-111", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1307, "original": "Un Point mis au côté droit d’une Notte, en augmente la valeur de la moitié ; ce qui est la même chose que si après une Notte l’on en mettoit une autre sur même degré, laquelle ne valût que la moitié de la premiere ; mais comme cette seconde Notte demanderoit une nouvelle articulation, on se sert du Point en ce cas, ou bien on lie cette seconde Notte avec la premiere, par le moyen d’un demi cercle, dont chaque pointe répond à chacune de ces deux Nottes.", "english": "A dot to a note’s right increases its value by half. This equals following the note with another on the same degree worth half as much. But a second note would require a fresh articulation, so a dot is used instead; alternatively, join the two notes with a semicircle whose ends meet them.", "sources": [ { "pdf_page": 212, "source_image": "source-pages/bnf-212.png", "printed_page": 180, "bbox_pixels": [ 425, 1600, 2140, 605 ], "crop_image": "assets/III.01-111.png" } ] }, { "id": "III.01-112", "type": "heading", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1308, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 212, "source_image": "source-pages/bnf-212.png", "printed_page": 180, "bbox_pixels": [ 470, 2200, 2070, 110 ], "crop_image": "assets/III.01-112.png" } ] }, { "id": "III.01-113", "type": "music", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1309, "original": "Nottes avec un point", "english": "Dotted notes", "sources": [ { "pdf_page": 212, "source_image": "source-pages/bnf-212.png", "printed_page": 180, "bbox_pixels": [ 450, 2340, 2140, 350 ], "crop_image": "assets/III.01-113.png" } ], "original_title": "Nottes avec un point", "english_title": "Dotted notes", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.01-113" ], "music_asset_refs": [ "III.01-113" ] }, { "id": "III.01-114", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1310, "original": "Nottes avec un point qui valent autant que les deux nottes liées qui sont au-dessous.", "english": "Dotted notes equal in value to the two tied notes below them.", "sources": [ { "pdf_page": 212, "source_image": "source-pages/bnf-212.png", "printed_page": 180, "bbox_pixels": [ 450, 2610, 2140, 100 ], "crop_image": "assets/III.01-114.png" } ] }, { "id": "III.01-115", "type": "music", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1311, "original": "Nottes liées — une seule articulation", "english": "Tied notes—one articulation", "sources": [ { "pdf_page": 212, "source_image": "source-pages/bnf-212.png", "printed_page": 180, "bbox_pixels": [ 450, 2700, 2140, 340 ], "crop_image": "assets/III.01-115.png" } ], "original_title": "Nottes liées — une seule articulation", "english_title": "Tied notes—one articulation", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.01-115" ], "music_asset_refs": [ "III.01-115" ] }, { "id": "III.01-116", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1312, "original": "Nottes liées qui ne s’articulent que comme une seule.", "english": "Tied notes articulated as one.", "sources": [ { "pdf_page": 212, "source_image": "source-pages/bnf-212.png", "printed_page": 180, "bbox_pixels": [ 450, 2950, 2140, 90 ], "crop_image": "assets/III.01-116.png" } ] }, { "id": "III.01-117", "type": "heading", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1313, "original": "Du Ton, du semi-Ton, du Dieze, du B-quarre, du B-mol, du Majeur, du Mineur, du Superflu & du Diminué.", "english": "Whole tone, semitone, sharp, natural, flat, major, minor, augmented, and diminished.", "sources": [ { "pdf_page": 212, "source_image": "source-pages/bnf-212.png", "printed_page": 180, "bbox_pixels": [ 450, 3050, 2120, 180 ], "crop_image": "assets/III.01-117.png" } ] }, { "id": "III.01-118", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1314, "original": "Le plus petit Intervale que nous avons connu au commencement de ce Chapitre sous le nom de Seconde, se distingue en Ton & en semi-Ton, ou demi-Ton. Le semi-Ton se trouve entre Mi & Fa, & entre Si & Ut ; au lieu que le Ton se trouve entre toutes les autres Nottes de la Gamme qui forment entr’elles un Intervale de Seconde.", "english": "The smallest interval introduced at the chapter’s beginning, the second, divides into whole tone and semitone, or half tone. Semitones occur between E and F and between B and C. Every other adjacent scale pair forming a second has a whole tone.", "sources": [ { "pdf_page": 212, "source_image": "source-pages/bnf-212.png", "printed_page": 180, "bbox_pixels": [ 425, 3280, 2140, 265 ], "crop_image": "assets/III.01-118.png" }, { "pdf_page": 213, "source_image": "source-pages/bnf-213.png", "printed_page": 181, "bbox_pixels": [ 425, 450, 2140, 245 ], "crop_image": "assets/III.01-119.png" } ] }, { "id": "III.01-120", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1315, "original": "Il faut remarquer à present que quoique le semi-Ton, dont se forme le plus petit Intervale nécessaire à la pratique, ne se rencontre pas entre toutes les Nottes de la Gamme, il peut néanmoins y être employé par le moyen de certains signes, qui étant joints aux Nottes, les augmentent ou les diminuent de ce semi-Ton ; de même que par ce moyen encore l’on peut faire trouver le Ton entre Mi & Fa, & entre Si & Ut.", "english": "Although the semitone—the smallest interval needed in practice—does not occur between every scale pair, signs attached to notes can raise or lower them by a semitone and produce it elsewhere. The same means can produce a whole tone between E and F or B and C.", "sources": [ { "pdf_page": 213, "source_image": "source-pages/bnf-213.png", "printed_page": 181, "bbox_pixels": [ 425, 695, 2140, 515 ], "crop_image": "assets/III.01-120.png" } ] }, { "id": "III.01-121", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1316, "original": "Ces Signes s’appellent Dieze, B-quarre, & B-mol.", "english": "These signs are called sharp, natural, and flat.", "sources": [ { "pdf_page": 213, "source_image": "source-pages/bnf-213.png", "printed_page": 181, "bbox_pixels": [ 425, 1210, 2140, 100 ], "crop_image": "assets/III.01-121.png" } ] }, { "id": "III.01-122", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1317, "original": "Le Dieze se marque ainsi ♯, le B-quarre ainsi ♮, le B-mol ainsi ♭ ; chacun de ces signes devant être placé au côté gauche de la Notte, comme on le voit dans l’Exemple suivant.", "english": "Sharp is written ♯, natural ♮, and flat ♭. Each sign must be placed to the left of the note, as in the following example.", "sources": [ { "pdf_page": 213, "source_image": "source-pages/bnf-213.png", "printed_page": 181, "bbox_pixels": [ 425, 1310, 2140, 230 ], "crop_image": "assets/III.01-122.png" } ] }, { "id": "III.01-123", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1318, "original": "Le ♯ augmente d’un semi-Ton la Notte qu’il précede, au lieu que le ♭ la diminuë d’autant ; & le ♮ auquel on donne quelquefois la proprieté du ♯, a de plus celle de retrancher le ♯ ou le ♭, qui a paru auparavant sur la même Notte, en remettant par conséquent cette Notte dans son ordre naturel.", "english": "A sharp raises its following note a semitone; a flat lowers it by the same amount. The natural, sometimes given the sharp’s function, can also remove a sharp or flat previously applied to the same note, restoring its natural position.", "sources": [ { "pdf_page": 213, "source_image": "source-pages/bnf-213.png", "printed_page": 181, "bbox_pixels": [ 425, 1540, 2140, 385 ], "crop_image": "assets/III.01-123.png" } ] }, { "id": "III.01-124", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1319, "original": "Ces Signes ne changent point le nom des Nottes ausquelles ils sont joints, excepté que pour la facilité des personnes qui apprennent à Entonner, on leur fait appeller Si toutes les Nottes précedées d’un ♯, & Fa toutes celles qui sont précedées d’un ♭ ; parce que l’on monte & l’on descend diatoniquement après le ♯ & le ♭, de même qu’après le Si & le Fa dans la Gamme ; mais comme la pratique de l’intonation est moins nécessaire au Compositeur que la connoissance de la chose, il ne doit se mettre en peine icy que des Intervales, & de l’alteration qui peut y être causée d’un semi-Ton seulement par le moyen du ♯, du ♮ ou du ♭.", "english": "These signs do not change note names. For learners’ ease in singing, however, every sharpened note is called “si” and every flattened note “fa,” because diatonic movement after them follows the pattern of “si” and “fa” in the scale. Here these are singing syllables rather than fixed pitches. Since understanding is more necessary to composers than singing practice, they need concern themselves here only with intervals and their alteration by a semitone through ♯, ♮, or ♭.", "sources": [ { "pdf_page": 213, "source_image": "source-pages/bnf-213.png", "printed_page": 181, "bbox_pixels": [ 425, 1925, 2140, 700 ], "crop_image": "assets/III.01-124.png" } ] }, { "id": "III.01-125", "type": "heading", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1320, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 213, "source_image": "source-pages/bnf-213.png", "printed_page": 181, "bbox_pixels": [ 470, 2670, 2070, 110 ], "crop_image": "assets/III.01-125.png" } ] }, { "id": "III.01-126", "type": "music", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1321, "original": "Dieze, B-quarre & B-mol", "english": "Sharp, natural, and flat", "sources": [ { "pdf_page": 213, "source_image": "source-pages/bnf-213.png", "printed_page": 181, "bbox_pixels": [ 430, 2820, 2180, 550 ], "crop_image": "assets/III.01-126.png" } ], "original_title": "Dieze, B-quarre & B-mol", "english_title": "Sharp, natural, and flat", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.01-126" ], "music_asset_refs": [ "III.01-126" ] }, { "id": "III.01-127", "type": "heading", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1322, "original": "AUTRE EXEMPLE.", "english": "ANOTHER EXAMPLE.", "sources": [ { "pdf_page": 214, "source_image": "source-pages/bnf-214.png", "printed_page": 182, "bbox_pixels": [ 470, 540, 2070, 110 ], "crop_image": "assets/III.01-127.png" } ] }, { "id": "III.01-128", "type": "music", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1323, "original": "Tons & semi-Tons — altérations A, B, C, D", "english": "Whole tones and semitones—alterations A, B, C, D", "sources": [ { "pdf_page": 214, "source_image": "source-pages/bnf-214.png", "printed_page": 182, "bbox_pixels": [ 450, 685, 2130, 325 ], "crop_image": "assets/III.01-128.png" } ], "original_title": "Tons & semi-Tons — altérations A, B, C, D", "english_title": "Whole tones and semitones—alterations A, B, C, D", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.01-128" ], "music_asset_refs": [ "III.01-128" ] }, { "id": "III.01-129", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1324, "original": "Le ♯ mis à côté de la Notte Fa (A) l’augmentant d’un semi-Ton, rend l’Intervale du Mi à ce Fa, égal à celuy de Ré à Mi, c’est-à-dire, qu’il y a un Ton de part & d’autre, & par conséquent il n’y a qu’un semi-Ton de ce Fa au Sol ; ce qui fait que ces quatre premieres Nottes Ré, Mi, Fa, (A) Sol observent le même ordre entre-elles que Sol, La, Si, (D) Ut dans la Gamme : ensuite le ♭ mis à côté de la Notte Si, (C) la diminuant d’un semi-Ton, fait qu’il y a un Ton d’Ut à ce Si, (C) & un semi-Ton de ce Si à La ; de sorte que ces quatre Nottes Ut, Si, La, Sol observent le même ordre entre-elles que Sol, Fa, Mi, Ré dans la Gamme ; mais le ♮ joint au second Fa (B) & au second Si (D) rend à ces Nottes leur ordre naturel.", "english": "The sharp on F at A raises it a semitone, making E–F equal to D–E: both are whole tones. F to G is consequently only a semitone. Thus D E F♯ G follow the same order as G A B C in the scale, with B marked D. The flat on B at C lowers it a semitone, making C to B♭ a whole tone and B♭ to A a semitone. These descending notes C B♭ A G follow the same order as G F E D. Naturals on the second F at B and second B at D restore their natural order.", "sources": [ { "pdf_page": 214, "source_image": "source-pages/bnf-214.png", "printed_page": 182, "bbox_pixels": [ 425, 1050, 2140, 845 ], "crop_image": "assets/III.01-129.png" } ] }, { "id": "III.01-130", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1325, "original": "Les Intervales où la difference du Ton au semi-Ton, se fait sentir (supposé qu’ils ne changent pas de nom pour cela) se distinguent en majeurs & mineurs, ou en superflus & diminuez. Par exemple, la Tierce d’Ut à Mi s’appelle majeure, parce qu’elle contient un semi-Ton de plus que celle de Ré à Fa, qui est par consequent mineure ; pareillement la Sixte de Mi à Ut est mineure, parce qu’elle contient un semi-Ton de moins que celle de Fa à Ré, ainsi des autres Intervales qui portent le même nom, & dont la difference ne consiste que dans un semi-Ton de plus ou de moins, lesquels peuvent encore être distinguez en superflus & diminuez ; mais nous n’en dirons pas davantage là-dessus, parce que cela se trouvera expliqué plus au long dans la suite.", "english": "Intervals showing the whole-tone/semitone difference without changing their names are distinguished as major and minor, or augmented and diminished. C–E is a major third because it contains a semitone more than D–F, which is minor. E–C is a minor sixth because it contains a semitone less than F–D. Likewise for other same-named intervals differing by a semitone; augmented and diminished may also distinguish them. Further explanation will follow.", "sources": [ { "pdf_page": 214, "source_image": "source-pages/bnf-214.png", "printed_page": 182, "bbox_pixels": [ 425, 1895, 2140, 925 ], "crop_image": "assets/III.01-130.png" } ] }, { "id": "III.01-131", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1326, "original": "Pour revenir au ♯ & aux ♭, il est bon de sçavoir que c’est presque toûjours par leur moyen que la difference du majeur au mineur, ou du superflu au diminué se reconnoît ; en ce que dans la comparaison de deux Nottes dont se forme un Intervale ; le ♯ joint à la Notte d’en-bas (F) rend ordinairement cet Intervale mineur, & joint à la Notte d’en-haut (G) le rend majeur, & qu’au contraire le ♭ joint à la Notte d’en-bas (H) rend cet Intervale majeur, & joint à la Notte d’en-haut, (J) le rend mineur, le superflu se rapportant au majeur, & le diminué au mineur.", "english": "Sharps and flats almost always reveal the major/minor or augmented/diminished distinction. In a two-note interval, a sharp on the lower note at F ordinarily makes it minor; on the upper note at G, major. Conversely, a flat on the lower note at H makes it major; on the upper at J, minor. Augmented corresponds to major and diminished to minor.", "sources": [ { "pdf_page": 214, "source_image": "source-pages/bnf-214.png", "printed_page": 182, "bbox_pixels": [ 425, 2820, 2140, 645 ], "crop_image": "assets/III.01-131.png" } ] }, { "id": "III.01-132", "type": "heading", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1327, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 215, "source_image": "source-pages/bnf-215.png", "printed_page": 183, "bbox_pixels": [ 470, 470, 2070, 110 ], "crop_image": "assets/III.01-132.png" } ] }, { "id": "III.01-133", "type": "music", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1328, "original": "Intervales majeurs, mineurs, diminuez & superflus", "english": "Major, minor, diminished, and augmented intervals", "sources": [ { "pdf_page": 215, "source_image": "source-pages/bnf-215.png", "printed_page": 183, "bbox_pixels": [ 395, 570, 2185, 1330 ], "crop_image": "assets/III.01-133.png" } ], "original_title": "Intervales majeurs, mineurs, diminuez & superflus", "english_title": "Major, minor, diminished, and augmented intervals", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.01-133" ], "music_asset_refs": [ "III.01-133" ] }, { "id": "III.01-134", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1329, "original": "C’est en comparant la Notte du Dessus avec celle de la Basse qui est vis-à-vis, que l’on trouvera les Intervales majeurs ou mineurs spécifiez dans cet Exemple.", "english": "Compare each upper note with the bass note opposite it to find the major or minor intervals specified in the example.", "sources": [ { "pdf_page": 215, "source_image": "source-pages/bnf-215.png", "printed_page": 183, "bbox_pixels": [ 425, 1950, 2140, 225 ], "crop_image": "assets/III.01-134.png" } ] }, { "id": "III.01-135", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1330, "original": "Lorsque le ♯, le ♮ ou le ♭ se trouvent au-dessus ou au-dessous d’une Notte de la Basse, ils n’alterent aucunement cette Notte, & ils dénotent seulement des Intervales majeurs ou mineurs, dont nous parlerons en leur lieu.", "english": "A sharp, natural, or flat written above or below a bass note does not alter that note at all. It indicates only major or minor intervals, to be discussed in their proper place.", "sources": [ { "pdf_page": 215, "source_image": "source-pages/bnf-215.png", "printed_page": 183, "bbox_pixels": [ 425, 2175, 2140, 310 ], "crop_image": "assets/III.01-135.png" } ] }, { "id": "III.01-136", "type": "heading", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1331, "original": "Des Intervales doublez.", "english": "Compound intervals.", "sources": [ { "pdf_page": 215, "source_image": "source-pages/bnf-215.png", "printed_page": 183, "bbox_pixels": [ 470, 2485, 2070, 110 ], "crop_image": "assets/III.01-136.png" } ] }, { "id": "III.01-137", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1332, "original": "De même que l’Octave d’une Notte choisie pour premier degré n’en est que la replique, de même aussi toutes les Nottes qui sont au-dessus de cette Octave, ne sont que les repliques de celles qui se trouvent depuis ce premier degré jusqu’à son Octave ; si bien que le nom de la Notte suffit pour déterminer un Intervale, sans se mettre en peine s’il est doublé, triplé & plus. Par exemple, si l’on compte depuis l’Ut qui est au-dessous de la Clef de Fa, jusqu’au Sol qui est au-dessus de la Clef de Sol, l’on y trouvera un Intervale de dix-neuf degrez ; mais si l’on sçait une fois que Sol fait la Quinte d’Ut, il n’est plus besoin de compter ; & pourvû que ce Sol se trouve au-dessus d’Ut, cela suffit ; ainsi des autres Intervales ; cet éloignement plus ou moins grand n’étant à considerer, que pour mettre chaque Partie au-dessus de la Basse, & dans son étendue naturelle, que nous avons marqué à cet effet où il en a déja été parlé.", "english": "Just as the octave repeats the chosen first degree, notes above that octave repeat those within it. A note’s name therefore suffices to determine the interval, regardless of whether it is doubled, tripled, or more. Counting from C below the F clef to G above the G clef gives nineteen degrees. But once G is known as C’s fifth, no counting is needed: it suffices that G is above C. The same applies elsewhere. Greater or smaller separation matters only for keeping each part above the bass and within its natural range, already shown for that purpose.", "sources": [ { "pdf_page": 215, "source_image": "source-pages/bnf-215.png", "printed_page": 183, "bbox_pixels": [ 425, 2650, 2140, 910 ], "crop_image": "assets/III.01-137.png" }, { "pdf_page": 216, "source_image": "source-pages/bnf-216.png", "printed_page": 184, "bbox_pixels": [ 425, 375, 2140, 170 ], "crop_image": "assets/III.01-138.png" } ] }, { "id": "III.01-139", "type": "heading", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1333, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 216, "source_image": "source-pages/bnf-216.png", "printed_page": 184, "bbox_pixels": [ 470, 570, 2070, 110 ], "crop_image": "assets/III.01-139.png" } ] }, { "id": "III.01-140", "type": "music", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1334, "original": "Octaves, Quintes & Tierces simples & multipliées", "english": "Simple and compound octaves, fifths, and thirds", "sources": [ { "pdf_page": 216, "source_image": "source-pages/bnf-216.png", "printed_page": 184, "bbox_pixels": [ 1140, 680, 870, 2280 ], "crop_image": "assets/III.01-140.png" } ], "original_title": "Octaves, Quintes & Tierces simples & multipliées", "english_title": "Simple and compound octaves, fifths, and thirds", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.01-140" ], "music_asset_refs": [ "III.01-140" ] }, { "id": "III.01-141", "type": "paragraph", "section": "III.01", "lesson": 45, "exercise": 45, "reading_order": 1335, "original": "C’est avec la Partie la plus basse que l’on compare ordinairement les autres, d’où se forment tous les Intervales ; de sorte qu’il se trouve icy des Octaves, des Quintes, des Tierces simples, doubles, triples & quadruples, que l’on peut distinguer en quinziémes, vingt-deuxiémes, &c. mais il suffit que l’Octave soit un Ut, la Quinte un Sol & la Tierce un Mi, le reste pouvant être regardé comme inutile quant à présent.", "english": "The other parts are ordinarily compared with the lowest, forming all intervals. Here we have simple, doubled, tripled, and quadrupled octaves, fifths, and thirds, which might be called fifteenths, twenty-seconds, and so forth. For now it suffices that the octave is C, fifth G, and third E; the rest may be considered unnecessary.", "sources": [ { "pdf_page": 216, "source_image": "source-pages/bnf-216.png", "printed_page": 184, "bbox_pixels": [ 425, 2980, 2140, 540 ], "crop_image": "assets/III.01-141.png" } ] }, { "id": "III.02-001", "type": "heading", "section": "III.02", "lesson": 46, "exercise": 46, "reading_order": 1336, "original": "CHAPITRE SECOND", "english": "CHAPTER TWO", "sources": [ { "pdf_page": 217, "source_image": "source-pages/bnf-217.png", "printed_page": 185, "bbox_pixels": [ 470, 415, 2070, 110 ], "crop_image": "assets/III.02-001.png" } ], "correction_refs": [ "supplement-202", "supplement-203" ] }, { "id": "III.02-002", "type": "heading", "section": "III.02", "lesson": 46, "exercise": 46, "reading_order": 1337, "original": "De la Basse-fondamentale.", "english": "On the fundamental bass.", "sources": [ { "pdf_page": 217, "source_image": "source-pages/bnf-217.png", "printed_page": 185, "bbox_pixels": [ 470, 550, 2070, 110 ], "crop_image": "assets/III.02-002.png" } ] }, { "id": "III.02-003", "type": "paragraph", "section": "III.02", "lesson": 46, "exercise": 46, "reading_order": 1338, "original": "LE grand nœud de la Composition, soit pour l’Harmonie, soit pour la Melodie, consiste principalement & sur tout pour le present, dans la Basse, que nous appellons Fondamentale, & qui doit proceder en ce cas, par des Intervales consonans, qui sont ceux de la Tierce, de la Quarte, de la Quinte, & de la Sixte ; si-bien que l’on ne peut faire monter ni descendre chaque Notte de la Basse-fondamentale que par l’un de ces Intervales, en préferant toûjours les plus petits aux plus grands, c’est-à-dire, que si l’on vouloit faire monter ou descendre cette Basse d’une Sixte, il vaudroit mieux la faire descendre ou monter d’une Tierce ; car il faut remarquer que monter de Tierce ou descendre de Sixte, c’est la même chose ; de même que monter de Sixte ou descendre de Tierce ; monter de Quinte ou descendre de Quarte ; monter de Quarte ou descendre de Quinte, n’étant necessaire d’avoir ces Intervales presens à l’esprit que d’une maniere, soit en montant, soit en descendant, parce que l’un revient à l’autre.", "english": "The central difficulty of composition, whether in harmony or melody, lies chiefly—and especially for our present purposes—in the bass we call fundamental. Here it must proceed by consonant intervals: thirds, fourths, fifths, and sixths. Each fundamental-bass note can therefore rise or fall only by one of these intervals, always preferring smaller intervals to larger ones. Thus, instead of making the bass rise or fall a sixth, it would be better to make it fall or rise a third. Notice that rising a third is the same as falling a sixth; likewise, rising a sixth is the same as falling a third, rising a fifth as falling a fourth, and rising a fourth as falling a fifth. We need keep these intervals in mind in only one direction, ascending or descending, since one amounts to the other.", "sources": [ { "pdf_page": 217, "source_image": "source-pages/bnf-217.png", "printed_page": 185, "bbox_pixels": [ 425, 655, 2140, 1190 ], "crop_image": "assets/III.02-003.png" } ] }, { "id": "III.02-004", "type": "heading", "section": "III.02", "lesson": 46, "exercise": 46, "reading_order": 1339, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 217, "source_image": "source-pages/bnf-217.png", "printed_page": 185, "bbox_pixels": [ 470, 1870, 2070, 110 ], "crop_image": "assets/III.02-004.png" } ] }, { "id": "III.02-005", "type": "music", "section": "III.02", "lesson": 46, "exercise": 46, "reading_order": 1340, "original": "Progressions de la Basse — monter ou descendre", "english": "Bass progressions—ascending or descending", "sources": [ { "pdf_page": 217, "source_image": "source-pages/bnf-217.png", "printed_page": 185, "bbox_pixels": [ 400, 1970, 1630, 500 ], "crop_image": "assets/III.02-005.png" } ], "original_title": "Progressions de la Basse — monter ou descendre", "english_title": "Bass progressions—ascending or descending", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.02-005" ], "music_asset_refs": [ "III.02-005" ] }, { "id": "III.02-006", "type": "paragraph", "section": "III.02", "lesson": 46, "exercise": 46, "reading_order": 1341, "original": "Le nom de la Notte suffisant, (comme il a déja été dit) pour déterminer l’Intervale que l’on s’est proposé, & sçachant que la Tierce d’Ut est un Mi, il n’importe dans la progression de cette Basse que ce Mi soit au-dessus ou au-dessous d’Ut, ainsi des autres. Il faut donc bien se souvenir de cecy ; car lorsque nous dirons dans la suite, monter de Tierce, de Quarte, de Quinte, ou de Sixte, nous sous-entendons toûjours descendre de Sixte, de Quinte, de Quarte ou de Tierce ; ou bien si nous disons descendre de Tierce, nous sous-entendrions monter de Sixte &c. en remarquant que cela ne regarde que la progression de la Basse.", "english": "As already stated, the note's name suffices to determine the intended interval. Knowing that the third of C is E, it does not matter in this bass progression whether E lies above or below C; the same holds for the others. Remember this carefully: when we later say rise a third, fourth, fifth, or sixth, we always also mean fall a sixth, fifth, fourth, or third. Conversely, if we say fall a third, we would also mean rise a sixth, and so forth. Notice that this concerns only the bass's progression.", "sources": [ { "pdf_page": 217, "source_image": "source-pages/bnf-217.png", "printed_page": 185, "bbox_pixels": [ 425, 2575, 2140, 745 ], "crop_image": "assets/III.02-006.png" } ] }, { "id": "III.02-007", "type": "paragraph", "section": "III.02", "lesson": 46, "exercise": 46, "reading_order": 1342, "original": "Nous n’avons pas compris l’Octave dans le nombre des Consonances dont la progression de la Basse doit être composée, parce que l’Octave n’étant que la replique d’1. il vaut autant que la Basse reste sur 1. que de monter ou descendre sur l’Octave ; cependant l’on est obligé quelquefois de faire descendre la Basse d’une Octave, pour donner plus de liberté aux autres parties, & sur tout afin qu’elles se trouvent toûjours au-dessus, comme cela se doit.", "english": "We have not included the octave among the consonances governing the bass's progression. Since the octave is only a repetition of 1, the bass may just as well remain on 1 as rise or fall to its octave. Sometimes, however, the bass must descend an octave to give the other parts more freedom, and especially to ensure that they always lie above it, as they should.", "sources": [ { "pdf_page": 217, "source_image": "source-pages/bnf-217.png", "printed_page": 185, "bbox_pixels": [ 425, 3320, 2140, 230 ], "crop_image": "assets/III.02-007.png" }, { "pdf_page": 218, "source_image": "source-pages/bnf-218.png", "printed_page": 186, "bbox_pixels": [ 425, 365, 2140, 305 ], "crop_image": "assets/III.02-008.png" } ] }, { "id": "III.03-001", "type": "heading", "section": "III.03", "lesson": 47, "exercise": 47, "reading_order": 1343, "original": "CHAPITRE TROISIÉME.", "english": "CHAPTER THREE.", "sources": [ { "pdf_page": 218, "source_image": "source-pages/bnf-218.png", "printed_page": 186, "bbox_pixels": [ 470, 740, 2070, 110 ], "crop_image": "assets/III.03-001.png" } ], "correction_refs": [ "supplement-203" ] }, { "id": "III.03-002", "type": "heading", "section": "III.03", "lesson": 47, "exercise": 47, "reading_order": 1344, "original": "De l’Accord parfait, par où commence la Composition à quatre Parties.", "english": "On the perfect chord, with which four-part composition begins.", "sources": [ { "pdf_page": 218, "source_image": "source-pages/bnf-218.png", "printed_page": 186, "bbox_pixels": [ 470, 880, 2070, 180 ], "crop_image": "assets/III.03-002.png" } ] }, { "id": "III.03-003", "type": "paragraph", "section": "III.03", "lesson": 47, "exercise": 47, "reading_order": 1345, "original": "ON appelle Accord, la disposition de plusieurs Sons entendus ensemble, dont chacun est marqué par une Notte dans l’une des Parties que l’on se propose.", "english": "A chord is the arrangement of several sounds heard together, each represented by a note in one of the intended parts.", "sources": [ { "pdf_page": 218, "source_image": "source-pages/bnf-218.png", "printed_page": 186, "bbox_pixels": [ 425, 1100, 2140, 245 ], "crop_image": "assets/III.03-003.png" } ] }, { "id": "III.03-004", "type": "paragraph", "section": "III.03", "lesson": 47, "exercise": 47, "reading_order": 1346, "original": "Le seul Accord dont nous ayons besoin à present, est le Parfait, qui est composé d’une Notte que l’on met à la Basse, de sa Tierce, de sa Quinte & de son Octave, que l’on met dans les autres Parties.", "english": "The only chord we need at present is the perfect chord. It consists of a note placed in the bass, with its third, fifth, and octave placed in the other parts.", "sources": [ { "pdf_page": 218, "source_image": "source-pages/bnf-218.png", "printed_page": 186, "bbox_pixels": [ 425, 1345, 2140, 225 ], "crop_image": "assets/III.03-004.png" } ] }, { "id": "III.03-005", "type": "paragraph", "section": "III.03", "lesson": 47, "exercise": 47, "reading_order": 1347, "original": "La Gamme que nous avons proposée au Chapitre premier, doit servir à trouver ces Intervales, quelque Notte ou Son que l’on y prenne pour Basse, cette Basse pouvant être representée par le nombre 1. ainsi", "english": "The scale proposed in chapter I should be used to find these intervals, whatever note or sound is chosen as bass. That bass can be represented by the number 1, thus:", "sources": [ { "pdf_page": 218, "source_image": "source-pages/bnf-218.png", "printed_page": 186, "bbox_pixels": [ 425, 1570, 2140, 275 ], "crop_image": "assets/III.03-005.png" } ] }, { "id": "III.03-006", "type": "image", "section": "III.03", "lesson": 47, "exercise": 47, "reading_order": 1348, "original": "Ut Mi Sol Ut Ut ; 1. 3. 5. 1. ou 8. ; 1. 2. 3. 4. 5. 6. 7. 8.", "english": "C E G C C; 1. 3. 5. 1. or 8.; 1. 2. 3. 4. 5. 6. 7. 8.", "sources": [ { "pdf_page": 218, "source_image": "source-pages/bnf-218.png", "printed_page": 186, "bbox_pixels": [ 595, 1760, 1255, 240 ], "crop_image": "assets/III.03-006.png" } ], "original_title": "Accord parfait — Ut, Mi, Sol, Ut", "english_title": "Perfect chord—C, E, G, C", "asset_refs": [ "III.03-006" ] }, { "id": "III.03-007", "type": "paragraph", "section": "III.03", "lesson": 47, "exercise": 47, "reading_order": 1349, "original": "nous marquons 1. ou 8. parce que l’Octave est toûjours representée par la même Notte que l’on a choisie pour la Basse, en se souvenant qu’il faut compter en tirant à droite, selon l’ordre des nombres marquez au tour des cercles où la Gamme est contenuë.", "english": "We mark 1 or 8 because the octave is always represented by the same note chosen for the bass. Remember to count toward the right, following the numbers marked around the circles containing the scale.", "sources": [ { "pdf_page": 218, "source_image": "source-pages/bnf-218.png", "printed_page": 186, "bbox_pixels": [ 425, 1910, 2140, 370 ], "crop_image": "assets/III.03-007.png" } ] }, { "id": "III.03-008", "type": "paragraph", "section": "III.03", "lesson": 47, "exercise": 47, "reading_order": 1350, "original": "On place indifferemment la Tierce, la Quinte ou l’Octave dans quelque Partie que ce soit, pouvant mettre la Tierce au-dessus de la Quinte ou de l’Octave, & la Quinte au-dessus de l’Octave, selon la commodité ; pourvû que ces Intervales se trouvent toûjours au-dessus de la Basse, que l’on peut faire descendre aussi bas que l’on veut, afin de n’être point gêné dans les autres Parties. L’on doit cependant observer à mesure que l’on devient sçavant, de tenir chaque Partie dans son étendue naturelle, faisant ensorte que la Taille s’entende au-dessus de la Basse, la Haute-contre au-dessus de la Fondamentale, & le Dessus au-dessus de la Haute-contre.", "english": "The third, fifth, or octave may be placed in any part without distinction. As convenient, the third can lie above the fifth or octave, and the fifth above the octave, provided all these intervals remain above the bass. The bass may descend as far as one wishes to avoid restricting the other parts. As one becomes more accomplished, however, each part should be kept within its natural range: the tenor should sound above the bass, the haute-contre above the fundamental, and the upper part above the haute-contre.", "sources": [ { "pdf_page": 218, "source_image": "source-pages/bnf-218.png", "printed_page": 186, "bbox_pixels": [ 425, 2280, 2140, 755 ], "crop_image": "assets/III.03-008.png" } ] }, { "id": "III.04-001", "type": "heading", "section": "III.04", "lesson": 48, "exercise": 48, "reading_order": 1351, "original": "CHAPITRE QUATRIEME.", "english": "CHAPTER FOUR.", "sources": [ { "pdf_page": 218, "source_image": "source-pages/bnf-218.png", "printed_page": 186, "bbox_pixels": [ 701, 3089, 1623, 103 ], "crop_image": "assets/III.04-001.png" } ], "correction_refs": [ "supplement-203", "supplement-204" ] }, { "id": "III.04-002", "type": "heading", "section": "III.04", "lesson": 48, "exercise": 48, "reading_order": 1352, "original": "De la suite des Accords.", "english": "On the succession of chords.", "sources": [ { "pdf_page": 218, "source_image": "source-pages/bnf-218.png", "printed_page": 186, "bbox_pixels": [ 1069, 3208, 901, 101 ], "crop_image": "assets/III.04-002.png" } ] }, { "id": "III.04-003", "type": "paragraph", "section": "III.04", "lesson": 48, "exercise": 48, "reading_order": 1353, "original": "Si la Basse doit proceder par des Intervales consonans, les autres Parties doivent proceder au contraire par des Intervales diatoniques ; de sorte que dans ces dernieres Parties l’on ne peut passer d’une Notte à une autre que par celle qui en est la plus voisine : Par exemple, Ut ne peut aller qu’à Ré ou à Si, s’il ne reste pas sur le même degré, comme cela arrive souvent, ainsi des autres ; & voici la maniere dont il faut s’y prendre.", "english": "Whereas the bass must proceed by consonant intervals, the other parts must proceed by diatonic intervals. In those parts, therefore, movement from one note to another can only be to its nearest neighbor. C, for example, can go only to D or B, unless it remains on the same degree, as often happens. The same applies to the other notes. Here is the procedure.", "sources": [ { "pdf_page": 218, "source_image": "source-pages/bnf-218.png", "printed_page": 186, "bbox_pixels": [ 454, 3313, 2105, 239 ], "crop_image": "assets/III.04-003.png" }, { "pdf_page": 219, "source_image": "source-pages/bnf-219.png", "printed_page": 187, "bbox_pixels": [ 421, 381, 2103, 297 ], "crop_image": "assets/III.04-004.png" } ] }, { "id": "III.04-005", "type": "paragraph", "section": "III.04", "lesson": 48, "exercise": 48, "reading_order": 1354, "original": "1°. L’on choisit une Notte que l’on appelle Tonique, par laquelle la Basse doit commencer & finir, cette Notte déterminant la progression de toutes celles qui sont contenuës dans l’étendue de son Octave : Si nous prenons donc la Notte Ut pour tonique, nous ne pourrons nous servir tant à la Basse qu’aux autres Parties, que des Nottes Ut, Ré, Mi, Fa, Sol, La, Si, sans qu’il soit permis de les alterer par aucun Dieze ni B-mol.", "english": "1. Choose a note called tonic, upon which the bass must begin and end. This note determines the progression of all notes within its octave. If C is tonic, bass and upper parts may use only C, D, E, F, G, A, and B, without alteration by any sharp or flat.", "sources": [ { "pdf_page": 219, "source_image": "source-pages/bnf-219.png", "printed_page": 187, "bbox_pixels": [ 417, 675, 2107, 522 ], "crop_image": "assets/III.04-005.png" } ] }, { "id": "III.04-006", "type": "paragraph", "section": "III.04", "lesson": 48, "exercise": 48, "reading_order": 1355, "original": "Cette Notte Ut étant placée à la Basse, on en dispose l’Accord parfait dans les autres Parties, en remarquant celle qui fait l’Octave de cet Ut celle qui en fait la Quinte, & celle qui en fait la Tierce.", "english": "Place C in the bass and arrange its perfect chord in the other parts, noting which part has C’s octave, which its fifth, and which its third.", "sources": [ { "pdf_page": 219, "source_image": "source-pages/bnf-219.png", "printed_page": 187, "bbox_pixels": [ 424, 1193, 2100, 228 ], "crop_image": "assets/III.04-006.png" } ] }, { "id": "III.04-007", "type": "paragraph", "section": "III.04", "lesson": 48, "exercise": 48, "reading_order": 1356, "original": "2°. Si après cet Ut la Basse monte de Tierce A. ou de Quarte B. la Partie, comme par exemple, la Taille qui aura fait l’Octave d’Ut, qui est à la Basse, doit faire ensuite la Quinte de la Notte, qui dans cette Basse monte de Tierce ou de Quarte après Ut.", "english": "2. If after C the bass rises a third, A, or a fourth, B, the part—for example the tenor—that had C’s octave must next take the fifth of the new bass note.", "sources": [ { "pdf_page": 219, "source_image": "source-pages/bnf-219.png", "printed_page": 187, "bbox_pixels": [ 421, 1419, 2103, 299 ], "crop_image": "assets/III.04-007.png" } ] }, { "id": "III.04-008", "type": "paragraph", "section": "III.04", "lesson": 48, "exercise": 48, "reading_order": 1357, "original": "La Haute-contre qui aura fait la Tierce de cet Ut, doit faire ensuite l’Octave de la Notte qui monte de Tierce ou de Quarte.", "english": "The haute-contre, which had C’s third, must next take the octave of the note reached by that ascending third or fourth.", "sources": [ { "pdf_page": 219, "source_image": "source-pages/bnf-219.png", "printed_page": 187, "bbox_pixels": [ 424, 1716, 2100, 148 ], "crop_image": "assets/III.04-008.png" } ] }, { "id": "III.04-009", "type": "paragraph", "section": "III.04", "lesson": 48, "exercise": 48, "reading_order": 1358, "original": "Et le Dessus qui aura fait la Quinte de cet Ut, doit faire ensuite la Tierce de la Notte qui monte de Tierce ou de Quarte.", "english": "The upper part, which had C’s fifth, must next take the third of the note reached by the ascending third or fourth.", "sources": [ { "pdf_page": 219, "source_image": "source-pages/bnf-219.png", "printed_page": 187, "bbox_pixels": [ 421, 1862, 2103, 148 ], "crop_image": "assets/III.04-009.png" } ] }, { "id": "III.04-010", "type": "paragraph", "section": "III.04", "lesson": 48, "exercise": 48, "reading_order": 1359, "original": "3°. Si après cet Ut la Basse monte de Quinte C. ou de Sixte D. la Taille qui aura fait l’Octave doit faire ensuite la Tierce, la Haute-contre qui aura fait la Tierce doit faire ensuite la Quinte ; & le Dessus qui aura fait la Quinte doit faire l’Octave.", "english": "3. If after C the bass rises a fifth, C, or a sixth, D, the tenor that had the octave must take the third; the haute-contre that had the third must take the fifth; and the upper part that had the fifth must take the octave.", "sources": [ { "pdf_page": 219, "source_image": "source-pages/bnf-219.png", "printed_page": 187, "bbox_pixels": [ 419, 2010, 2105, 299 ], "crop_image": "assets/III.04-010.png" } ] }, { "id": "III.04-011", "type": "paragraph", "section": "III.04", "lesson": 48, "exercise": 48, "reading_order": 1360, "original": "4°. Et finalement, celuy qui ne voudra pas assujettir sa memoire à retenir la détermination de la progression de chaque Partie superieure par rapport à celle de la Basse, n’aura qu’à se souvenir que chacune de ces Parties ne peut former l’un des trois Intervales qui composent l’Accord parfait, que de trois manieres, soit en restant sur la même Notte ou sur le même degré, soit en montant ou en descendant diatoniquement, quelque route que tienne la Basse ; de sorte que si une Notte de l’une des Parties peut faire la Tierce, la Quinte ou l’Octave sans changer sa situation, elle doit rester absolument ; mais si de cette façon il ne peut s’y trouver aucun de ces Intervales, on le trouvera immanquablement en faisant monter ou descendre diatoniquement cette Notte.", "english": "4. Finally, anyone unwilling to memorize each upper part’s prescribed progression relative to the bass need remember only this: each part can reach one of the perfect chord’s three intervals in only three ways—remaining on the same note or degree, ascending diatonically, or descending diatonically—whatever route the bass takes. Thus, if an upper note can form the third, fifth, or octave without moving, it must stay. If none of those intervals results, one will certainly be found by raising or lowering the note a diatonic step.", "sources": [ { "pdf_page": 219, "source_image": "source-pages/bnf-219.png", "printed_page": 187, "bbox_pixels": [ 419, 2307, 2105, 892 ], "crop_image": "assets/III.04-011.png" } ] }, { "id": "III.04-012", "type": "paragraph", "section": "III.04", "lesson": 48, "exercise": 48, "reading_order": 1361, "original": "S’il arrivoit par hazard que deux Parties se rencontrassent sur une même Notte, & que par là il manquât un Intervale dans l’Accord parfait, cela proviendroit de ce que l’une de ces deux Parties peut former l’un des trois Intervales de cet Accord parfait, tant en montant qu’en descendant ; de sorte que l’ayant fait monter, il faudra la faire descendre, ou l’ayant fait descendre il faudra la faire monter ; ce qui est naturel à la Partie qui fait la Quinte d’une Notte de la Basse suivie d’une autre, en remontant de Quarte, avec laquelle Notte montée cette Partie peut faire l’Octave en descendant & la Tierce en montant, où pour lors cette Partie doit monter : cela est encore naturel à la Partie qui fait l’Octave d’une Notte de la Basse suivie d’une autre en montant de Quinte, & cette Partie doit descendre en ce cas sur la troisième Notte, qui monte de Quinte dans la Basse.", "english": "If two parts happen to meet on one note and thereby leave an interval missing from the perfect chord, one of those parts must be able to form a chord interval both upward and downward. Reverse its chosen movement: if it rose, make it descend; if it descended, make it rise. This occurs naturally in the part making the fifth when the bass next rises a fourth. That part can descend to the new octave or rise to the new third; here it must rise. It also occurs in the part making the octave when the bass next rises a fifth; here the part must descend to the third above the new bass note.", "sources": [ { "pdf_page": 219, "source_image": "source-pages/bnf-219.png", "printed_page": 187, "bbox_pixels": [ 419, 3193, 2105, 307 ], "crop_image": "assets/III.04-012.png" }, { "pdf_page": 220, "source_image": "source-pages/bnf-220.png", "printed_page": 188, "bbox_pixels": [ 510, 404, 2092, 748 ], "crop_image": "assets/III.04-013.png" } ] }, { "id": "III.04-014", "type": "heading", "section": "III.04", "lesson": 48, "exercise": 48, "reading_order": 1362, "original": "EXEMPLES.", "english": "EXAMPLES.", "sources": [ { "pdf_page": 220, "source_image": "source-pages/bnf-220.png", "printed_page": 188, "bbox_pixels": [ 1150, 1159, 836, 101 ], "crop_image": "assets/III.04-014.png" } ] }, { "id": "III.04-015", "type": "music", "section": "III.04", "lesson": 48, "exercise": 48, "reading_order": 1363, "original": "Dessus. Haute-Contre. Taille. Basse Fond.", "english": "Upper part. Haute-contre. Tenor. Fundamental bass.", "sources": [ { "pdf_page": 220, "source_image": "source-pages/bnf-220.png", "printed_page": 188, "bbox_pixels": [ 492, 1266, 1909, 1498 ], "crop_image": "assets/III.04-015.png" } ], "original_title": "Progression des parties supérieures selon les routes de la Basse.", "english_title": "Upper-part progressions according to the bass’s routes.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.04-015" ], "music_asset_refs": [ "III.04-015" ] }, { "id": "III.04-016", "type": "image", "section": "III.04", "lesson": 48, "exercise": 48, "reading_order": 1364, "original": "A : monter de 3 ou descendre de 6.\nB : monter de 4 ou descendre de 5.\nC : monter de 5 ou descendre de 4.\nD : monter de 6 ou descendre de 3.\nRoutes entre les mesures, marquées sous la Basse :\nD : monter de 6 ou descendre de 3.\nC : monter de 5 ou descendre de 4.\nB : monter de 4 ou descendre de 5.\nA : monter de 3 ou descendre de 6.", "english": "A: rise a 3rd or fall a 6th.\nB: rise a 4th or fall a 5th.\nC: rise a 5th or fall a 4th.\nD: rise a 6th or fall a 3rd.\nRoutes between measures, marked below the bass:\nD: rise a 6th or fall a 3rd.\nC: rise a 5th or fall a 4th.\nB: rise a 4th or fall a 5th.\nA: rise a 3rd or fall a 6th.", "sources": [ { "pdf_page": 220, "source_image": "source-pages/bnf-220.png", "printed_page": 188, "bbox_pixels": [ 651, 2726, 1746, 699 ], "crop_image": "assets/III.04-016.png" } ], "original_title": "Diagramme des routes de la Basse.", "english_title": "Diagram of bass routes.", "format": "preformatted", "asset_refs": [ "III.04-016" ] }, { "id": "III.04-017", "type": "paragraph", "section": "III.04", "lesson": 48, "exercise": 48, "reading_order": 1365, "original": "Les progressions de ces parties superieures sont d’autant moins difficiles à retenir, que l’on n’y trouve en tout que 8 5, & 8 3 E F ; 3 8, & 3 5, G H ; 5 3, & 5 8, J L : Lorsque la Basse monte de 3 A, ou de 4 B, l’on trouve que 8 conduit à 5, E ; 5 à 3, J ; & 3 à 8. G : & lorsque la Basse monte de 5, C, ou de 6, D, l’on trouve que 8 conduit à 3, F ; 3 à 5, H, & 5 à 8, L ; de sorte que quelque route que tienne la Basse, l’on conduit par le premier Intervale que forme l’une des Parties avec cette Basse, soit la 3, la 5 ou l’8, celuy qu’elle doit former avec la Notte qui suit dans cette Basse ; & ainsi de suite jusqu’à la fin, en faisant la même chose de chaque Partie en particulier, lorsqu’on n’a pas l’esprit assez présent pour pouvoir les placer toutes ensemble au-dessus de chaque Notte de la Basse.", "english": "These upper-part progressions are easy to remember because there are only 8–5 and 8–3, E F; 3–8 and 3–5, G H; 5–3 and 5–8, J L. When the bass rises a third, A, or fourth, B, 8 leads to 5 at E, 5 to 3 at J, and 3 to 8 at G. When the bass rises a fifth, C, or sixth, D, 8 leads to 3 at F, 3 to 5 at H, and 5 to 8 at L. Whatever the bass’s route, the first interval formed by a part—third, fifth, or octave—thus guides the interval it should form over the next bass note. Continue this way to the end. Work through each part separately if unable to place all of them at once above each bass note.", "sources": [ { "pdf_page": 220, "source_image": "source-pages/bnf-220.png", "printed_page": 188, "bbox_pixels": [ 576, 3446, 2017, 110 ], "crop_image": "assets/III.04-017.png" }, { "pdf_page": 221, "source_image": "source-pages/bnf-221.png", "printed_page": 189, "bbox_pixels": [ 419, 413, 2118, 899 ], "crop_image": "assets/III.04-018.png" } ] }, { "id": "III.04-019", "type": "paragraph", "section": "III.04", "lesson": 48, "exercise": 48, "reading_order": 1366, "original": "L’on remarquera sur tout que la 3, la 5 & l’8 soient toûjours contenuës dans les trois Parties superieures, étant indifferent de donner la 3, la 5 ou l’8 à quelque Partie que ce soit, pour ce qui regarde la premiere Notte de la Basse ; mais dans une suite d’Accords, on ne peut se dispenser de suivre l’ordre prescrit à chaque Partie qui aura fait la Tierce, la Quinte ou l’Octave. L’on voit même dans l’Exemple, que cet ordre prescrit ne se rencontre pas seulement entre la premiere & la seconde Notte de chaque Mesure ; mais encore entre la seconde Notte d’une Mesure & la premiere de la Mesure suivante ; si-bien que par tout où la progression de la Basse est pareille, celles des autres Parties y a un même rapport : donc l’Intervale marqué par un A entre les deux Nottes de la premiere Mesure, & entre les deux dernieres Nottes de l’Exemple étant le même, la progression des parties superieures doit y être la même ; ainsi des autres Intervales de la Basse marquez par un B, par un C & par un D, tant au-dessus qu’au-dessous de la Basse. Au reste, il ne faut pas s’attacher à trouver cette uniformité dans une même Partie superieure, parce que la suite des Accords l’oblige à faire tantôt la Tierce, tantôt la Quinte, &c. mais on trouvera par tout que la Partie qui aura fait la Tierce, la Quinte ou l’Octave, suivra toûjours la progression qui luy est déterminée par celle de la Basse.", "english": "Above all, ensure that third, fifth, and octave are always present in the three upper parts. Any part may take any of these over the first bass note, but afterward each must follow the prescribed order according to the interval it has just made. In the example this order governs not only the first and second notes of a measure, but also its second note and the next measure’s first. Wherever the bass progression is the same, the upper parts have the same relation. Thus the interval A between the first measure’s notes and between the example’s last two notes requires the same upper-part progression. The same applies to B, C, and D, marked above and below the bass. Do not seek this uniformity in a single named upper part, since successive chords make it take a third, then a fifth, and so forth. Instead, whichever part has made third, fifth, or octave always follows the movement dictated by the bass.", "sources": [ { "pdf_page": 221, "source_image": "source-pages/bnf-221.png", "printed_page": 189, "bbox_pixels": [ 419, 1305, 2118, 1552 ], "crop_image": "assets/III.04-019.png" } ] }, { "id": "III.04-020", "type": "paragraph", "section": "III.04", "lesson": 48, "exercise": 48, "reading_order": 1367, "original": "Il faut conclure de-là, qu’après avoir déterminé les Accords des Parties par rapport à la progression des deux premieres Nottes de la Basse, il faut encore en déterminer la suite sur celle de la seconde Notte de cette Basse à la troisième ; de celle-cy à la quatrième, de celle-cy à la cinquième, & ainsi jusqu’à la fin, chaque Notte de la Basse formant toûjours l’un des Intervales consonans prescrit à sa progression avec celle qui la suit ou qui la précede ; & chaque Intervale de cette Basse déterminant la progression des Parties.", "english": "It follows that after arranging the parts’ chords for the bass’s first two notes, one must determine their continuation from the second bass note to the third, then third to fourth, fourth to fifth, and onward to the end. Every bass note forms one prescribed consonant interval with its predecessor or successor, and each bass interval determines the parts’ progression.", "sources": [ { "pdf_page": 221, "source_image": "source-pages/bnf-221.png", "printed_page": 189, "bbox_pixels": [ 421, 2853, 2116, 602 ], "crop_image": "assets/III.04-020.png" } ] }, { "id": "III.04-021", "type": "paragraph", "section": "III.04", "lesson": 48, "exercise": 48, "reading_order": 1368, "original": "Nous avons mis le nombre 1. au-dessous ou au-dessus de chaque Notte de la Basse, pour faire remarquer que l’on ne trouve dans chaque Accord que 1. 3. 5. 8.", "english": "We placed 1 above or below every bass note to emphasize that each chord contains only 1 3 5 8.", "sources": [ { "pdf_page": 221, "source_image": "source-pages/bnf-221.png", "printed_page": 189, "bbox_pixels": [ 494, 3451, 2042, 101 ], "crop_image": "assets/III.04-021.png" }, { "pdf_page": 222, "source_image": "source-pages/bnf-222.png", "printed_page": 190, "bbox_pixels": [ 454, 383, 2116, 163 ], "crop_image": "assets/III.04-022.png" } ] }, { "id": "III.04-023", "type": "paragraph", "section": "III.04", "lesson": 48, "exercise": 48, "reading_order": 1369, "original": "L’on peut composer à présent une Basse de telle maniere que l’on jugera à propos, en la faisant neanmoins commencer & finir par la Notte Ut, étant libre d’ailleurs de la faire proceder par tous les Intervales consonans que l’on pourra s’imaginer, sans alterer la situation des sept Nottes Ut, Ré, Mi, Fa, Sol, La, Si par aucun Dieze ni B-mol, pourvû que l’on évite de faire rencontrer la Notte Si dans la Basse seulement, comme nous avons eu soin de le faire dans nos Exemples ; & après avoir disposé le premier Accord parfait dans chaque partie, il n’y aura qu’à donner à chacune de celles qui auront fait la Tierce, la Quinte ou l’Octave, la progression qui luy sera déterminée par celle de la Basse.", "english": "You may now compose a bass as you please, provided it begins and ends on C. Otherwise it may move through any consonant intervals you can imagine, without sharpening or flattening C, D, E, F, G, A, or B. Avoid B in the bass only, as our examples carefully do. Arrange the first perfect chord, then give each part the movement prescribed by the bass according to whether that part has the third, fifth, or octave.", "sources": [ { "pdf_page": 222, "source_image": "source-pages/bnf-222.png", "printed_page": 190, "bbox_pixels": [ 447, 544, 2124, 828 ], "crop_image": "assets/III.04-023.png" } ] }, { "id": "III.04-024", "type": "heading", "section": "III.04", "lesson": 48, "exercise": 48, "reading_order": 1370, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 222, "source_image": "source-pages/bnf-222.png", "printed_page": 190, "bbox_pixels": [ 1163, 1421, 731, 99 ], "crop_image": "assets/III.04-024.png" } ] }, { "id": "III.04-025", "type": "music", "section": "III.04", "lesson": 48, "exercise": 48, "reading_order": 1371, "original": "Dessus. Haute-contre. Taille. Basse fondamentale. Monter de 5. 6. 4. 6. 6. 4. 4. 4. 3. 5. 3. 5. 3. 5. 5. 4. 5. 4.", "english": "Upper part. Haute-contre. Tenor. Fundamental bass. Rise by 5. 6. 4. 6. 6. 4. 4. 4. 3. 5. 3. 5. 3. 5. 5. 4. 5. 4.", "sources": [ { "pdf_page": 222, "source_image": "source-pages/bnf-222.png", "printed_page": 190, "bbox_pixels": [ 451, 1544, 2118, 1683 ], "crop_image": "assets/III.04-025.png" } ], "original_title": "Suite d’Accords parfaits à quatre Parties.", "english_title": "Four-part succession of perfect chords.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.04-025" ], "music_asset_refs": [ "III.04-025" ] }, { "id": "III.04-026", "type": "paragraph", "section": "III.04", "lesson": 48, "exercise": 48, "reading_order": 1372, "original": "Il faut se servir toûjours d’une Mesure à deux Temps dans les commencemens, & l’on peut y employer une Blanche ou une Noire pour chaque Temps, de même que nous y avons mis une Ronde.", "english": "At first always use two-beat meter. Each beat may be a half note or quarter note, just as we have used a whole note.", "sources": [ { "pdf_page": 222, "source_image": "source-pages/bnf-222.png", "printed_page": 190, "bbox_pixels": [ 454, 3251, 2116, 325 ], "crop_image": "assets/III.04-026.png" } ] }, { "id": "III.04-027", "type": "paragraph", "section": "III.04", "lesson": 48, "exercise": 48, "reading_order": 1373, "original": "Souvenez-vous que monter de Sixte ou descendre de Tierce, c’est la même chose, de même que monter de Quarte ou descendre de Quinte.", "english": "Remember that rising a sixth is the same as falling a third, and rising a fourth the same as falling a fifth.", "sources": [ { "pdf_page": 223, "source_image": "source-pages/bnf-223.png", "printed_page": 191, "bbox_pixels": [ 449, 408, 2116, 234 ], "crop_image": "assets/III.04-027.png" } ] }, { "id": "III.04-028", "type": "paragraph", "section": "III.04", "lesson": 48, "exercise": 48, "reading_order": 1374, "original": "L’on voit que la disposition de cette Basse ne dépend que de la fantaisie & du goût ; l’on peut cependant l’assujettir à celle-cy dans les commencemens, pour voir si les Parties que l’on mettra au-dessus seront conformes aux nôtres, après quoy l’on pourra composer d’autres Basses à son gré, en remarquant que la Notte de la Basse par laquelle on finit, doit être toûjours précédée d’une autre qui soit une Quarte au-dessous ou une Quinte au-dessus, c’est-à-dire, que la Notte Ut doit être précédée de la Notte Sol quand il s’agit de finir.", "english": "This bass’s arrangement depends only on imagination and taste. At first you may nevertheless copy its route to check whether your upper parts match ours. Then compose other basses freely. Remember that the final bass note must be preceded by a note a fourth below or fifth above: to end, C must follow G.", "sources": [ { "pdf_page": 223, "source_image": "source-pages/bnf-223.png", "printed_page": 191, "bbox_pixels": [ 449, 643, 2118, 669 ], "crop_image": "assets/III.04-028.png" } ] }, { "id": "III.05-001", "type": "heading", "section": "III.05", "lesson": 49, "exercise": 49, "reading_order": 1375, "original": "CHAPITRE CINQUIEME.", "english": "CHAPTER FIVE.", "sources": [ { "pdf_page": 223, "source_image": "source-pages/bnf-223.png", "printed_page": 191, "bbox_pixels": [ 662, 1404, 1709, 97 ], "crop_image": "assets/III.05-001.png" } ] }, { "id": "III.05-002", "type": "heading", "section": "III.05", "lesson": 49, "exercise": 49, "reading_order": 1376, "original": "De quelques Regles qu’il faut observer.", "english": "Some rules to observe.", "sources": [ { "pdf_page": 223, "source_image": "source-pages/bnf-223.png", "printed_page": 191, "bbox_pixels": [ 832, 1524, 1352, 105 ], "crop_image": "assets/III.05-002.png" } ] }, { "id": "III.05-003", "type": "paragraph", "section": "III.05", "lesson": 49, "exercise": 49, "reading_order": 1377, "original": "1°. Il ne faut jamais faire deux Octaves ni deux Quintes de suite, ce qui se connoît facilement par la suite des chiffres, où il ne doit jamais se rencontrer deux Octaves, ainsi 8 8, ni deux 5, ainsi 5 5 dans une même partie, cette faute pouvant s’éviter à présent, comme on le remarque, sans qu’on soit obligé d’y faire attention. On peut cependant pratiquer l’un & l’autre dans les Pieces à quatre parties, pourvû que la progression des deux parties qui feront les deux Octaves ou les deux Quintes, soit renversée, c’est-à-dire, que si l’une monte en pareil cas, l’autre doit descendre.", "english": "1. Never make two successive octaves or two successive fifths. This is easily recognized in the sequence of figures: the same part must never contain two octaves, 8 8, or two fifths, 5 5. As we can observe, this fault can now be avoided without requiring special attention. Both successions may nevertheless be used in four-part pieces, provided the movement of the two parts making the octaves or fifths is reversed—that is, if one rises, the other must descend.", "sources": [ { "pdf_page": 223, "source_image": "source-pages/bnf-223.png", "printed_page": 191, "bbox_pixels": [ 460, 1645, 2111, 677 ], "crop_image": "assets/III.05-003.png" } ] }, { "id": "III.05-004", "type": "heading", "section": "III.05", "lesson": 49, "exercise": 49, "reading_order": 1378, "original": "Exemples de deux Octaves, & de deux Quintes renversées.", "english": "Examples of two octaves and two fifths in contrary motion.", "sources": [ { "pdf_page": 223, "source_image": "source-pages/bnf-223.png", "printed_page": 191, "bbox_pixels": [ 499, 2367, 2034, 95 ], "crop_image": "assets/III.05-004.png" } ] }, { "id": "III.05-005", "type": "music", "section": "III.05", "lesson": 49, "exercise": 49, "reading_order": 1379, "original": "8. 8. 5. 5. 8. 8. 5. 5.", "english": "8. 8. 5. 5. 8. 8. 5. 5.", "sources": [ { "pdf_page": 223, "source_image": "source-pages/bnf-223.png", "printed_page": 191, "bbox_pixels": [ 456, 2477, 1286, 630 ], "crop_image": "assets/III.05-005.png" } ], "original_title": "Deux Octaves et deux Quintes renversées.", "english_title": "Two octaves and two fifths in contrary motion.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.05-005" ], "music_asset_refs": [ "III.05-005" ] }, { "id": "III.05-006", "type": "paragraph", "section": "III.05", "lesson": 49, "exercise": 49, "reading_order": 1380, "original": "2°. Il faut éviter de faire monter une partie de la Tierce mineure à l’Octave, ce qu’on n’a pû appercevoir dans les Exemples précédens, n’ayant pas encore été question du majeur ni du mineur ; mais la Dissonance dont nous allons parler, nous fera observer cette Règle, sans qu’il soit encore besoin d’y faire attention.", "english": "2. Avoid making a part rise from the minor third to the octave. This could not be noticed in the preceding examples, since major and minor had not yet been discussed. But the dissonance we shall now consider will make us observe this rule without yet needing to pay special attention to it.", "sources": [ { "pdf_page": 223, "source_image": "source-pages/bnf-223.png", "printed_page": 191, "bbox_pixels": [ 471, 3141, 2100, 385 ], "crop_image": "assets/III.05-006.png" } ] }, { "id": "III.06-001", "type": "heading", "section": "III.06", "lesson": 50, "exercise": 50, "reading_order": 1381, "original": "CHAPITRE SIXIEME.", "english": "CHAPTER SIX.", "sources": [ { "pdf_page": 224, "source_image": "source-pages/bnf-224.png", "printed_page": 192, "bbox_pixels": [ 802, 525, 1391, 99 ], "crop_image": "assets/III.06-001.png" } ], "correction_refs": [ "supplement-205", "supplement-206" ] }, { "id": "III.06-002", "type": "heading", "section": "III.06", "lesson": 50, "exercise": 50, "reading_order": 1382, "original": "De l’Accord de la Septiéme.", "english": "On the seventh chord.", "sources": [ { "pdf_page": 224, "source_image": "source-pages/bnf-224.png", "printed_page": 192, "bbox_pixels": [ 1017, 675, 1010, 110 ], "crop_image": "assets/III.06-002.png" } ] }, { "id": "III.06-003", "type": "heading", "section": "III.06", "lesson": 50, "exercise": 50, "reading_order": 1383, "original": "ARTICLE PREMIER.", "english": "FIRST ARTICLE.", "sources": [ { "pdf_page": 224, "source_image": "source-pages/bnf-224.png", "printed_page": 192, "bbox_pixels": [ 916, 821, 1204, 99 ], "crop_image": "assets/III.06-003.png" } ] }, { "id": "III.06-004", "type": "paragraph", "section": "III.06", "lesson": 50, "exercise": 50, "reading_order": 1384, "original": "Supposé que l’on soit parvenu à une connoissance suffisante des Intervales consonans, dont l’Accord parfait & la progression de la Basse sont composez, il faut examiner à présent le rapport que les Intervales ont ensemble ; & sans faire attention à l’Octave, que l’on peut regarder comme une replique de la Basse representée par le nombre 1, l’on remarquera que l’Accord parfait est composé de trois Sons differens, dont la distance du premier au second est égale à celle du second au troisième, comme on le voit dans ces trois nombres 1 3 5, une Tierce d’1 à 3, & une autre de 3 à 5 : Or pour avoir l’Accord de la Septiéme, il n’y a qu’à ajoûter à celuy-cy un autre Son dans la même proportion, ainsi 1 3 5 7 se trouvant encore une Tierce de 5 à 7, & ce dernier Accord n’étant different du parfait que dans la Septiéme qu’on y ajoûte.", "english": "Having gained sufficient knowledge of the consonant intervals forming the perfect chord and the bass’s progression, we must now examine their relations. Set aside the octave, which may be regarded as a repetition of the bass represented by 1. The perfect chord contains three different sounds, with equal distances from first to second and second to third: in 1 3 5, a third from 1 to 3 and another from 3 to 5. To obtain the seventh chord, add another sound in the same proportion: 1 3 5 7, with another third from 5 to 7. The resulting chord differs from the perfect chord only in its added seventh.", "sources": [ { "pdf_page": 224, "source_image": "source-pages/bnf-224.png", "printed_page": 192, "bbox_pixels": [ 451, 972, 2116, 976 ], "crop_image": "assets/III.06-004.png" } ] }, { "id": "III.06-005", "type": "paragraph", "section": "III.06", "lesson": 50, "exercise": 50, "reading_order": 1385, "original": "Cet Intervale ajoûté à l’Accord parfait étant dissonant, l’Accord où il a lieu est aussi appellé dissonant. On peut y joindre l’Octave, comme nous l’avons fait à l’Accord parfait, soit pour composer à cinq parties, soit pour faciliter la progression diatonique aux parties superieures, où l’on remarquera que cette Octave prend souvent la place de la Quinte ; ce qui est indifferent, n’y ayant pour cela qu’à laisser suivre aux parties leur cours naturel, qui est de proceder toûjours diatoniquement, soit que l’Octave ou la Quinte se rencontrent dans cet Accord de Septiéme : pour ce qui est de la Tierce, on ne peut guéres la separer de cet Accord.", "english": "Because this added interval is dissonant, the chord containing it is also called dissonant. We can add the octave, as with the perfect chord, either to compose in five parts or to facilitate the upper parts’ diatonic movement. The octave often replaces the fifth, and either choice is immaterial: simply let the parts follow their natural, always diatonic course, whether octave or fifth occurs in the seventh chord. The third, however, can scarcely be omitted.", "sources": [ { "pdf_page": 224, "source_image": "source-pages/bnf-224.png", "printed_page": 192, "bbox_pixels": [ 449, 1948, 2120, 746 ], "crop_image": "assets/III.06-005.png" } ] }, { "id": "III.06-006", "type": "paragraph", "section": "III.06", "lesson": 50, "exercise": 50, "reading_order": 1386, "original": "On ne pourra faire à présent cet Accord de Septiéme que sur les Nottes de la Basse, qui seront précédées & suivies d’une Quarte en montant, ou d’une Quinte en descendant.", "english": "For now, this seventh chord may be used only on bass notes approached and followed by an ascending fourth or descending fifth.", "sources": [ { "pdf_page": 224, "source_image": "source-pages/bnf-224.png", "printed_page": 192, "bbox_pixels": [ 454, 2690, 2113, 224 ], "crop_image": "assets/III.06-006.png" } ] }, { "id": "III.06-007", "type": "paragraph", "section": "III.06", "lesson": 50, "exercise": 50, "reading_order": 1387, "original": "L’Intervale dissonant de cet Accord, qui est la Septiéme, doit être préparé & sauvé par un Intervale consonant, c’est-à-dire, qu’il faut que la Notte qui fait la Septiéme contre la Basse, soit précédée & suivie d’une Tierce. La Tierce qui précede ou qui prepare cette Septiéme, doit se trouver sur le même degré ou sur la même ligne de la Septiéme qui la suit ; & la Tierce qui suit ou qui sauve cette Septiéme, doit toûjours se trouver en descendant diatoniquement après cette Septiéme.", "english": "Its dissonant interval, the seventh, must be prepared and resolved by a consonant interval. The note forming the seventh against the bass must therefore be preceded and followed by a third. The preparing third must lie on the same degree or staff line as the following seventh; the resolving third must always be reached by descending diatonically from that seventh.", "sources": [ { "pdf_page": 224, "source_image": "source-pages/bnf-224.png", "printed_page": 192, "bbox_pixels": [ 454, 2911, 2113, 591 ], "crop_image": "assets/III.06-007.png" } ] }, { "id": "III.06-008", "type": "paragraph", "section": "III.06", "lesson": 50, "exercise": 50, "reading_order": 1388, "original": "Il faut faire ensorte que la premiere Septiéme soit entenduë dans le premier Temps d’une Mesure, & par conséquent préparée dans le second Temps de la Mesure précedente, en se souvenant qu’on appelle premiere Septiéme, celle qui n’a pas été immédiatement précédée d’une autre. D’abord que l’on aura fait une Septiéme sur une Notte de la Basse, qui aura été précédée d’un Intervale de Quarte en montant, ou de Quinte en descendant ; il faut que la Basse procede toûjours par de pareils Intervales jusqu’à la Notte tonique, qui est à présent celle d’Ut, en donnant un Accord de Septiéme à chaque Notte, excepté à celles d’Ut & de Fa. On excepte la Notte Ut, parce que la Notte tonique ne peut subsister comme telle qu’avec l’Accord parfait ; & l’on excepte la Notte Fa, parce que nous étant défendu de faire rencontrer dans la Basse la Notte Si, cette Notte Fa portant un Accord de Septiéme, seroit obligée de monter de Quarte, ou de descendre de Quinte sur cette Notte Si. La Notte Mi doit en être exceptée encore, puisqu’on ne pourroit luy donner un Accord de Septiéme, sans être précédée de la Notte Si, par rapport à la progression limitée à la Basse dans cet Accord ; de sorte qu’on ne pourra pratiquer à présent cet Accord de Septiéme que sur les Nottes La, Ré & Sol.", "english": "Ensure that the first seventh is heard on a measure’s first beat, and consequently prepared on the preceding measure’s second beat. By first seventh we mean one not immediately preceded by another. Once a seventh has been formed over a bass note approached by an ascending fourth or descending fifth, the bass must continue by such intervals until the tonic, at present C. Give each note a seventh chord except C and F. C is excluded because the tonic can exist as tonic only with the perfect chord. F is excluded because B is forbidden in the bass, and a seventh chord on F would oblige it to rise a fourth or fall a fifth to B. E must also be excluded: within the prescribed bass progression, its seventh chord would require a preceding B. Thus for now seventh chords can occur only on A, D, and G.", "sources": [ { "pdf_page": 225, "source_image": "source-pages/bnf-225.png", "printed_page": 193, "bbox_pixels": [ 449, 378, 2120, 1498 ], "crop_image": "assets/III.06-008.png" } ] }, { "id": "III.06-009", "type": "heading", "section": "III.06", "lesson": 50, "exercise": 50, "reading_order": 1389, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 225, "source_image": "source-pages/bnf-225.png", "printed_page": 193, "bbox_pixels": [ 1120, 1898, 761, 97 ], "crop_image": "assets/III.06-009.png" } ] }, { "id": "III.06-010", "type": "music", "section": "III.06", "lesson": 50, "exercise": 50, "reading_order": 1390, "original": "Dessus. Haute-contre. Taille. Basse-fondamentale. Monter de 3. 4. 4. 4. 4. 4. 6. 5. 5. 3. 4. 4. 3. 4. 4. 4. 5. 4.", "english": "Upper part. Haute-contre. Tenor. Fundamental bass. Rise by 3. 4. 4. 4. 4. 4. 6. 5. 5. 3. 4. 4. 3. 4. 4. 4. 5. 4.", "sources": [ { "pdf_page": 225, "source_image": "source-pages/bnf-225.png", "printed_page": 193, "bbox_pixels": [ 445, 2008, 2107, 1503 ], "crop_image": "assets/III.06-010.png" } ], "original_title": "Accords de Septiéme préparés par la Tierce.", "english_title": "Seventh chords prepared by the third.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.06-010" ], "music_asset_refs": [ "III.06-010" ] }, { "id": "III.06-011", "type": "paragraph", "section": "III.06", "lesson": 50, "exercise": 50, "reading_order": 1391, "original": "Dans les parties superieures l’on trouve toûjours la Septiéme entre deux 3, ainsi 3 7 3 ; & la premiere Septiéme est toûjours préparée dans le second temps ou par la seconde Notte d’une Mesure C.", "english": "In the upper parts, the seventh always appears between two thirds: 3 7 3. The first seventh is always prepared on the second beat, or by the second note of a measure, at C.", "sources": [ { "pdf_page": 226, "source_image": "source-pages/bnf-226.png", "printed_page": 194, "bbox_pixels": [ 441, 376, 2109, 269 ], "crop_image": "assets/III.06-011.png" } ] }, { "id": "III.06-012", "type": "image", "section": "III.06", "lesson": 50, "exercise": 50, "reading_order": 1392, "original": "3 7 3", "english": "3 7 3", "sources": [ { "pdf_page": 226, "source_image": "source-pages/bnf-226.png", "printed_page": 194, "bbox_pixels": [ 959, 449, 166, 140 ], "crop_image": "assets/III.06-012.png" } ], "original_title": "Courbe de préparation de la Septiéme entre deux Tierces.", "english_title": "Curve showing the seventh prepared between two thirds.", "asset_refs": [ "III.06-012" ] }, { "id": "III.06-013", "type": "paragraph", "section": "III.06", "lesson": 50, "exercise": 50, "reading_order": 1393, "original": "L’obligation où l’on se trouve de faire descendre la Septiéme sur la Tierce pour la sauver, dérange la progression de la Partie, qui, comme nous avons dit, doit monter de la Quinte à la Tierce, lorsque la Basse monte de Quarte ; mais comme cette Partie peut descendre aussi sur l’Octave, il faut absolument luy donner cette progression, lorsque la Septiéme s’y rencontre ; parce que celle-cy doit descendre d’obligation sur la Tierce ; ne pouvant donc changer la progression de la Septiéme, il faut changer celle de la Quinte A, suivant ce que nous avons dit cy-devant, que l’on étoit obligé de faire entrer quelquefois l’Octave au lieu de la Quinte dans l’Accord de la Septiéme, par rapport à la progression diatonique des parties superieures ; & au Chapitre IV. que lorsque deux Parties se rencontreroient sur une même Notte, il falloit changer celle de la partie qui peut former l’un des trois Intervales de l’Accord, soit en montant, soit en descendant.", "english": "The obligation to resolve the seventh downward to the third disturbs the other part’s progression. As we said, that part should rise from fifth to third when the bass rises a fourth. But it may also descend to the octave, and must do so when the seventh is present, since the seventh must descend to the third. Since we cannot change the seventh’s movement, we must change the fifth’s, at A. This follows our earlier explanation that the octave sometimes replaces the fifth in a seventh chord to preserve diatonic upper-part movement. Chapter IV also stated that when two parts meet on one note, change the part able to form another of the chord’s three intervals by rising or falling.", "sources": [ { "pdf_page": 226, "source_image": "source-pages/bnf-226.png", "printed_page": 194, "bbox_pixels": [ 445, 641, 2107, 1127 ], "crop_image": "assets/III.06-013.png" } ] }, { "id": "III.06-014", "type": "paragraph", "section": "III.06", "lesson": 50, "exercise": 50, "reading_order": 1394, "original": "Cette même Partie qui a fait la Quinte, peut faire encore une autre Quinte, pourvû qu’en cet endroit sa progression & celle de la Basse soient renversées, comme il a été dit au Chapitre précédent ; ce qui se fait pour rendre les Accords plus complets, ou pour remettre les parties dans leur portée naturelle, ou encore par rapport au beau-Chant. Voyez le Guidon B. qui marque l’Octave que nous avons évitée dans cet endroit, parce qu’elle se trouve dans une autre partie L. quoique cela dépende du bon goût du Compositeur lorsqu’il se laisse conduire par le Chant, plutôt que par l’Harmonie.", "english": "The part that made the fifth may also make another fifth, provided it and the bass move in contrary directions there, as the preceding chapter explained. This can make the chord more complete, restore parts to their natural ranges, or improve the melody. Guide B shows the octave avoided here because another part already has it at L. Nevertheless, this depends on the composer’s taste when melody rather than harmony leads him.", "sources": [ { "pdf_page": 226, "source_image": "source-pages/bnf-226.png", "printed_page": 194, "bbox_pixels": [ 451, 1765, 2103, 746 ], "crop_image": "assets/III.06-014.png" } ] }, { "id": "III.06-015", "type": "heading", "section": "III.06", "lesson": 50, "exercise": 50, "reading_order": 1395, "original": "ARTICLE SECOND.", "english": "SECOND ARTICLE.", "sources": [ { "pdf_page": 226, "source_image": "source-pages/bnf-226.png", "printed_page": 194, "bbox_pixels": [ 944, 2513, 1174, 92 ], "crop_image": "assets/III.06-015.png" } ] }, { "id": "III.06-016", "type": "paragraph", "section": "III.06", "lesson": 50, "exercise": 50, "reading_order": 1396, "original": "La Septiéme qui est la premiere, & pour ainsi dire, le principe de toutes les Dissonances, peut être préparée & sauvée de toutes les consonances ; mais comme les differentes manieres de la sauver dérivent de la précédente, nous n’en parlerons pas encore ; nous dirons seulement qu’elle peut être préparée encore par la Quinte & par l’Octave ; de sorte que la Basse doit descendre pour lors de Tierce, pour faire entendre la Septiéme préparée par la Quinte, & monter diatoniquement, pour faire entendre cette Septiéme préparée par l’Octave, en remarquant que toutes les Parties superieures descendent lorsque cette Basse monte diatoniquement, excepté la partie qui fait la Septiéme, & qui reste sur le même degré, comme cela se doit, pour descendre ensuite sur la Tierce.", "english": "The seventh, the first and, so to speak, the source of all dissonances, can be prepared and resolved by every consonance. Since its other resolutions derive from the preceding one, we shall not discuss them yet. We merely add that the fifth and octave may also prepare it. The bass must descend a third for preparation by the fifth, and rise diatonically for preparation by the octave. When the bass rises diatonically, all upper parts descend except the part making the seventh. That part remains on the same degree, as preparation requires, then descends to the third.", "sources": [ { "pdf_page": 226, "source_image": "source-pages/bnf-226.png", "printed_page": 194, "bbox_pixels": [ 456, 2657, 2098, 918 ], "crop_image": "assets/III.06-016.png" } ] }, { "id": "III.06-017", "type": "paragraph", "section": "III.06", "lesson": 50, "exercise": 50, "reading_order": 1397, "original": "La Septiéme peut être encore préparée de la Sixte ; mais il n’est pas temps d’en parler, parce qu’il ne s’agit icy que de l’Harmonie fondamentale, qui, comme l’on voit, n’est composée que de la Basse, de sa Tierce, de sa Quinte & de sa Septiéme, ainsi 1. 3. 5. 7.", "english": "The sixth may also prepare the seventh, but it is not yet time to discuss this: we are treating only fundamental harmony, composed, as shown, of bass, third, fifth, and seventh—1 3 5 7.", "sources": [ { "pdf_page": 227, "source_image": "source-pages/bnf-227.png", "printed_page": 195, "bbox_pixels": [ 396, 374, 2116, 370 ], "crop_image": "assets/III.06-017.png" } ] }, { "id": "III.06-018", "type": "paragraph", "section": "III.06", "lesson": 50, "exercise": 50, "reading_order": 1398, "original": "Remarquez que la progression que nous avons prescrite à la Basse pour les Accords de Septiéme, Article premier, ne peut changer qu’à l’égard de la premiere Septiéme, & que ce n’est qu’en ce cas que cette Septiéme peut être préparée de l’Octave ou de la Quinte ; car après la premiere Septiéme, on trouvera toûjours cette Septiéme entre deux 3, & de quelque maniere qu’elle soit préparée, elle sera toûjours sauvée de la Tierce.", "english": "Notice that the bass progression prescribed in the first article can change only for the first seventh. Only that seventh can therefore be prepared by an octave or fifth. After it, every seventh will occur between two thirds. However prepared, it will always resolve to the third.", "sources": [ { "pdf_page": 227, "source_image": "source-pages/bnf-227.png", "printed_page": 195, "bbox_pixels": [ 391, 742, 2118, 522 ], "crop_image": "assets/III.06-018.png" } ] }, { "id": "III.06-019", "type": "heading", "section": "III.06", "lesson": 50, "exercise": 50, "reading_order": 1399, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 227, "source_image": "source-pages/bnf-227.png", "printed_page": 195, "bbox_pixels": [ 1116, 1322, 673, 90 ], "crop_image": "assets/III.06-019.png" } ] }, { "id": "III.06-020", "type": "music", "section": "III.06", "lesson": 50, "exercise": 50, "reading_order": 1400, "original": "Dessus. Haute-contre. Taille. Basse-fondamentale. Monter de 4. 6. 4. 4. 3. 6. 6. 4. 4. 2. 4. 4. 4. 4.", "english": "Upper part. Haute-contre. Tenor. Fundamental bass. Rise by 4. 6. 4. 4. 3. 6. 6. 4. 4. 2. 4. 4. 4. 4.", "sources": [ { "pdf_page": 227, "source_image": "source-pages/bnf-227.png", "printed_page": 195, "bbox_pixels": [ 385, 1471, 2135, 1808 ], "crop_image": "assets/III.06-020.png" } ], "original_title": "Préparation de la Septiéme par la Quinte ou l’Octave.", "english_title": "Preparing the seventh through the fifth or octave.", "continuesFromPreviousPage": false, "continuesOnNextPage": true, "asset_refs": [ "III.06-020" ], "music_asset_refs": [ "III.06-020" ] }, { "id": "III.06-021", "type": "paragraph", "section": "III.06", "lesson": 50, "exercise": 50, "reading_order": 1401, "original": "Tournez pour la suite de cet Exemple.", "english": "Turn the page for the continuation of this example.", "sources": [ { "pdf_page": 227, "source_image": "source-pages/bnf-227.png", "printed_page": 195, "bbox_pixels": [ 1477, 3360, 970, 86 ], "crop_image": "assets/III.06-021.png" } ] }, { "id": "III.06-022", "type": "heading", "section": "III.06", "lesson": 50, "exercise": 50, "reading_order": 1402, "original": "SUITE DE L’EXEMPLE PRÉCEDENT.", "english": "CONTINUATION OF THE PRECEDING EXAMPLE.", "sources": [ { "pdf_page": 228, "source_image": "source-pages/bnf-228.png", "printed_page": 196, "bbox_pixels": [ 473, 449, 2030, 125 ], "crop_image": "assets/III.06-022.png" } ] }, { "id": "III.06-023", "type": "music", "section": "III.06", "lesson": 50, "exercise": 50, "reading_order": 1403, "original": "Monter de 3. 3. 5. 6. 4. 4. 4. 2. 4. 4. 5. 4.", "english": "Rise by 3. 3. 5. 6. 4. 4. 4. 2. 4. 4. 5. 4.", "sources": [ { "pdf_page": 228, "source_image": "source-pages/bnf-228.png", "printed_page": 196, "bbox_pixels": [ 434, 615, 2118, 1522 ], "crop_image": "assets/III.06-023.png" } ], "original_title": "Suite de la préparation de la Septiéme.", "english_title": "Continuation of seventh preparation.", "continuesFromPreviousPage": true, "continuesOnNextPage": false, "asset_refs": [ "III.06-023" ], "music_asset_refs": [ "III.06-023" ] }, { "id": "III.06-024", "type": "paragraph", "section": "III.06", "lesson": 50, "exercise": 50, "reading_order": 1404, "original": "L’on voit que l’on peut faire à présent des Septiémes sur les quatre Nottes Mi, La, Ré & Sol, par la liberté que l’on a de faire descendre la Basse de Tierce, pour preparer la Septiéme par la Quinte, ou de la faire monter d’une Seconde, pour préparer la Septiéme par l’Octave. Nous trouvons icy deux Parties qui montent ensemble d’une Octave (C), ce qui peut se faire pour remettre les parties dans leur portée naturelle, pourvû que ces Parties entre-elles ne fassent pas entendre deux Quintes ni deux Octaves consécutives ; car ce que nous avons dit d’une partie par rapport à la Basse, doit s’entendre aussi de deux parties prises à part, n’en ayant pas fait mention, parce que leur disposition présente nous dispense de faire cette attention.", "english": "We can now place sevenths on E, A, D, and G, because the bass may descend a third to prepare the seventh by a fifth, or ascend a second to prepare it by an octave. At C two parts rise an octave together. This may restore their natural ranges, provided they do not form consecutive fifths or octaves with one another. What we said about a part in relation to the bass also applies to any two parts considered separately. We did not mention this because their present arrangement makes special attention unnecessary.", "sources": [ { "pdf_page": 228, "source_image": "source-pages/bnf-228.png", "printed_page": 196, "bbox_pixels": [ 451, 2176, 2113, 894 ], "crop_image": "assets/III.06-024.png" } ] }, { "id": "III.06-025", "type": "paragraph", "section": "III.06", "lesson": 50, "exercise": 50, "reading_order": 1405, "original": "Si deux Parties peuvent monter d’une Octave, à plus forte raison une seule partie peut le faire, comme on le voit à la Basse (J) au lieu de rester sur le même degré ; cependant une partie superieure ne pourroit pas en faire autant dans un endroit où la dissonance se trouveroit préparée, & elle doit rester, en ce cas, sur le même degré.", "english": "If two parts may rise an octave, a single part may certainly do so, as the bass does at J instead of remaining on the same degree. An upper part may not do this where it prepares a dissonance; there it must remain on the same degree.", "sources": [ { "pdf_page": 228, "source_image": "source-pages/bnf-228.png", "printed_page": 196, "bbox_pixels": [ 460, 3068, 2103, 449 ], "crop_image": "assets/III.06-025.png" } ] }, { "id": "III.06-026", "type": "paragraph", "section": "III.06", "lesson": 50, "exercise": 50, "reading_order": 1406, "original": "Il ne faut pas faire encore attention au Dieze que nous avons mis au Fa, n’étant pas nécessaire que les Commençans se servent de Diezes ni de B-mols qu’ils n’en sçachent davantage.", "english": "Do not yet attend to the sharp placed on F. Beginners need not use sharps or flats until they know more.", "sources": [ { "pdf_page": 229, "source_image": "source-pages/bnf-229.png", "printed_page": 197, "bbox_pixels": [ 398, 374, 2116, 228 ], "crop_image": "assets/III.06-026.png" } ] }, { "id": "III.06-027", "type": "paragraph", "section": "III.06", "lesson": 50, "exercise": 50, "reading_order": 1407, "original": "Si la Basse excéde son étenduë, & si la Taille se trouve au-dessus de la Haute-Contre, c’est parce que nous n’avons pas voulu déranger l’ordre diatonique des parties superieures, auquel nous devons nous assujettir, principalement icy.", "english": "If the bass exceeds its range and the tenor lies above the haute-contre, this is because we did not wish to disturb the upper parts’ diatonic order, to which we must chiefly submit here.", "sources": [ { "pdf_page": 229, "source_image": "source-pages/bnf-229.png", "printed_page": 197, "bbox_pixels": [ 393, 602, 2122, 297 ], "crop_image": "assets/III.06-027.png" } ] }, { "id": "III.06-028", "type": "paragraph", "section": "III.06", "lesson": 50, "exercise": 50, "reading_order": 1408, "original": "Nous n’avons plus rien à dire qui ne dépende de ces premiers Principes ; plus on les possedera, moins on aura de difficulté à entendre le reste.", "english": "Everything still to be said depends on these first principles. The more thoroughly they are mastered, the easier the rest will be to understand.", "sources": [ { "pdf_page": 229, "source_image": "source-pages/bnf-229.png", "printed_page": 197, "bbox_pixels": [ 398, 899, 2118, 228 ], "crop_image": "assets/III.06-028.png" } ] }, { "id": "III.07-001", "type": "heading", "section": "III.07", "lesson": 51, "exercise": 51, "reading_order": 1409, "original": "CHAPITRE SEPTIEME.", "english": "CHAPTER SEVEN.", "sources": [ { "pdf_page": 229, "source_image": "source-pages/bnf-229.png", "printed_page": 197, "bbox_pixels": [ 776, 1217, 1342, 92 ], "crop_image": "assets/III.07-001.png" } ] }, { "id": "III.07-002", "type": "heading", "section": "III.07", "lesson": 51, "exercise": 51, "reading_order": 1410, "original": "Remarques sur la Dissonance.", "english": "Remarks on dissonance.", "sources": [ { "pdf_page": 229, "source_image": "source-pages/bnf-229.png", "printed_page": 197, "bbox_pixels": [ 940, 1339, 1021, 97 ], "crop_image": "assets/III.07-002.png" } ] }, { "id": "III.07-003", "type": "paragraph", "section": "III.07", "lesson": 51, "exercise": 51, "reading_order": 1411, "original": "Bien loin que la Dissonance doive embarrasser dans la Composition, elle en facilite au contraire les voyes, puisque dans toutes les progressions d’une Basse, qui monte d’une Seconde, d’une Quarte ou d’une Sixte, on trouvera toûjours dans une Partie superieure une Notte, qui ayant fait un Intervale consonant avec la premiere Notte de la Basse, pourra sans changer, faire la Septiéme de la seconde Notte de cette Basse ; ce qu’il faut pratiquer autant que l’on peut, parce que l’on évite souvent par ce moyen la faute de monter de la Tierce mineure sur l’Octave, & par renversement, comme nous le verrons ailleurs, de la Sixte mineure sur l’Octave. Il faut remarquer cependant que la Notte de la Basse sur laquelle on voudra faire cette Septiéme, soit suivie d’une autre Notte qui puisse sauver de sa Tierce cette Septiéme ; sinon, l’on y fera l’Accord parfait.", "english": "Far from encumbering composition, dissonance makes its paths easier. Whenever a bass rises a second, fourth, or sixth, an upper part will always contain a note that, having formed a consonant interval with the first bass note, can remain unchanged and form the seventh of the second bass note. Do this whenever possible, because it often avoids the fault of rising from the minor third to the octave, or, by inversion, from the minor sixth to the octave, as we shall see elsewhere. Notice, however, that the bass note bearing this seventh must be followed by another whose third can resolve the seventh. Otherwise use the perfect chord.", "sources": [ { "pdf_page": 229, "source_image": "source-pages/bnf-229.png", "printed_page": 197, "bbox_pixels": [ 408, 1492, 2135, 1045 ], "crop_image": "assets/III.07-003.png" } ] }, { "id": "III.07-004", "type": "heading", "section": "III.07", "lesson": 51, "exercise": 51, "reading_order": 1412, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 229, "source_image": "source-pages/bnf-229.png", "printed_page": 197, "bbox_pixels": [ 1135, 2528, 639, 88 ], "crop_image": "assets/III.07-004.png" } ] }, { "id": "III.07-005", "type": "music", "section": "III.07", "lesson": 51, "exercise": 51, "reading_order": 1413, "original": "A. B. C. D.", "english": "A. B. C. D.", "sources": [ { "pdf_page": 229, "source_image": "source-pages/bnf-229.png", "printed_page": 197, "bbox_pixels": [ 952, 2638, 881, 286 ], "crop_image": "assets/III.07-005.png" } ], "original_title": "Choix de la Notte qui sauve la Septiéme.", "english_title": "Choosing the note that resolves the seventh.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.07-005" ], "music_asset_refs": [ "III.07-005" ] }, { "id": "III.07-006", "type": "paragraph", "section": "III.07", "lesson": 51, "exercise": 51, "reading_order": 1414, "original": "Je ne puis faire une Septiéme sur la Notte (B), quoiqu’elle soit préparée par la Quinte de la Notte (A), parce qu’elle ne peut être sauvée par la Tierce de la Notte (C) ; mais en mettant la Notte (D) au lieu de la Notte (C), je puis fort bien faire entendre la Septiéme sur la Notte (B), puisqu’elle se sauve naturellement sur la Tierce de la Notte (D), ainsi du reste, en se souvenant toûjours qu’une Notte tonique ne peut porter comme telle, un Accord de Septiéme, & que nous ne parlons icy que de l’Harmonie fondamentale.", "english": "I cannot place a seventh upon note B, although it is prepared by the fifth of note A, because the third of note C cannot resolve it. But replacing C with D allows me to sound the seventh upon B, since it resolves naturally onto the third of D. The same applies to the rest. Always remember that a tonic note, as such, cannot bear a seventh chord, and that here we discuss fundamental harmony alone.", "sources": [ { "pdf_page": 229, "source_image": "source-pages/bnf-229.png", "printed_page": 197, "bbox_pixels": [ 447, 2954, 2109, 604 ], "crop_image": "assets/III.07-006.png" } ] }, { "id": "III.08-001", "type": "heading", "section": "III.08", "lesson": 52, "exercise": 52, "reading_order": 1415, "original": "CHAPITRE HUITIEME.", "english": "CHAPTER EIGHT.", "sources": [ { "pdf_page": 230, "source_image": "source-pages/bnf-230.png", "printed_page": 198, "bbox_pixels": [ 821, 535, 1380, 99 ], "crop_image": "assets/III.08-001.png" } ], "correction_refs": [ "supplement-207" ] }, { "id": "III.08-002", "type": "heading", "section": "III.08", "lesson": 52, "exercise": 52, "reading_order": 1416, "original": "Du Ton, & du Mode.", "english": "On key and mode.", "sources": [ { "pdf_page": 230, "source_image": "source-pages/bnf-230.png", "printed_page": 198, "bbox_pixels": [ 1112, 688, 787, 101 ], "crop_image": "assets/III.08-002.png" } ] }, { "id": "III.08-003", "type": "paragraph", "section": "III.08", "lesson": 52, "exercise": 52, "reading_order": 1417, "original": "Il vous souviendra que nous avons appellé Notte tonique, celle par où la Basse commence & finit ; & que nous avons dit qu’elle déterminoit la progression des autres Nottes comprises dans l’étenduë de son Octave ; par conséquent si nous prenons la Notte Ut pour tonique, nous ne pouvons alterer la situation des Nottes Ut, Ré, Mi, Fa, Sol, La & Si par aucun Dieze ni B-mol, sans détruire nôtre proposition ; car c’est ainsi que la Gamme nous les représente dans l’étenduë de l’Octave d’Ut ; d’où nous concluons que le mot de Ton, qui s’approprie ordinairement à un Intervale comme à celuy de la Tierce, doit s’approprier principalement icy à une Notte, que l’on choisit pour composer une Piece de Musique sur un certain Ton, qui est déterminé par le nom de cette Notte, que l’on appelle pour ce sujet Notte tonique ; cette Notte ayant le privilege de déterminer tous les Intervales diatoniques, ou tous les Tons & semi-Tons qui doivent se rencontrer entre les Nottes consécutives depuis cette Notte tonique jusqu’à son Octave, ce qui s’appelle Moduler : Or voicy la difference qu’il y a du Mode au Ton.", "english": "Recall that we called the note on which the bass begins and ends the tonic, and said that it determines the progression of the other notes within its octave. Consequently, if C is our tonic, we cannot alter the disposition of C, D, E, F, G, A, and B with any sharp or flat without destroying our premise: this is how the scale represents them within C's octave. We conclude that the word ton, ordinarily applied to an interval, such as that of the third, should here apply chiefly to a note chosen as the basis of a piece in a particular key. The key is determined by that note's name, and the note is therefore called tonic. It has the privilege of determining every diatonic interval, or every whole tone and semitone, between consecutive notes from the tonic to its octave. Proceeding in this way is called modulation. Here, then, is the difference between mode and key.", "sources": [ { "pdf_page": 230, "source_image": "source-pages/bnf-230.png", "printed_page": 198, "bbox_pixels": [ 439, 845, 2137, 1284 ], "crop_image": "assets/III.08-003.png" } ] }, { "id": "III.08-004", "type": "paragraph", "section": "III.08", "lesson": 52, "exercise": 52, "reading_order": 1418, "original": "Le Mode consiste dans la Tierce de la Notte que l’on prend pour tonique ; & cette Tierce ne pouvant être que majeure ou mineure, aussi le Mode ne peut se distinguer que de ces deux sortes ; c’est pour cette raison que l’on renferme ordinairement le mot de Mode dans celuy de Ton, en disant simplement Ton majeur ou Ton mineur.", "english": "Mode consists in the third of the note chosen as tonic. Since that third can only be major or minor, mode likewise has only those two kinds. This is why the word mode is ordinarily included within key: we simply say major key or minor key.", "sources": [ { "pdf_page": 230, "source_image": "source-pages/bnf-230.png", "printed_page": 198, "bbox_pixels": [ 445, 2128, 2128, 378 ], "crop_image": "assets/III.08-004.png" } ] }, { "id": "III.08-005", "type": "paragraph", "section": "III.08", "lesson": 52, "exercise": 52, "reading_order": 1419, "original": "Si nous donnons la Tierce majeure à la Notte Ut, nous disons que nous sommes dans le Ton d’Ut majeur, au lieu de dire, dans le Ton d’Ut, Mode majeur ; & pareillement si nous luy donnons la Tierce mineure, nous disons que nous sommes dans le Ton d’Ut mineur, toute la Modulation consistant dans ces deux genres majeur & mineur, qui dépendent uniquement de la Tierce que l’on donne à la Notte prise pour tonique. La Notte Ut nous representant dans l’étenduë de son Octave tous les Tons majeurs que l’on peut pratiquer ; & la difference du majeur au mineur étant fort petite, nous ne nous attacherons à la faire, que lorsque nous possederons parfaitement le majeur.", "english": "If we give C a major third, we say we are in C major, rather than in the key of C, major mode. Likewise, with its minor third we say C minor. All modulation consists of these two kinds, major and minor, depending solely upon the third assigned to the chosen tonic. C, within its octave, represents every major key we can employ. Since the difference between major and minor is very small, we shall study it only after thoroughly mastering major.", "sources": [ { "pdf_page": 230, "source_image": "source-pages/bnf-230.png", "printed_page": 198, "bbox_pixels": [ 445, 2500, 2128, 832 ], "crop_image": "assets/III.08-005.png" } ] }, { "id": "III.08-006", "type": "paragraph", "section": "III.08", "lesson": 52, "exercise": 52, "reading_order": 1420, "original": "Pour que la connoissance du Ton d’Ut puisse servir à celle de tous les autres Tons, nous n’en parlerons plus avec le nom des Nottes qui sont comprises dans l’étenduë de son Octave, mais avec des noms particuliers à chaque Notte d’un Ton : Par exemple, quand nous disons la Notte tonique, cela doit s’entendre de toutes sortes de Nottes ; car Ré, Mi, Fa, Sol, &c. peuvent être Nottes toniques, aussi-bien qu’Ut : mais quand on a supposé une fois qu’une telle Notte est tonique, on ne peut plus parler des autres que par rapport à elle ; ainsi la seconde Notte, la troisième, la quatrième, la cinquième, &c. ne seront telles, que par rapport à la comparaison que l’on en fera avec la Notte tonique supposée, qui est toûjours regardée comme la premiere ; par conséquent dans le Ton d’Ut, la seconde Notte est Ré, la troisième Mi, la quatrième Fa, &c.", "english": "To make our knowledge of C useful for every other key, we shall no longer speak of the notes within its octave by their pitch names, but by names particular to each note's position in a key. For example, tonic may mean any note: D, E, F, G, and so forth can be tonics as well as C. Once a note has been designated tonic, however, the others can be discussed only in relation to it. The second, third, fourth, fifth, and so forth are so named only through comparison with the chosen tonic, which is always regarded as the first. Thus in C the second note is D, the third E, the fourth F, and so forth.", "sources": [ { "pdf_page": 230, "source_image": "source-pages/bnf-230.png", "printed_page": 198, "bbox_pixels": [ 445, 3330, 2128, 232 ], "crop_image": "assets/III.08-006.png" }, { "pdf_page": 231, "source_image": "source-pages/bnf-231.png", "printed_page": 199, "bbox_pixels": [ 374, 374, 2131, 757 ], "crop_image": "assets/III.08-007.png" } ] }, { "id": "III.08-008", "type": "heading", "section": "III.08", "lesson": 52, "exercise": 52, "reading_order": 1421, "original": "Nom des Nottes de chaque Ton dans celuy d’Ut.", "english": "Names of the notes in every key, illustrated in C.", "sources": [ { "pdf_page": 231, "source_image": "source-pages/bnf-231.png", "printed_page": 199, "bbox_pixels": [ 613, 1191, 1645, 101 ], "crop_image": "assets/III.08-008.png" } ] }, { "id": "III.08-009", "type": "image", "section": "III.08", "lesson": 52, "exercise": 52, "reading_order": 1422, "original": "Ut. Octave.\nSi. Notte sensible.\nLa. Sixième Notte.\nSol. Dominante tonique.\nFa. Quatrième Notte.\nMi. Mediante.\nRé. Seconde Notte.\nUt. Notte tonique.", "english": "C. Octave.\nB. Leading note.\nA. Sixth note.\nG. Tonic dominant.\nF. Fourth note.\nE. Mediant.\nD. Second note.\nC. Tonic note.", "sources": [ { "pdf_page": 231, "source_image": "source-pages/bnf-231.png", "printed_page": 199, "bbox_pixels": [ 389, 1342, 2126, 630 ], "crop_image": "assets/III.08-009.png" } ], "original_title": "Nom des Nottes de chaque Ton dans celuy d’Ut.", "english_title": "Names of the notes in every key, illustrated in C.", "format": "preformatted", "asset_refs": [ "III.08-009" ] }, { "id": "III.08-010", "type": "paragraph", "section": "III.08", "lesson": 52, "exercise": 52, "reading_order": 1423, "original": "L’on remarquera icy trois Nottes, qui outre la tonique, ont chacune un nom propre ; l’une s’appelle Mediante, la seconde Dominante & la troisième Notte sensible ; les deux premieres sont celles qui composent l’Accord parfait de la Notte tonique, & ont avec cela des proprietez qui les font distinguer des autres.", "english": "Besides the tonic, three notes here have individual names: the mediant, dominant, and leading note. The first two complete the tonic's perfect chord, and also possess properties distinguishing them from the other notes.", "sources": [ { "pdf_page": 231, "source_image": "source-pages/bnf-231.png", "printed_page": 199, "bbox_pixels": [ 402, 2017, 2126, 378 ], "crop_image": "assets/III.08-010.png" } ] }, { "id": "III.08-011", "type": "paragraph", "section": "III.08", "lesson": 52, "exercise": 52, "reading_order": 1424, "original": "La Mediante s’appelle ainsi, parce qu’elle divise la Notte tonique & sa Dominante en deux Tierces ; & par conséquent se trouve au milieu ; c’est elle encore qui décide du Mode ; quand elle est majeure, le Mode est majeur ; quand elle est mineure, le Mode est mineur, parce qu’elle est cette Tierce à qui nous avons donné cette proprieté.", "english": "The mediant is so called because it divides the interval between tonic and dominant into two thirds and therefore lies in the middle. It also determines the mode: when it is major, the mode is major; when minor, the mode is minor, since it is the third to which we assigned this property.", "sources": [ { "pdf_page": 231, "source_image": "source-pages/bnf-231.png", "printed_page": 199, "bbox_pixels": [ 408, 2389, 2120, 451 ], "crop_image": "assets/III.08-011.png" } ] }, { "id": "III.08-012", "type": "paragraph", "section": "III.08", "lesson": 52, "exercise": 52, "reading_order": 1425, "original": "La Dominante tonique s’appelle ainsi, parce que dans toutes les finales elle précede toûjours immédiatement la Notte tonique, comme on a pû le remarquer dans les Exemples précédens, où Sol qui est dominante d’Ut, a précédé cet Ut par tout où il s’est fait entendre, & sur tout à la fin.", "english": "The tonic dominant is so called because in every ending it always immediately precedes the tonic. We could observe this in the preceding examples, where G, C's dominant, preceded C wherever C was heard, especially at the end.", "sources": [ { "pdf_page": 231, "source_image": "source-pages/bnf-231.png", "printed_page": 199, "bbox_pixels": [ 411, 2840, 2118, 381 ], "crop_image": "assets/III.08-012.png" } ] }, { "id": "III.08-013", "type": "paragraph", "section": "III.08", "lesson": 52, "exercise": 52, "reading_order": 1426, "original": "La Notte sensible s’appelle ainsi, parce qu’elle ne se fait jamais entendre dans une Partie quelconque, que la Notte tonique ne la suive immédiatement ; c’est pourquoy l’on peut dire qu’elle fait sentir le Ton dans lequel on est : Ainsi dans le Ton d’Ut, la Mediante est MI, la Dominante SOL, & la Notte sensible SI ; cette Mediante, cette Dominante, & cette Notte sensible formant toûjours dans chaque Ton le même Intervale à l’égard de la Notte tonique, que Mi, Sol & Si le forment à l’égard d’Ut ; cecy ne souffrant d’exceptions, que dans la Mediante des Tons mineurs, qui y est formée de la Tierce mineure ; au lieu qu’elle l’est icy de la Tierce majeure.", "english": "The leading note is so called because it is never heard in any part without the tonic immediately following it. We may therefore say that it makes the key perceptible. Thus in C, E is the mediant, G the dominant, and B the leading note. In every key these notes form the same intervals with the tonic as E, G, and B form with C. The only exception is the mediant in minor keys, where it forms a minor third instead of the major third found here.", "sources": [ { "pdf_page": 231, "source_image": "source-pages/bnf-231.png", "printed_page": 199, "bbox_pixels": [ 413, 3218, 2118, 310 ], "crop_image": "assets/III.08-013.png" }, { "pdf_page": 232, "source_image": "source-pages/bnf-232.png", "printed_page": 200, "bbox_pixels": [ 477, 378, 2122, 451 ], "crop_image": "assets/III.08-014.png" } ] }, { "id": "III.09-001", "type": "heading", "section": "III.09", "lesson": 53, "exercise": 53, "reading_order": 1427, "original": "CHAPITRE NEUVIEME.", "english": "CHAPTER NINE.", "sources": [ { "pdf_page": 232, "source_image": "source-pages/bnf-232.png", "printed_page": 200, "bbox_pixels": [ 819, 963, 1419, 99 ], "crop_image": "assets/III.09-001.png" } ], "correction_refs": [ "supplement-208" ] }, { "id": "III.09-002", "type": "heading", "section": "III.09", "lesson": 53, "exercise": 53, "reading_order": 1428, "original": "De la maniere de Moduler harmoniquement, lorsqu’on donne à la Basse une progression diatonique.", "english": "How to proceed harmonically when the bass moves diatonically.", "sources": [ { "pdf_page": 232, "source_image": "source-pages/bnf-232.png", "printed_page": 200, "bbox_pixels": [ 471, 1112, 2113, 187 ], "crop_image": "assets/III.09-002.png" } ] }, { "id": "III.09-003", "type": "paragraph", "section": "III.09", "lesson": 53, "exercise": 53, "reading_order": 1429, "original": "Comme nous prenons l’Octave d’Ut pour modele, il sera facile d’y reconnoître les Intervales que l’on peut distinguer en majeur & en mineur, qui sont les Tierces & les Sixtes, Mi formant la Tierce majeure d’Ut, &c. n’y ayant qu’à consulter pour cela le dénombrement que nous en faisons au Quatrième Livre Chap. II.", "english": "Since C’s octave is our model, it will be easy to recognize intervals distinguished as major and minor: thirds and sixths. E forms C’s major third, and so forth. Consult the list in Book IV, chapter II.", "sources": [ { "pdf_page": 232, "source_image": "source-pages/bnf-232.png", "printed_page": 200, "bbox_pixels": [ 456, 1361, 2131, 385 ], "crop_image": "assets/III.09-003.png" } ] }, { "id": "III.09-004", "type": "paragraph", "section": "III.09", "lesson": 53, "exercise": 53, "reading_order": 1430, "original": "L’on peut regarder comme Nottes toniques, toutes celles qui portent des Accords parfaits, & comme Dominantes toutes celles qui portent des Accords de Septiéme ; avec la difference que l’on est obligé de distinguer la Dominante tonique de celles qu’on appelle simplement Dominantes, en ce que la Tierce de la dominante tonique doit être toûjours majeure, au lieu que celles des autres dominantes est souvent mineure. N’y ayant point d’autre Notte tonique dans le Ton d’Ut, que cet Ut même ; l’on ne peut donc donner un Accord parfait qu’à cet Ut.", "english": "All notes carrying perfect chords may be regarded as tonics, and all carrying seventh chords as dominants. We must distinguish the tonic dominant from notes called simply dominants: the tonic dominant’s third must always be major, while the others’ thirds are often minor. In C, however, there is no tonic but C itself, so only C may receive a perfect chord.", "sources": [ { "pdf_page": 232, "source_image": "source-pages/bnf-232.png", "printed_page": 200, "bbox_pixels": [ 454, 1744, 2133, 669 ], "crop_image": "assets/III.09-004.png" } ] }, { "id": "III.09-005", "type": "paragraph", "section": "III.09", "lesson": 53, "exercise": 53, "reading_order": 1431, "original": "N’y ayant point d’autre Dominante tonique dans ce même Ton, que Sol, l’on ne peut par conséquent donner l’Accord de Septiéme avec la Tierce majeure qu’à ce Sol.", "english": "Likewise, G is the only tonic dominant in this key. Therefore only G may receive a seventh chord with a major third.", "sources": [ { "pdf_page": 232, "source_image": "source-pages/bnf-232.png", "printed_page": 200, "bbox_pixels": [ 454, 2410, 2133, 228 ], "crop_image": "assets/III.09-005.png" } ] }, { "id": "III.09-006", "type": "paragraph", "section": "III.09", "lesson": 53, "exercise": 53, "reading_order": 1432, "original": "Ces deux Accords, le Parfait & celuy de la Septiéme, sont, pour ainsi dire, les seuls qu’il y ait dans toute l’Harmonie ; car tout autre Accord est composé de ces deux premiers : Ceux-cy sont affectez seulement à une progression de la Basse, telle que nous l’avons dit jusqu’à présent ; & si nous allons changer cette progression, nous ne changerons pas pour cela ces Accords, nous n’en changerons seulement que la disposition, en mettant une Octave plus haut ou plus bas l’un des Sons dont ils sont composez ; ce qui nous oblige à leur donner de nouveaux noms, pour les distinguer de ceux dont ils dérivent.", "english": "The perfect and seventh chords are, so to speak, the only chords in all harmony; every other chord is composed of these two. They belong only to the bass progression described thus far. Changing that progression does not change the chords, only their disposition: one constituent sound is placed an octave higher or lower. We must give these arrangements new names to distinguish them from their originals.", "sources": [ { "pdf_page": 232, "source_image": "source-pages/bnf-232.png", "printed_page": 200, "bbox_pixels": [ 449, 2638, 2135, 755 ], "crop_image": "assets/III.09-006.png" } ] }, { "id": "III.09-007", "type": "heading", "section": "III.09", "lesson": 53, "exercise": 53, "reading_order": 1433, "original": "Dénombrement des Accords consonans dérivez du Parfait.", "english": "List of consonant chords derived from the perfect chord.", "sources": [ { "pdf_page": 233, "source_image": "source-pages/bnf-233.png", "printed_page": 201, "bbox_pixels": [ 482, 436, 1920, 110 ], "crop_image": "assets/III.09-007.png" } ] }, { "id": "III.09-008", "type": "paragraph", "section": "III.09", "lesson": 53, "exercise": 53, "reading_order": 1434, "original": "Il faut se souvenir que le nombre 1. represente toûjours la Basse, & que les autres nombres nous marquent la distance qu’il y a d’un Son ou d’une Notte à cette Basse ; que les nombres 8. 10. 12. &c. ne sont que la replique d’1. 3. 5. &c. puisque si 8. est la replique d’1. par la même raison 10. & 12. seront la replique de 3. & de 5.", "english": "Remember that 1 always represents the bass; other numbers indicate a sound’s or note’s distance from it. The numbers 8, 10, 12, and so on merely repeat 1, 3, 5, and so on. If 8 repeats 1, the same reasoning makes 10 and 12 repetitions of 3 and 5.", "sources": [ { "pdf_page": 233, "source_image": "source-pages/bnf-233.png", "printed_page": 201, "bbox_pixels": [ 359, 598, 2126, 376 ], "crop_image": "assets/III.09-008.png" } ] }, { "id": "III.09-009", "type": "paragraph", "section": "III.09", "lesson": 53, "exercise": 53, "reading_order": 1435, "original": "Il faut se souvenir encore que tous nombres pourront se reduire à de moindre nombres, dont les Intervales seront égaux de part & d’autres. Par exemple, 4. 5. 6. peuvent se reduire à 1. 2. 3. parce qu’il n’y a pas plus loin de 4. à 5. que d’1. à 2. Ainsi les nombres 6. 8. 10. 12. pourront se reduire à 1. 3. 5. 7. parce qu’il n’y a pas plus loin de 6. à 8. que d’1. à 3. ainsi des autres, étant nécessaire de reduire à l’unité le premier des nombres qui nous marquent chaque Accord, parce que cette unité nous represente toûjours la Basse de l’Accord parfait, & de celuy de la Septiéme, dont dérivent tous les Consonans & Dissonans.", "english": "Remember also that all numbers can be reduced to smaller ones preserving equal interval distances. Thus 4 5 6 reduces to 1 2 3, since 4 to 5 is no farther than 1 to 2. Similarly, 6 8 10 12 reduces to 1 3 5 7, since 6 to 8 equals 1 to 3, and so forth. The first number of each chord must be reduced to unity, which always represents the bass of the perfect or seventh chord from which all consonant and dissonant chords derive.", "sources": [ { "pdf_page": 233, "source_image": "source-pages/bnf-233.png", "printed_page": 201, "bbox_pixels": [ 355, 970, 2133, 746 ], "crop_image": "assets/III.09-009.png" } ] }, { "id": "III.09-010", "type": "paragraph", "section": "III.09", "lesson": 53, "exercise": 53, "reading_order": 1436, "original": "Nous ne faisons point mention de l’8. dans les Accords, parce qu’elle est toûjours la replique de la Basse. 1.", "english": "We do not mention the octave in these chords, since it always repeats the bass, 1.", "sources": [ { "pdf_page": 233, "source_image": "source-pages/bnf-233.png", "printed_page": 201, "bbox_pixels": [ 357, 1716, 2131, 161 ], "crop_image": "assets/III.09-010.png" } ] }, { "id": "III.09-011", "type": "image", "section": "III.09", "lesson": 53, "exercise": 53, "reading_order": 1437, "original": "Chiffres que l’on met au-dessus ou au-dessous des Nottes d’une Basse, pour marquer tous les Sons dont un Accord est composé.\n\nL’Accord parfait est composé de :\nUt. Mi. Sol.\n 1. 3. 5.\nCet Accord se fait toûjours sur la Notte tonique & quelquefois sur sa Dominante.", "english": "Figures placed above or below bass notes to indicate every sound in a chord.\n\nThe perfect chord consists of:\n C. E. G.\n 1. 3. 5.\nThis chord always occurs on the tonic and sometimes on its dominant.", "sources": [ { "pdf_page": 233, "source_image": "source-pages/bnf-233.png", "printed_page": 201, "bbox_pixels": [ 350, 1926, 2141, 271 ], "crop_image": "assets/III.09-011.png" } ], "original_title": "Accord parfait.", "english_title": "Perfect chord.", "format": "preformatted", "asset_refs": [ "III.09-011" ] }, { "id": "III.09-012", "type": "heading", "section": "III.09", "lesson": 53, "exercise": 53, "reading_order": 1438, "original": "Accords dérivez du Parfait par renversement.", "english": "Chords derived from the perfect chord by inversion.", "sources": [ { "pdf_page": 233, "source_image": "source-pages/bnf-233.png", "printed_page": 201, "bbox_pixels": [ 1159, 2202, 1327, 110 ], "crop_image": "assets/III.09-012.png" } ] }, { "id": "III.09-013", "type": "image", "section": "III.09", "lesson": 53, "exercise": 53, "reading_order": 1439, "original": "6. L’Accord de 6. est composé de :\nMi, Sol, Ut, renversé de Ut, Mi, Sol,\n 1. 3. 6. 6. 8. 10.\n 1. 3. 5.\nCet Accord se fait toûjours sur la Mediante.\n\n6.\n4. L’Accord de 6-4. est composé de :\nSol, Ut, Mi, renversé de Ut, Mi, Sol,\n 1. 4. 6. 4. 6. 8.\n 1. 3. 5.\nCet Accord ne se fait que sur la Dominante, mais plus rarement que le Parfait & celuy de la Septiéme.", "english": "6. The sixth chord consists of:\n E, G, C, inverted from C, E, G,\n 1. 3. 6. 6. 8. 10.\n 1. 3. 5.\nThis chord always occurs on the mediant.\n\n6.\n4. The sixth–fourth chord consists of:\n G, C, E, inverted from C, E, G,\n 1. 4. 6. 4. 6. 8.\n 1. 3. 5.\nThis chord occurs only on the dominant, but more rarely than the perfect or seventh chord.", "sources": [ { "pdf_page": 233, "source_image": "source-pages/bnf-233.png", "printed_page": 201, "bbox_pixels": [ 348, 2322, 2143, 572 ], "crop_image": "assets/III.09-013.png" } ], "original_title": "Accords de Sixte et de Sixte-quarte.", "english_title": "Sixth and sixth–fourth chords.", "format": "preformatted", "asset_refs": [ "III.09-013" ] }, { "id": "III.09-014", "type": "heading", "section": "III.09", "lesson": 53, "exercise": 53, "reading_order": 1440, "original": "Dénombrement des Accords dissonans, dérivez de celuy de la Septiéme.", "english": "List of dissonant chords derived from the seventh chord.", "sources": [ { "pdf_page": 234, "source_image": "source-pages/bnf-234.png", "printed_page": 202, "bbox_pixels": [ 529, 499, 1920, 185 ], "crop_image": "assets/III.09-014.png" } ] }, { "id": "III.09-015", "type": "image", "section": "III.09", "lesson": 53, "exercise": 53, "reading_order": 1441, "original": "7. L’Accord de la Septiéme d’une Dominante tonique est composé de :\nSol, Si, Ré, Fa.\n 1. 3. 5. 7.", "english": "7. The tonic dominant’s seventh chord consists of:\n G, B, D, F.\n 1. 3. 5. 7.", "sources": [ { "pdf_page": 234, "source_image": "source-pages/bnf-234.png", "printed_page": 202, "bbox_pixels": [ 484, 722, 2062, 138 ], "crop_image": "assets/III.09-015.png" } ], "original_title": "Accord de Septiéme de la Dominante tonique.", "english_title": "Seventh chord of the tonic dominant.", "format": "preformatted", "asset_refs": [ "III.09-015" ] }, { "id": "III.09-016", "type": "heading", "section": "III.09", "lesson": 53, "exercise": 53, "reading_order": 1442, "original": "Accords dérivez par renversement.", "english": "Chords derived by inversion.", "sources": [ { "pdf_page": 234, "source_image": "source-pages/bnf-234.png", "printed_page": 202, "bbox_pixels": [ 1021, 884, 987, 97 ], "crop_image": "assets/III.09-016.png" } ] }, { "id": "III.09-017", "type": "image", "section": "III.09", "lesson": 53, "exercise": 53, "reading_order": 1443, "original": "5 barré. L’Accord de la fausse-Quinte est composé de :\nSi, Ré, Fa, Sol. renversé de Sol, Si, Ré, Fa.\n 1. 3. 5♭. 6. 6. 8. 10. 12.\n 1. 3. 5. 7.\nCet Accord ne se fait jamais que sur la Notte sensible.\n\n6♯. Celuy de la petite Sixte est composé de :\nRé, Fa, Sol, Si. renversé de Sol, Si, Ré, Fa.\n 1. 3. 4. 6. 4. 6. 8. 10.\n 1. 3. 5. [7 illisible]\nCet Accord se fait ordinairement sur la seconde Notte du Ton.\n\n4♯. Celuy du Triton est composé de :\nFa, Sol, Si, Ré. renversé de Sol, Si, Ré, Fa.\n 1. 2. 4♯. 6. 2. 4. 6. 8.\n 1. 3. 5. 7.\nCet Accord ne se fait que sur la quatrième Notte.", "english": "Slashed 5. The diminished-fifth chord consists of:\n B, D, F, G. inverted from G, B, D, F.\n 1. 3. 5♭. 6. 6. 8. 10. 12.\n 1. 3. 5. 7.\nThis chord occurs only on the leading note.\n\n6♯. The small-sixth chord consists of:\n D, F, G, B. inverted from G, B, D, F.\n 1. 3. 4. 6. 4. 6. 8. 10.\n 1. 3. 5. [7 illegible]\nThis chord ordinarily occurs on the key’s second note.\n\n4♯. The tritone chord consists of:\n F, G, B, D. inverted from G, B, D, F.\n 1. 2. 4♯. 6. 2. 4. 6. 8.\n 1. 3. 5. 7.\nThis chord occurs only on the fourth note.", "sources": [ { "pdf_page": 234, "source_image": "source-pages/bnf-234.png", "printed_page": 202, "bbox_pixels": [ 445, 967, 2122, 1232 ], "crop_image": "assets/III.09-017.png" } ], "original_title": "Renversements de l’Accord de Septiéme.", "english_title": "Inversions of the seventh chord.", "format": "preformatted", "asset_refs": [ "III.09-017" ] }, { "id": "III.09-018", "type": "paragraph", "section": "III.09", "lesson": 53, "exercise": 53, "reading_order": 1444, "original": "Il faut remarquer d’abord que la Notte tonique ne prête son Accord parfait qu’à sa Mediante & à sa Dominante ; la Mediante le porte sous le nom de Sixte, & la Dominante sous celuy de Sixte-quarte ; ainsi lorsque dans un Ton quelconque l’on sçait distinguer la Mediante & la Dominante, l’on sçait en même-temps de quels Accords il faut se servir avec elles, quoique l’Accord parfait convienne mieux à la Dominante tonique, que celuy de la Sixte-quarte ; & même celuy de la Septiéme semble n’être affecté qu’à elle seule, sur tout lorsqu’elle précede immédiatement la Notte tonique. Mais que la difference de l’Accord parfait à celuy de la Septiéme ne vous occupe point, puisque ce dernier ne consiste que dans un Son ajoûté à l’Accord parfait, que le Compositeur est libre de retrancher ; de sorte que par tout où l’Accord de la Septiéme devoit avoir lieu, on peut n’y faire entendre que le parfait. Cependant comme il est bon de sçavoir ce que l’on fait, il ne faut rien retrancher sans le connoître, ni sans sçavoir pourquoy, d’autant plus que cet Accord de Septiéme est l’origine de tous les dissonans ; la connoissance de sa progression, c’est-à-dire, de l’Accord qui doit le suivre, n’étant pas moins nécessaire que celle de sa construction, c’est-à-dire, des Sons ou des Nottes dont il est composé, puisque c’est sur sa construction & sa progression que se reglent tous les autres Accords dissonants.", "english": "First notice that the tonic lends its perfect chord only to its mediant and dominant. Over the mediant it is called a sixth chord; over the dominant a sixth–fourth. Once these two notes are recognized in any key, their chords are known. The perfect chord nevertheless suits the tonic dominant better than the sixth–fourth, and the seventh chord seems assigned especially to it, above all immediately before the tonic. Do not be distracted by the difference between perfect and seventh chords: the latter merely adds a sound that the composer may remove. Wherever a seventh chord should occur, the perfect chord alone may therefore sound. Yet one should know what one is doing: omit nothing without knowing what it is and why it is removed. This matters especially because the seventh chord is the source of every dissonant chord. Knowing its progression—the chord that follows—is as necessary as knowing its construction—the sounds composing it. Both govern every other dissonant chord.", "sources": [ { "pdf_page": 234, "source_image": "source-pages/bnf-234.png", "printed_page": 202, "bbox_pixels": [ 458, 2223, 2109, 1352 ], "crop_image": "assets/III.09-018.png" }, { "pdf_page": 235, "source_image": "source-pages/bnf-235.png", "printed_page": 203, "bbox_pixels": [ 441, 374, 2131, 297 ], "crop_image": "assets/III.09-019.png" } ] }, { "id": "III.09-020", "type": "paragraph", "section": "III.09", "lesson": 53, "exercise": 53, "reading_order": 1445, "original": "Si nous avons dit que la Dominante ne portoit un Accord de Septiéme que lorsqu’elle précédoit la Notte tonique, cela doit s’entendre aussi des Nottes qui composent l’Accord parfait de cette Notte tonique, c’est-à-dire, de sa Mediante & de cette Dominante même, lorsque ces deux Nottes portent les Accords dérivez du parfait, qui leur sont naturels, la Dominante pouvant porter l’Accord de Sixte-quatre, après celuy de la Septiéme, lorsque sa valeur le permet, le tout au gré du Compositeur ; & de même que les dérivez de la Notte tonique ont le privilege d’être précédez comme elle, de même aussi les dérivez de la Dominante tonique ne peuvent paroître comme tels, s’ils ne précédent pas immédiatement cette Notte tonique, ou ses dérivez ; de sorte qu’il ne faut pas seulement considerer un Accord dans sa construction, ni dans sa progression naturelle, mais encore dans la differente disposition que l’on peut donner aux Nottes qui le composent, en mettant au Dessus, celles qui se trouvent à la Basse ; ou dans la Basse, celles qui se trouvent au Dessus ; ce qui nous oblige de donner differens noms à un même Accord, selon sa differente disposition, pour que l’on reconnoisse en même temps par ces noms, les Nottes qui doivent pour-lors occuper la Basse ; ainsi après avoir reconnu que la Mediante & la Dominante, qui composent l’Accord parfait de la Notte tonique, peuvent la représenter, en portant un Accord dérivé de ce parfait, lorsqu’elles se trouvent à la Basse, il faut faire la même attention sur les Nottes qui composent l’Accord de la Septiéme, de la Dominante tonique, qui ne peuvent se trouver immédiatement avant la Notte tonique ou ses dérivez, qu’elles ne portent l’Accord dérivé de celuy de la Septiéme, affecté en pareil cas à la Dominante tonique ; par conséquent il faut se souvenir que si dans le Ton d’Ut, l’une des Nottes Sol, Si, Ré ou Fa, précédent immédiatement dans la Basse celle d’Ut ou de Mi (laissant icy celle de Sol, parce qu’elle est nôtre premier objet dans l’Accord de la Septiéme, Sol, Si, Ré, Fa) les trois autres doivent l’accompagner.", "english": "When we said the dominant bears a seventh chord only before the tonic, this also includes notes of the tonic’s perfect chord: its mediant and the dominant itself, when these carry their natural derivatives of that perfect chord. The dominant may carry a sixth–fourth chord after its seventh chord if its duration permits, at the composer’s discretion. Just as the tonic’s derivatives may be preceded like the tonic, the tonic dominant’s derivatives can appear as such only immediately before the tonic or its derivatives. Consider therefore not only a chord’s construction and natural progression, but its different arrangements, placing bass sounds above or upper sounds in the bass. Different names for the same chord identify which note now occupies the bass. Having recognized that mediant and dominant can represent the tonic by carrying its perfect chord’s derivatives, apply the same reasoning to the notes of the tonic dominant’s seventh chord. Immediately before the tonic or its derivatives, they must carry derivatives of the seventh chord assigned to the dominant in that situation. Thus in C, if G, B, D, or F immediately precedes C or E in the bass, the other three must accompany it. We set G aside as a destination here because it is our first object in the seventh chord G B D F.", "sources": [ { "pdf_page": 235, "source_image": "source-pages/bnf-235.png", "printed_page": 203, "bbox_pixels": [ 436, 666, 2135, 2322 ], "crop_image": "assets/III.09-020.png" } ] }, { "id": "III.09-021", "type": "paragraph", "section": "III.09", "lesson": 53, "exercise": 53, "reading_order": 1446, "original": "Remarquez que nous avons dit que la Dominante pouvoit porter l’Accord parfait aussi-bien que celuy de la Septiéme, & que d’ailleurs l’Accord parfait subsiste toûjours dans celuy de la Septiéme ; par conséquent l’Accord de la Septiéme doit être précédé de même que le parfait ; ce qui nous oblige d’attribuer une Dominante à toutes les Nottes qui portent des Accords de Septiéme ; & sçachant qu’une Dominante doit être toûjours une Quinte au-dessus ou une Quarte au-dessous de la Notte qu’elle domine, il n’est pas difficile de comprendre icy que la Notte Sol ne peut avoir pour Dominante que la Notte Ré ; sçachant encore qu’une Notte n’est appellée Dominante, qu’en ce qu’elle en précede une autre, qui est une Quarte au-dessus, ou une Quinte au-dessous, elle ne peut porter pour lors que l’Accord de la Septiéme ; ainsi en suivant la même disposition que celle que nous avons donnée à l’Accord de la Septiéme de la Notte Sol, nous trouverons celuy de la Notte Ré entre ces Nottes Ré, Fa, La, Ut ; d’où nous concluons que cette Notte Ré, ou celles qui sont comprises dans son Accord, ne pourront se rencontrer dans la Basse immédiatement avant la Notte Sol, sans que leur Accord puisse être composé d’autres Nottes que de celles-cy Ré, Fa, La, Ut ; de même que les Nottes Sol, Si, Ré, Fa doivent composer l’Accord de l’une d’elles, lorsque la Notte Ut les suit ; toute la Progression harmonique des Dissonances n’étant composée que d’un enchaînement de Dominantes, qui n’est pas difficile à comprendre dans son fondement, comme les Exemples de la Septiéme peuvent nous le prouver, mais c’est dans le rapport qu’il faut faire de ce fondement aux differentes progressions qui naissent de la liberté que nous avons de nous servir indifferemment de l’une des Nottes comprises dans les Accords fondamentaux, qui sont le Parfait & celuy de la Septiéme ; c’est dans ce rapport, dis-je, que toute nôtre attention suffit à peine. Cependant en renfermant cette attention dans l’étenduë d’une Octave seulement, l’on voit qu’il n’est besoin que de sçavoir la maniere dont l’Accord consonant doit être précédé, puisque nous faisons sentir que le Dissonant n’est pas précédé differemment ; & voicy comme il faut raisonner, sans se servir du nom des Nottes, mais seulement de celuy de l’Intervale que chacune de ces Nottes forme avec la Tonique, pour que ce raisonnement puisse servir pour tous les Tons en general ; car lorsqu’il ne sera plus question que de sçavoir distinguer cette Notte tonique, l’on sera bien-tôt au-dessus de toutes les difficultez.", "english": "The dominant may carry a perfect chord as well as a seventh chord, and the perfect chord remains present inside the seventh chord. A seventh chord must therefore be preceded in the same way as a perfect chord. Thus every seventh-bearing note must have its own dominant. A dominant is always a fifth above or fourth below the note it governs, so G’s dominant can only be D. A note is called dominant because it precedes another a fourth above or fifth below; it must then carry a seventh chord. Applying G’s seventh-chord arrangement to D gives D F A C. Thus D, or any note of this chord, immediately before G in the bass can be accompanied only by D F A C. Similarly, G B D F must form the chord on any of those notes before C. The entire harmonic progression of dissonances is a chain of dominants, easy to understand fundamentally, as the seventh-chord examples show. The real difficulty is relating this foundation to the varied bass progressions allowed by choosing any note of the fundamental perfect or seventh chords. That relationship demands almost all our attention. Confine it to one octave, however, and we need know only how the consonant chord is preceded, because the dissonant one is preceded no differently. Reason as follows, using each note’s interval from the tonic rather than its pitch name, so the reasoning applies to every key. Once identifying the tonic is the only remaining task, all difficulties will soon be overcome.", "sources": [ { "pdf_page": 235, "source_image": "source-pages/bnf-235.png", "printed_page": 203, "bbox_pixels": [ 436, 2986, 2135, 527 ], "crop_image": "assets/III.09-021.png" }, { "pdf_page": 236, "source_image": "source-pages/bnf-236.png", "printed_page": 204, "bbox_pixels": [ 449, 378, 2109, 2386 ], "crop_image": "assets/III.09-022.png" } ] }, { "id": "III.09-023", "type": "paragraph", "section": "III.09", "lesson": 53, "exercise": 53, "reading_order": 1447, "original": "La Notte tonique porte toûjours l’Accord parfait ; sa Mediante porte toûjours celuy de la Sixte, & sa Dominante toûjours le Parfait, lorsqu’elle ne précede pas immédiatement cette Notte tonique, sinon, il faut ajoûter la Septiéme Fa à son Accord parfait Sol, Si, Ré.", "english": "The tonic always carries a perfect chord; the mediant a sixth chord; the dominant a perfect chord when not immediately preceding the tonic. Otherwise add seventh F to its perfect chord G B D.", "sources": [ { "pdf_page": 236, "source_image": "source-pages/bnf-236.png", "printed_page": 204, "bbox_pixels": [ 458, 2765, 2100, 301 ], "crop_image": "assets/III.09-023.png" } ] }, { "id": "III.09-024", "type": "paragraph", "section": "III.09", "lesson": 53, "exercise": 53, "reading_order": 1448, "original": "La seconde Notte, qui dans une progression diatonique se trouve toûjours entre la Notte tonique & la Mediante, ne peut porter, en ce cas, que l’Accord de la petite Sixte, Ré, Fa, Sol, Si.", "english": "The second note, lying between tonic and mediant in a diatonic progression, can then bear only the small-sixth chord D F G B.", "sources": [ { "pdf_page": 236, "source_image": "source-pages/bnf-236.png", "printed_page": 204, "bbox_pixels": [ 460, 3064, 2098, 230 ], "crop_image": "assets/III.09-024.png" } ] }, { "id": "III.09-025", "type": "paragraph", "section": "III.09", "lesson": 53, "exercise": 53, "reading_order": 1449, "original": "La Notte sensible, qui en montant précede la Notte tonique, doit porter l’Accord de la fausse-Quinte, Si, Ré, Fa, Sol, mais lorsqu’en descendant elle précede une Notte qui n’a point lieu dans l’Accord de la Notte tonique, elle est pour lors regardée comme Mediante de la Dominante ; car elle en est la Tierce, & doit porter, en ce cas, l’Accord de Sixte, Si, Ré, Sol renversé du Parfait Sol, Si, Ré.", "english": "The leading note ascending to the tonic must carry the diminished-fifth chord B D F G. But when descending before a note absent from the tonic’s chord, it is regarded as the dominant’s mediant, being its third. It then takes the sixth chord B D G, inverted from G B D.", "sources": [ { "pdf_page": 236, "source_image": "source-pages/bnf-236.png", "printed_page": 204, "bbox_pixels": [ 460, 3294, 2098, 232 ], "crop_image": "assets/III.09-025.png" }, { "pdf_page": 237, "source_image": "source-pages/bnf-237.png", "printed_page": 205, "bbox_pixels": [ 447, 372, 2116, 224 ], "crop_image": "assets/III.09-026.png" } ] }, { "id": "III.09-027", "type": "paragraph", "section": "III.09", "lesson": 53, "exercise": 53, "reading_order": 1450, "original": "La quatrième Notte, qui en montant précede la Dominante, doit porter un Accord pareil à celuy de la Notte sensible, lorsque celle-cy précede la Notte tonique en montant, puisque la Notte tonique & la Dominante doivent être précédées également ; Ainsi de même que la Notte sensible a porté, en ce cas, l’Accord dérivé de la Dominante tonique, la quatrième Notte portera également un Accord dérivé de celuy qui doit porter la Notte qui domine cette Dominante ; de sorte que si Sol domine Ut ; Ré par la même raison dominera Sol, & comme dans le Ton d’Ut, Fa est cette quatrième Notte proposée, elle portera l’Accord de la grande Sixte, Fa, La, Ut, Ré, dérivé de celuy de la Septiéme, Ré, Fa, La, Ut.", "english": "The fourth note ascending to the dominant must take a chord corresponding to the leading note’s chord when that note ascends to the tonic, since tonic and dominant must be preceded alike. The leading note took a derivative of the tonic dominant’s chord. The fourth note must similarly take a derivative of the chord on the note dominating that dominant. As G dominates C, D dominates G. Thus F, the fourth note in C, takes the great-sixth chord F A C D, derived from seventh chord D F A C.", "sources": [ { "pdf_page": 237, "source_image": "source-pages/bnf-237.png", "printed_page": 205, "bbox_pixels": [ 445, 598, 2122, 826 ], "crop_image": "assets/III.09-027.png" } ] }, { "id": "III.09-028", "type": "paragraph", "section": "III.09", "lesson": 53, "exercise": 53, "reading_order": 1451, "original": "Que le nom de grande Sixte ne vous étonne pas, il ne differe de celuy de la fausse-Quinte, qu’en ce que la Quinte est juste d’un côté & fausse de l’autre ; ce qui provient des differens genres de la Tierce, qui est majeure entre Sol & Si, & mineure entre Ré & Fa ; car vous pouvez remarquer qu’au reste, la disposition de ces deux Accords est la même, & qu’ils se font également sur la Tierce de la Notte fondamentale, où se fait l’Accord de la Septiéme. Nous dirons ailleurs la raison pour laquelle cette distinction se fait dans les Accords dérivez, & non pas dans les fondamentaux.", "english": "Do not be surprised by the name great sixth. This chord differs from the diminished-fifth chord only in having a perfect rather than diminished fifth. The difference comes from the thirds: major between G and B, minor between D and F. Otherwise both chords have the same disposition and occur on the third of the fundamental note bearing the seventh chord. Elsewhere we shall explain why this distinction is made in derived chords but not fundamental ones.", "sources": [ { "pdf_page": 237, "source_image": "source-pages/bnf-237.png", "printed_page": 205, "bbox_pixels": [ 451, 1423, 2118, 671 ], "crop_image": "assets/III.09-028.png" } ] }, { "id": "III.09-029", "type": "paragraph", "section": "III.09", "lesson": 53, "exercise": 53, "reading_order": 1452, "original": "Cette quatrième Notte, qui en descendant précede la Mediante, doit porter l’Accord du Triton Fa, Sol, Si, Ré.", "english": "When this fourth note descends to the mediant, it must bear the tritone chord F G B D.", "sources": [ { "pdf_page": 237, "source_image": "source-pages/bnf-237.png", "printed_page": 205, "bbox_pixels": [ 454, 2096, 2116, 148 ], "crop_image": "assets/III.09-029.png" } ] }, { "id": "III.09-030", "type": "paragraph", "section": "III.09", "lesson": 53, "exercise": 53, "reading_order": 1453, "original": "La sixième Notte, qui de côté & d’autre précede la Dominante & la Mediante, doit porter l’Accord de petite Sixte, La, Ut, Ré, Fa renversé, ou dérivé de celuy de la Septiéme de Ré qui domine Sol ; de même que la seconde Notte porte un pareil Accord, en précédant la Notte tonique ou la Mediante.", "english": "The sixth note, preceding dominant and mediant on either side, must bear the small-sixth chord A C D F, inverted or derived from the seventh chord of D, which dominates G. Likewise the second note bears a corresponding chord before tonic or mediant.", "sources": [ { "pdf_page": 237, "source_image": "source-pages/bnf-237.png", "printed_page": 205, "bbox_pixels": [ 454, 2242, 2116, 374 ], "crop_image": "assets/III.09-030.png" } ] }, { "id": "III.09-031", "type": "paragraph", "section": "III.09", "lesson": 53, "exercise": 53, "reading_order": 1454, "original": "L’on peut confronter ce détail avec le denombrement des Accords, dont la conformité nous donnera une idée plus distincte du tout, en remarquant que l’on peut regarder toûjours la Dominante comme Notte tonique, parce que ces deux Nottes sont également précédées des mêmes Accords, ce qui fixe l’objet ; après quoy l’on remarquera dans une progression diatonique, les Nottes qui dérivent des Accords affectez à cette Notte tonique & à sa Dominante, & les Nottes qui les suivent ; parce qu’une même Notte pouvant se rencontrer dans deux Accords fondamentaux differens, l’on détermine l’Accord qu’elle doit porter sur la Notte qui la suit, ayant toûjours égard aux trois ou quatre Nottes qui composent l’Accord Parfait ou celuy de la Septiéme, & dont la Notte de la Basse doit être accompagnée dans les Parties superieures.", "english": "Compare these details with the chord list; their agreement will clarify the whole. Notice that the dominant can always be regarded as tonic, since both are preceded by the same chords. This fixes our object. In a diatonic progression, then identify notes derived from the chords belonging to tonic and dominant, and the notes following them. The same bass note may belong to two different fundamental chords, so the following note determines which chord it should carry. Always consider the three or four sounds of the perfect or seventh chord that must accompany the bass in the upper parts.", "sources": [ { "pdf_page": 237, "source_image": "source-pages/bnf-237.png", "printed_page": 205, "bbox_pixels": [ 449, 2616, 2122, 967 ], "crop_image": "assets/III.09-031.png" } ] }, { "id": "III.10-001", "type": "heading", "section": "III.10", "lesson": 54, "exercise": 54, "reading_order": 1455, "original": "CHAPITRE DIXIEME.", "english": "CHAPTER TEN.", "sources": [ { "pdf_page": 238, "source_image": "source-pages/bnf-238.png", "printed_page": 206, "bbox_pixels": [ 950, 522, 1277, 103 ], "crop_image": "assets/III.10-001.png" } ] }, { "id": "III.10-002", "type": "heading", "section": "III.10", "lesson": 54, "exercise": 54, "reading_order": 1456, "original": "De la Basse-Continuë.", "english": "On the continuo bass.", "sources": [ { "pdf_page": 238, "source_image": "source-pages/bnf-238.png", "printed_page": 206, "bbox_pixels": [ 1213, 675, 752, 101 ], "crop_image": "assets/III.10-002.png" } ] }, { "id": "III.10-003", "type": "paragraph", "section": "III.10", "lesson": 54, "exercise": 54, "reading_order": 1457, "original": "Il ne faut point confondre la progression diatonique d’une Basse dont nous parlons à présent, avec la progression consonante, dont nous avons donné des Exemples sur l’Accord parfait & sur celuy de la Septiéme : ces deux Accords sont les fondamentaux ; pour preuve de cela, nous mettrons dans la suite au-dessous de nos Exemples cette Basse, que nous appellons Fondamentale, dont les Nottes ne porteront que des Accords parfaits ou de Septiéme, pendant que celles de la Basse ordinaire, que nous appellerons Continuë, portera des Accords de toute espece ; le tout formant ensemble une Harmonie parfaite : Ainsi cette Basse-fondamentale servira de preuve à tous nos Ouvrages, où l’on verra que les differens Accords qui seront employez, ne proviendront que d’une progression opposée à celle de cette Basse-fondamentale, selon ce que nous venons d’expliquer, quoyque les Accords comparez à l’une ou à l’autre Basse soient toûjours les mêmes dans le fond, leur difference ne provenant que de la liberté que l’on a de mettre dans la Basse l’une des Nottes, dont les Accords fondamentaux sont formez ; mais toutes les Nottes de l’Accord, prises ensemble seront toûjours les mêmes, & la progression qui leur sera déterminée dans les Accords fondamentaux, ne changera pas pour cela.", "english": "Do not confuse the diatonic bass progression now under discussion with the consonant progression illustrated by our examples of perfect and seventh chords. These two chords are fundamental. To demonstrate this, we shall henceforth place beneath our examples the bass we call fundamental: its notes will carry only perfect or seventh chords, while the notes of the ordinary bass, which we shall call continuo, will carry chords of every kind. Together the whole forms perfect harmony. This fundamental bass will thus serve as proof for all our works. We shall see that the different chords employed arise only from a progression opposed to that of the fundamental bass, as just explained. Yet the chords, compared with either bass, remain essentially the same. Their difference comes only from our freedom to put into the bass any one of the notes forming the fundamental chords. All the chord notes taken together remain the same, and the progression assigned to them in the fundamental chords is not thereby changed.", "sources": [ { "pdf_page": 238, "source_image": "source-pages/bnf-238.png", "printed_page": 206, "bbox_pixels": [ 522, 841, 2128, 1501 ], "crop_image": "assets/III.10-003.png" } ] }, { "id": "III.11-001", "type": "heading", "section": "III.11", "lesson": 55, "exercise": 55, "reading_order": 1458, "original": "CHAPITRE ONZIÉME.", "english": "CHAPTER ELEVEN.", "sources": [ { "pdf_page": 238, "source_image": "source-pages/bnf-238.png", "printed_page": 206, "bbox_pixels": [ 279, 2488, 2494, 105 ], "crop_image": "assets/III.11-001.png" } ], "correction_refs": [ "supplement-210", "supplement-212" ] }, { "id": "III.11-002", "type": "heading", "section": "III.11", "lesson": 55, "exercise": 55, "reading_order": 1459, "original": "De la Progression de la Basse, qui détermine en même temps celle des Accords ; Et comment on peut rapporter un Accord dérivé, à son fondement.", "english": "Bass progression as the simultaneous determinant of chord progression; how to relate a derived chord to its foundation.", "sources": [ { "pdf_page": 238, "source_image": "source-pages/bnf-238.png", "printed_page": 206, "bbox_pixels": [ 279, 2647, 2494, 281 ], "crop_image": "assets/III.11-002.png" } ] }, { "id": "III.11-003", "type": "paragraph", "section": "III.11", "lesson": 55, "exercise": 55, "reading_order": 1460, "original": "ON ne limite point la Progression des Nottes d’une Basse, qui portent des Accords consonans, telles sont la Notte tonique, sa Mediante & sa Dominante, pourvû que cette progression ne soit pas étrangere au Ton que l’on traite ; mais comme il ne s’agit encore que d’un Ton, l’on ne peut se tromper, en ne se servant que des Nottes Ut, Ré, Mi, Fa, Sol, La, Si.", "english": "The progression of bass notes bearing consonant chords—tonic, mediant, and dominant—is unrestricted, provided it stays within the key. Since we are considering only one key, we cannot err by using only C, D, E, F, G, A, and B.", "sources": [ { "pdf_page": 238, "source_image": "source-pages/bnf-238.png", "printed_page": 206, "bbox_pixels": [ 279, 2986, 2494, 462 ], "crop_image": "assets/III.11-003.png" } ] }, { "id": "III.11-004", "type": "paragraph", "section": "III.11", "lesson": 55, "exercise": 55, "reading_order": 1461, "original": "La progression des Nottes d’une Basse, qui portent des Accords dissonans, est limitée ; telles sont la Dominante lorsqu’elle porte l’Accord de la Septiéme, & tous ses dérivez, ou plûtôt telles sont celles qui ne portent ni l’Accord parfait, ni l’un de ses dérivez ; parce que si-tôt qu’une Notte porte un Accord dissonant, il est certain qu’elle en domine une autre ; & si ce Dissonant n’est pas celuy de la Septiéme, il est certain qu’il en provient ; ce sera donc en le rapportant à son fondement, que l’on reconnoîtra indubitablement l’Accord qui doit le suivre, quelque Notte qui se trouve dans la Basse.", "english": "Bass notes bearing dissonant chords have restricted progressions: the dominant with its seventh chord and all derivatives, or rather any note bearing neither perfect chord nor a derivative of it. Once a note carries a dissonant chord, it certainly dominates another. If the dissonant chord is not itself a seventh chord, it derives from one. Referring it to its foundation therefore reveals beyond doubt the following chord, whatever note lies in the bass.", "sources": [ { "pdf_page": 238, "source_image": "source-pages/bnf-238.png", "printed_page": 206, "bbox_pixels": [ 279, 3450, 2494, 95 ], "crop_image": "assets/III.11-004.png" }, { "pdf_page": 239, "source_image": "source-pages/bnf-239.png", "printed_page": 207, "bbox_pixels": [ 279, 359, 2494, 610 ], "crop_image": "assets/III.11-005.png" } ] }, { "id": "III.11-006", "type": "paragraph", "section": "III.11", "lesson": 55, "exercise": 55, "reading_order": 1462, "original": "Pour rapporter un Accord dissonant à son fondement, il faut remarquer qu’il s’y trouve toujours deux Nottes ou deux nombres qui se joignent, comme 3 4 [Fa Sol] ; 5 6 [Ut Ré], &c. ce qui se rencontre également dans la Septiéme, en portant la Notte de la Basse à son Octave plus haut, ainsi 7 8 [Fa Sol] ; comme aussi dans la Seconde 1 2 [Ut Ré] : cela étant, l’on prend la plus haute des deux Nottes, ou le plus grand des deux nombres, pour le mettre à la Basse-fondamentale, & l’on trouve que la Notte la plus basse, ou que le plus petit nombre, fait toûjours la Septiéme de l’autre, en réduisant ainsi ces Accords dérivez à leur division fondamentale, 1. 3. 5. 7. comme il est précisément marqué dans le Dénombrement, page 202. de sorte que si la Notte Sol se trouve à la Basse après cette réduction, il sera certain que la Notte Ut devra suivre ; & si cette Notte Ut ne se trouve point dans la Basse, il s’y trouvera certainement l’une de celles qui composent son Accord parfait ou celuy de la Septiéme, supposé qu’on soit dans un autre Ton : Pareillement si la Notte Ré se trouve dans la Basse-fondamentale, la Notte Sol ou ses dérivez suivront, ainsi des autres ; en remarquant qu’après un Accord de Septiéme, la Basse-fondamentale doit toûjours descendre de Quinte.", "english": "To find a dissonant chord’s foundation, notice that it always contains two adjoining notes or numbers, such as 3 4 [F G] or 5 6 [C D]. The seventh likewise does so if the bass is moved an octave higher: 7 8 [F G]; so does the second: 1 2 [C D]. Take the higher note, or greater number, as fundamental bass. The lower note or smaller number always forms its seventh. Thus derived chords reduce to the fundamental division 1 3 5 7, exactly as in the list on page 202. If this reduction puts G in the bass, C must follow. If C itself is absent from the bass, a note of its perfect chord—or its seventh chord, supposing another key—must be there. Likewise, fundamental D is followed by G or its derivatives, and so forth. Remember that after a seventh chord the fundamental bass must always descend a fifth.", "sources": [ { "pdf_page": 239, "source_image": "source-pages/bnf-239.png", "printed_page": 207, "bbox_pixels": [ 279, 969, 2494, 1519 ], "crop_image": "assets/III.11-006.png" } ] }, { "id": "III.11-007", "type": "paragraph", "section": "III.11", "lesson": 55, "exercise": 55, "reading_order": 1463, "original": "Il faudroit absolument changer une Basse, dont la suite ne seroit pas conforme à celle que nous venons de luy déterminer ; ce qui est neanmoins facile à observer, tant par les Accords affectez à chaque Notte d’un Ton, selon sa differente progression, que par la preuve que l’on peut en faire d’abord avec la Basse-fondamentale, qui ne peut porter qu’un Accord parfait ou un de Septiéme la Notte qui porte le dernier Accord devant toûjours descendre ensuite de Quinte. Ce que nous disons d’une Basse composée, doit s’entendre aussi de la maniere dont il faut la composer ; & si cette Regle souffre quelques exceptions, comme dans les Cadences rompues ou irregulieres, &c. il ne faut pas y songer encore.", "english": "A bass failing to follow this prescribed succession would have to be changed. The rule is easy to observe through the chords assigned to each scale note according to its movement, or through immediate verification by the fundamental bass. That bass can bear only perfect or seventh chords, and a seventh-bearing note must next descend a fifth. What we say of an already composed bass also governs composing one. Exceptions such as interrupted or irregular cadences should not concern us yet.", "sources": [ { "pdf_page": 239, "source_image": "source-pages/bnf-239.png", "printed_page": 207, "bbox_pixels": [ 279, 2488, 2494, 816 ], "crop_image": "assets/III.11-007.png" } ] }, { "id": "III.11-008", "type": "paragraph", "section": "III.11", "lesson": 55, "exercise": 55, "reading_order": 1464, "original": "Avant que de donner un Exemple de ce que nous venons de dire, il faut se mettre dans l’esprit que l’Accord des Nottes, qu’une progression naturelle conduit à celle qui doivent porter un Accord parfait, se rapporte toûjours à celuy qui suit, & non pas à celuy qui précede, & que cette progression se fait ordinairement de la Notte tonique à sa Dominante, ou de celle-cy à l’autre, prenant toûjours la dominante pour Notte tonique, comme nous l’avons dit plusieurs fois ; de sorte que dans une progression diatonique, sçachant les Accords qui vous conduisent à l’une de ces Nottes, vous sçavez ceux qui vous conduisent à l’autre ; De-là vient que nous donnons pour Regle generale.", "english": "Before giving an example, understand that the chord on a note naturally leading to a perfect-chord note always relates to what follows, not what precedes. This progression ordinarily goes from tonic to dominant or vice versa; the dominant is always treated as a tonic, as repeatedly stated. In diatonic movement, knowing the chords leading to either therefore tells us those leading to the other. Hence our general rules:", "sources": [ { "pdf_page": 239, "source_image": "source-pages/bnf-239.png", "printed_page": 207, "bbox_pixels": [ 279, 3304, 2494, 245 ], "crop_image": "assets/III.11-008.png" }, { "pdf_page": 240, "source_image": "source-pages/bnf-240.png", "printed_page": 208, "bbox_pixels": [ 279, 387, 2494, 589 ], "crop_image": "assets/III.11-009.png" } ] }, { "id": "III.11-010", "type": "paragraph", "section": "III.11", "lesson": 55, "exercise": 55, "reading_order": 1465, "original": "1°. Que toute Notte qui précede en montant d’un Ton, ou d’un semi-Ton, celle où se fait l’Accord parfait, doit porter l’Accord de la grande Sixte ou de la fausse-Quinte.", "english": "1. Every note rising a whole tone or semitone to a note bearing a perfect chord must carry a great-sixth or diminished-fifth chord.", "sources": [ { "pdf_page": 240, "source_image": "source-pages/bnf-240.png", "printed_page": 208, "bbox_pixels": [ 279, 975, 2494, 236 ], "crop_image": "assets/III.11-010.png" } ] }, { "id": "III.11-011", "type": "heading", "section": "III.11", "lesson": 55, "exercise": 55, "reading_order": 1466, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 240, "source_image": "source-pages/bnf-240.png", "printed_page": 208, "bbox_pixels": [ 279, 1268, 2494, 99 ], "crop_image": "assets/III.11-011.png" } ] }, { "id": "III.11-012", "type": "music", "section": "III.11", "lesson": 55, "exercise": 55, "reading_order": 1467, "original": "Grande Sixte et fausse-Quinte avant l’Accord parfait.", "english": "Great-sixth and diminished-fifth chords before the perfect chord.", "sources": [ { "pdf_page": 240, "source_image": "source-pages/bnf-240.png", "printed_page": 208, "bbox_pixels": [ 841, 1399, 1234, 917 ], "crop_image": "assets/III.11-012.png" } ], "original_title": "Grande Sixte et fausse-Quinte avant l’Accord parfait.", "english_title": "Great-sixth and diminished-fifth chords before the perfect chord.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.11-012" ], "music_asset_refs": [ "III.11-012" ] }, { "id": "III.11-013", "type": "paragraph", "section": "III.11", "lesson": 55, "exercise": 55, "reading_order": 1468, "original": "Remarquez que la difference de ces deux Accords ne consiste que dans la Basse ; car que l’on monte d’un Ton ou d’un semi-Ton sur la Notte qui porte l’Accord parfait, l’Accord des Parties superieures est toûjours le même, le Compositeur étant libre de faire proceder sa Basse, par ce Ton, ou par ce semi-Ton, quand il seroit même dans un Ton où le semi-Ton ne conviendroit pas ; en ce que la Dominante pouvant être prise pour Notte tonique, on peut la prévenir de tous les Sons qui précedent naturellement une Notte tonique, en ajoûtant, comme l’on voit, un Dieze à la quatriéme Notte, laquelle devient pour lors Notte sensible ; & c’est par cette progression du Ton ou du semi-Ton en montant sur la Notte, qui doit porter l’Accord parfait, que l’on distingue une Dominante d’une Notte tonique. La Basse monte toûjours d’un Ton sur la Dominante, & d’un semi-Ton sur la Notte tonique ; & supposé que par cette progression du semi-Ton, l’on donne à une Dominante tous les attributs d’une Notte tonique, l’on peut neanmoins continuer après cette Dominante, qui nous paroît, en ce cas, Notte tonique, le Ton par où l’on a commencé ; parce qu’après un Accord parfait, l’on est libre de passer où l’on veut.", "english": "The two chords differ only in their bass. Whether the bass rises a whole tone or semitone to the perfect-chord note, the upper chord is the same. The composer may choose either step, even in a key where the semitone would not belong. Since the dominant may be treated as tonic, it may be approached by all sounds naturally preceding a tonic. As shown, sharpening the fourth note makes it a leading note. It is this ascending whole-tone or semitone approach to the perfect-chord note that distinguishes dominant from tonic. The bass always rises a whole tone to the dominant and a semitone to the tonic. If the semitone approach gives a dominant every attribute of a tonic, we may nevertheless continue in the original key afterward: after a perfect chord, we may proceed wherever we wish.", "sources": [ { "pdf_page": 240, "source_image": "source-pages/bnf-240.png", "printed_page": 208, "bbox_pixels": [ 279, 2320, 2494, 1203 ], "crop_image": "assets/III.11-013.png" }, { "pdf_page": 241, "source_image": "source-pages/bnf-241.png", "printed_page": 209, "bbox_pixels": [ 279, 279, 2494, 236 ], "crop_image": "assets/III.11-014.png" } ] }, { "id": "III.11-015", "type": "paragraph", "section": "III.11", "lesson": 55, "exercise": 55, "reading_order": 1469, "original": "2°. Toute Notte qui précede en descendant celles où se fait l’Accord parfait, doit porter un Accord de petite Sixte.", "english": "2. Every note descending to one bearing a perfect chord must carry a small-sixth chord.", "sources": [ { "pdf_page": 241, "source_image": "source-pages/bnf-241.png", "printed_page": 209, "bbox_pixels": [ 279, 513, 2494, 155 ], "crop_image": "assets/III.11-015.png" } ] }, { "id": "III.11-016", "type": "heading", "section": "III.11", "lesson": 55, "exercise": 55, "reading_order": 1470, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 241, "source_image": "source-pages/bnf-241.png", "printed_page": 209, "bbox_pixels": [ 279, 698, 2494, 84 ], "crop_image": "assets/III.11-016.png" } ] }, { "id": "III.11-017", "type": "music", "section": "III.11", "lesson": 55, "exercise": 55, "reading_order": 1471, "original": "Petite Sixte ; guidons des Mediantes.", "english": "Small-sixth chord; mediant guide notes.", "sources": [ { "pdf_page": 241, "source_image": "source-pages/bnf-241.png", "printed_page": 209, "bbox_pixels": [ 690, 780, 1174, 746 ], "crop_image": "assets/III.11-017.png" } ], "original_title": "Petite Sixte ; guidons des Mediantes.", "english_title": "Small-sixth chord; mediant guide notes.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.11-017" ], "music_asset_refs": [ "III.11-017" ] }, { "id": "III.11-018", "type": "paragraph", "section": "III.11", "lesson": 55, "exercise": 55, "reading_order": 1472, "original": "Les Guidons signifient que l’on peut faire passer la Basse sur la Mediante de chacune de ces Nottes qui portent un Accord parfait, sans changer le fond des Accords ; ainsi ces Mediantes portent l’Accord de Sixte en pareil cas.", "english": "The guides mean that the bass may move to the mediant of either perfect-chord note without changing the chords’ substance. Those mediants therefore carry sixth chords.", "sources": [ { "pdf_page": 241, "source_image": "source-pages/bnf-241.png", "printed_page": 209, "bbox_pixels": [ 279, 1521, 2494, 303 ], "crop_image": "assets/III.11-018.png" } ] }, { "id": "III.11-019", "type": "paragraph", "section": "III.11", "lesson": 55, "exercise": 55, "reading_order": 1473, "original": "L’on ne peut faire icy la difference d’une seconde Notte, ni d’une Notte tonique à une sixiéme Notte, ni à une Dominante, parce que l’Accord parfait que portent la Tonique & la Dominante, veut être précedé de même, & ne nous permet pas de les distinguer alors dans le Ton majeur ; car dans le Ton mineur, la sixiéme Notte qui descend sur la Dominante n’est qu’un semi-Ton plus haut, au lieu que la seconde Notte est toûjours un Ton au-dessus de la Tonique : De plus, la Dominante porte toûjours la Tierce majeure, au lieu que la Tonique doit avoir la Tierce mineure dans le Ton mineur ; mais si l’on ne peut distinguer une Dominante dans le Ton majeure, cela ne doit pas embarrasser, parce qu’il n’y a qu’à la traiter, en ce cas, comme Tonique, en conformant à son Ton les Accords des Nottes qui la précedent, & il est facile de juger par la suite si elle est veritablement Tonique ou Dominante.", "english": "Here a second note cannot be distinguished, nor a tonic note from a sixth note or a dominant, because tonic and dominant perfect chords require the same approach and cannot then be distinguished in major. In minor, however, the sixth descending to the dominant lies only a semitone above it, while the second always lies a whole tone above the tonic. Moreover, the dominant always has a major third, while a minor-key tonic has a minor third. If a dominant cannot be identified in major, do not be troubled: treat it as tonic, adapting preceding chords to its key. What follows easily reveals whether it is truly tonic or dominant.", "sources": [ { "pdf_page": 241, "source_image": "source-pages/bnf-241.png", "printed_page": 209, "bbox_pixels": [ 279, 1824, 2494, 1051 ], "crop_image": "assets/III.11-019.png" } ] }, { "id": "III.11-020", "type": "heading", "section": "III.11", "lesson": 55, "exercise": 55, "reading_order": 1474, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 241, "source_image": "source-pages/bnf-241.png", "printed_page": 209, "bbox_pixels": [ 279, 2896, 2494, 90 ], "crop_image": "assets/III.11-020.png" } ] }, { "id": "III.11-021", "type": "music", "section": "III.11", "lesson": 55, "exercise": 55, "reading_order": 1475, "original": "Progressions de Basse, repères A. B. C. D. F. G.", "english": "Bass progressions, references A, B, C, D, F, G.", "sources": [ { "pdf_page": 241, "source_image": "source-pages/bnf-241.png", "printed_page": 209, "bbox_pixels": [ 273, 2976, 1451, 322 ], "crop_image": "assets/III.11-021.png" } ], "original_title": "Progressions de Basse, repères A. B. C. D. F. G.", "english_title": "Bass progressions, references A, B, C, D, F, G.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.11-021" ], "music_asset_refs": [ "III.11-021" ] }, { "id": "III.11-022", "type": "paragraph", "section": "III.11", "lesson": 55, "exercise": 55, "reading_order": 1476, "original": "La progression de la premiere Notte à la Notte (A) ne nous permet pas de connoître si la Notte (A) est Tonique ou Dominante ; ce qui n’importe, parce que les Accords fixez à l’une de ces progressions sont les mêmes dans l’autre ; mais l’on voit que celle (d’A) à (B) conduit à une Notte tonique ; donc (A) est la Dominante. Si la progression de (B) à (C) nous laisse encore dans l’incertitude, la Notte (D) qui suit, nous fait connoître que (C) est Dominante, de même que (F) nous fait encore remarquer cette dominante à (G) ; parce que dans tous les Tons, la Notte qui est immédiatement au-dessous de la Tonique n’en est éloignée que d’un semi-Ton, au lieu qu’il doit se trouver toûjours un Ton entre la Dominante & celle qui est immédiatement au-dessous.", "english": "The movement from the first note to A does not reveal whether A is tonic or dominant. This does not matter, since both progressions require the same chords. But A to B leads to a tonic, so A is dominant. If B to C remains uncertain, the following D reveals C as dominant. Likewise F reveals the dominant at G. In every key, the note immediately below the tonic lies only a semitone away, while the note immediately below the dominant must be a whole tone away.", "sources": [ { "pdf_page": 241, "source_image": "source-pages/bnf-241.png", "printed_page": 209, "bbox_pixels": [ 279, 3321, 2494, 86 ], "crop_image": "assets/III.11-022.png" }, { "pdf_page": 242, "source_image": "source-pages/bnf-242.png", "printed_page": 210, "bbox_pixels": [ 279, 288, 2494, 821 ], "crop_image": "assets/III.11-023.png" } ] }, { "id": "III.11-024", "type": "paragraph", "section": "III.11", "lesson": 55, "exercise": 55, "reading_order": 1477, "original": "Si dans le Ton mineur la Notte qui est au-dessous de la Tonique en est éloignée d’un Ton, lorsqu’on descend de la Notte tonique à la Dominante, ou du moins à la sixiéme Notte ; la Tierce mineure que doit porter, en ce cas la Tonique, nous la fait distinguer d’abord, parce que la Dominante doit avoir toûjours la Tierce majeure.", "english": "In minor, the note below the tonic may lie a whole tone away when descending from tonic toward dominant, or at least toward the sixth note. The tonic’s required minor third then identifies it immediately, since the dominant always requires a major third.", "sources": [ { "pdf_page": 242, "source_image": "source-pages/bnf-242.png", "printed_page": 210, "bbox_pixels": [ 279, 1109, 2494, 451 ], "crop_image": "assets/III.11-024.png" } ] }, { "id": "III.11-025", "type": "paragraph", "section": "III.11", "lesson": 55, "exercise": 55, "reading_order": 1478, "original": "3°. Toute Notte qui se trouve une Tierce au-dessus ou au-dessous de la Tonique ou de la Dominante, doit porter l’Accord de Sixte, lorsque la progression de la Basse conduit à l’une de ces deux Nottes.", "english": "3. Every note a third above or below tonic or dominant must carry a sixth chord when the bass progression leads to either of those notes.", "sources": [ { "pdf_page": 242, "source_image": "source-pages/bnf-242.png", "printed_page": 210, "bbox_pixels": [ 279, 1560, 2494, 228 ], "crop_image": "assets/III.11-025.png" } ] }, { "id": "III.11-026", "type": "heading", "section": "III.11", "lesson": 55, "exercise": 55, "reading_order": 1479, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 242, "source_image": "source-pages/bnf-242.png", "printed_page": 210, "bbox_pixels": [ 279, 1850, 2494, 105 ], "crop_image": "assets/III.11-026.png" } ] }, { "id": "III.11-027", "type": "music", "section": "III.11", "lesson": 55, "exercise": 55, "reading_order": 1480, "original": "Accords de Sixte conduisant à la Tonique ou à la Dominante.", "english": "Sixth chords leading to tonic or dominant.", "sources": [ { "pdf_page": 242, "source_image": "source-pages/bnf-242.png", "printed_page": 210, "bbox_pixels": [ 415, 1955, 2055, 698 ], "crop_image": "assets/III.11-027.png" } ], "original_title": "Accords de Sixte conduisant à la Tonique ou à la Dominante.", "english_title": "Sixth chords leading to tonic or dominant.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.11-027" ], "music_asset_refs": [ "III.11-027" ] }, { "id": "III.11-028", "type": "paragraph", "section": "III.11", "lesson": 55, "exercise": 55, "reading_order": 1481, "original": "La progression de la Basse qui conduit aux Nottes (B) (D) (G) & (L) où doit se faire l’Accord parfait, nous oblige de donner celuy de la Sixte aux Nottes (A) (C) (F) & (J).", "english": "The bass movements toward B, D, G, and L, where perfect chords are required, oblige us to give sixth chords to A, C, F, and J.", "sources": [ { "pdf_page": 242, "source_image": "source-pages/bnf-242.png", "printed_page": 210, "bbox_pixels": [ 279, 2675, 2494, 232 ], "crop_image": "assets/III.11-028.png" } ] }, { "id": "III.11-029", "type": "paragraph", "section": "III.11", "lesson": 55, "exercise": 55, "reading_order": 1482, "original": "4°. La Mediante representant toûjours la Notte tonique, en ce que l’Accord de Sixte que cette Mediante doit porter naturellement, n’est autre que le parfait de la Tonique ; il faut donner l’Accord du Tri-Ton à la quatriéme Notte lorsqu’elle descend sur cette Mediante, quoique l’on puisse luy donner aussi celuy de la grande-Sixte, mais nous en parlerons ailleurs.", "english": "4. The mediant always represents the tonic: its natural sixth chord is merely the tonic’s perfect chord. Thus the fourth note descending to the mediant must bear a tritone chord. It may also receive a great-sixth chord, but we shall discuss that elsewhere.", "sources": [ { "pdf_page": 242, "source_image": "source-pages/bnf-242.png", "printed_page": 210, "bbox_pixels": [ 279, 2907, 2494, 466 ], "crop_image": "assets/III.11-029.png" } ] }, { "id": "III.11-030", "type": "heading", "section": "III.11", "lesson": 55, "exercise": 55, "reading_order": 1483, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 243, "source_image": "source-pages/bnf-243.png", "printed_page": 211, "bbox_pixels": [ 279, 436, 2494, 95 ], "crop_image": "assets/III.11-030.png" } ] }, { "id": "III.11-031", "type": "music", "section": "III.11", "lesson": 55, "exercise": 55, "reading_order": 1484, "original": "Tri-Ton de la quatriéme Notte descendant sur la Mediante.", "english": "Tritone on the fourth note descending to the mediant.", "sources": [ { "pdf_page": 243, "source_image": "source-pages/bnf-243.png", "printed_page": 211, "bbox_pixels": [ 946, 559, 1086, 705 ], "crop_image": "assets/III.11-031.png" } ], "original_title": "Tri-Ton de la quatriéme Notte descendant sur la Mediante.", "english_title": "Tritone on the fourth note descending to the mediant.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.11-031" ], "music_asset_refs": [ "III.11-031" ] }, { "id": "III.11-032", "type": "paragraph", "section": "III.11", "lesson": 55, "exercise": 55, "reading_order": 1485, "original": "Nous pouvons tirer des consequences très-utiles de ces cinq derniers Exemples, par la remarque que l’on doit faire de la differente disposition des Sons dont un Accord fondamental est composé, selon la differente progression de la Basse ; car si la quatriéme Notte porte l’Accord de la grande Sixte en montant sur la Dominante ; si elle porte celuy du Tri-Ton en descendant sur la Mediante, qui represente la Tonique ; si la Notte sensible porte celuy de la fausse-Quinte en montant sur la Tonique ; & si la seconde & la sixiéme Notte porte celuy de la petite Sixte en descendant sur la Tonique ou sur la Dominante, l’on voit que ces Accords dérivent de celuy de la Septiéme des Nottes qui dominent, en ce cas, celles qui suivent ; ce qui va s’éclaircir par une Basse fondamentale, que nous mettrons au-dessous d’un Exemple general de tout ce qui vient d’être dit, où l’on remarquera que la Notte sensible n’est telle, qu’en montant sur la Notte tonique ; car si elle descend, elle ne doit plus être regardée que comme Mediante de la Dominante, celle-cy pouvant être prise, en ce cas, pour Notte tonique, afin de ne pas se tromper.", "english": "These five examples yield useful consequences if we observe how fundamental chord sounds are rearranged with different bass movements. The fourth takes a great-sixth chord ascending to the dominant and a tritone descending to the mediant, which represents tonic; the leading note takes a diminished-fifth chord ascending to tonic; second and sixth take small-sixth chords descending to tonic or dominant. All these derive from seventh chords on notes that dominate the following notes. A fundamental bass below the general example will clarify this. Notice that the leading note acts as such only when rising to tonic. Descending, it must instead be regarded as the dominant’s mediant. Treating that dominant as tonic avoids mistakes.", "sources": [ { "pdf_page": 243, "source_image": "source-pages/bnf-243.png", "printed_page": 211, "bbox_pixels": [ 279, 1280, 2494, 1270 ], "crop_image": "assets/III.11-032.png" } ] }, { "id": "III.11-033", "type": "heading", "section": "III.11", "lesson": 55, "exercise": 55, "reading_order": 1486, "original": "Exemple général de l’Octave, tant en montant qu’en descendant.", "english": "General example of the octave, ascending and descending.", "sources": [ { "pdf_page": 244, "source_image": "source-pages/bnf-244.png", "printed_page": 212, "bbox_pixels": [ 279, 481, 2494, 101 ], "crop_image": "assets/III.11-033.png" } ] }, { "id": "III.11-034", "type": "music", "section": "III.11", "lesson": 55, "exercise": 55, "reading_order": 1487, "original": "Exemple général de l’Octave — cinq parties.", "english": "General octave example—five parts.", "sources": [ { "pdf_page": 244, "source_image": "source-pages/bnf-244.png", "printed_page": 212, "bbox_pixels": [ 421, 599, 2141, 1736 ], "crop_image": "assets/III.11-034.png" } ], "original_title": "Exemple général de l’Octave — cinq parties.", "english_title": "General octave example—five parts.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.11-034" ], "music_asset_refs": [ "III.11-034" ] }, { "id": "III.11-035", "type": "paragraph", "section": "III.11", "lesson": 55, "exercise": 55, "reading_order": 1488, "original": "Comme la Basse-fondamentale n’est mise au-dessous des autres Parties, que pour prouver que toute leur Harmonie est renfermée dans l’Accord parfait & dans celuy de la Septiéme, sans s’écarter de la progression naturelle à cette Basse, il ne faut point examiner si les Regles sont observées dans la rigueur entre les Parties & cette Basse-fondamentale, mais seulement si l’on y trouve d’autres Accords que ceux qui sont chiffrez sur chaque Basse ; car la suite des Sons ne se rapporte qu’à la Basse-Continuë, puisqu’il s’agit à present d’une progression diatonique dans la Basse.", "english": "The fundamental bass appears beneath the other parts only to prove that all their harmony lies within perfect and seventh chords without departing from its natural progression. Do not test whether every rule is strictly observed between the parts and this analytical bass. Check only whether the resulting chords differ from those figured on each bass. The succession of sounds relates solely to the continuo bass, since its diatonic progression is now our subject.", "sources": [ { "pdf_page": 244, "source_image": "source-pages/bnf-244.png", "printed_page": 212, "bbox_pixels": [ 279, 2342, 2494, 679 ], "crop_image": "assets/III.11-035.png" } ] }, { "id": "III.11-036", "type": "paragraph", "section": "III.11", "lesson": 55, "exercise": 55, "reading_order": 1489, "original": "1°. Après avoir remarqué dans la Basse-Continuë la même suite d’Accords qui se trouvent d’J à L, & de B à M, en montant à la Dominante ou à la Notte tonique, avec celle qui se trouve d’N à K, & d’O à U, en descendant sur la Dominante ou sur la Notte tonique ; Vous devez juger de-là que tout se rapporte à l’une de ces deux Nottes, qui sont les seules qui puissent porter naturellement l’Accord parfait dans un Ton quelconque, en se souvenant que les Nottes qui se trouvent une Tierce au-dessus, sont regardées comme leur Mediante, lorsque la Basse descend de celles-cy aux premieres, quoique la Mediante tonique soit toûjours telle, quelque route qu’elle tienne : Puis vous dites, cet Accord parfait ne peut être précedé d’un Dissonant, sinon, de celuy qui le domine ; ainsi vous voyez que les Accords de petite & de grande Sixte, de fausse-Quinte & de Tri-Ton, ne sont autres que ceux de la Septiéme des Nottes situées dans la Basse-fondamentale qui dominent naturellement celles qui les suivent. La petite Sixte de la seconde Notte ; La fausse-Quinte de la sensible, & le Tri-Ton de la quatriéme Notte dérivent de l’Accord de la Septiéme de la Dominante tonique D, après laquelle suit immédiatement la Notte tonique ; La grande Sixte de la quatriéme Notte, avec la petite Sixte de la sixiéme Notte, dérivent encore de l’Accord de la Septiéme de la seconde Notte A & C, qui domine, en ce cas, la Dominante tonique, dont elle est suivie immédiatement après ; & l’Accord de Sixte que porte la Mediante, la sixiéme Notte, & la sensible ne leur est approprié, comme l’on voit, que parce que ces Nottes se trouvent une Tierce au-dessus ou au-dessous de la Tonique & de la Dominante, où la progression de la Basse nous conduit immédiatement après.", "english": "1. Compare the continuo-bass chord successions J–L and B–M ascending to dominant or tonic with N–K and O–U descending to dominant or tonic. Everything relates to these two notes, the only ones naturally bearing perfect chords in any key. Notes a third above them act as their mediants when the bass descends to them, though the tonic’s mediant remains so whatever its path. Reason that a perfect chord can follow only the dissonant chord dominating it. Small-sixth, great-sixth, diminished-fifth, and tritone chords are simply seventh chords on fundamental-bass notes that naturally dominate their successors. The second note’s small sixth, leading note’s diminished fifth, and fourth note’s tritone derive from the tonic dominant’s seventh chord at D, immediately followed by tonic. The fourth note’s great sixth and sixth note’s small sixth derive from the second note’s seventh chord at A and C, which dominates the immediately following tonic dominant. The sixth chords on mediant, sixth note, and leading note belong there only because those notes lie a third above or below the tonic or dominant to which the bass immediately proceeds.", "sources": [ { "pdf_page": 244, "source_image": "source-pages/bnf-244.png", "printed_page": 212, "bbox_pixels": [ 279, 3021, 2494, 531 ], "crop_image": "assets/III.11-036.png" }, { "pdf_page": 245, "source_image": "source-pages/bnf-245.png", "printed_page": 213, "bbox_pixels": [ 279, 365, 2494, 1422 ], "crop_image": "assets/III.11-037.png" } ] }, { "id": "III.11-038", "type": "paragraph", "section": "III.11", "lesson": 55, "exercise": 55, "reading_order": 1490, "original": "2°. Il semble que la sixiéme Notte B devroit porter l’Accord de la petite Sixte, conformément à celuy de la Septiéme que porte la Notte B qui est dans la Basse-fondamentale ; mais nous en retranchons l’un des Sons qui fait la dissonance, pour plusieurs raisons : La premiere, parce que cela est indifferent ; La seconde, parce que la Notte qui suit dans la Basse étant la sensible, & formant par consequent la dissonance majeure (comme nous le verrons dans la suite) toute dissonance n’aimant point à être doublée, l’on ne pourroit donner l’Accord de la petite Sixte à la sixiéme Notte en pareil cas, sans faire descendre la Tierce de cette sixiéme Notte sur la même dissonance majeure ; & la derniere raison est, que nôtre regle de faire l’Accord de la Sixte sur toutes les Nottes qui précedent celles qui se trouvent une Tierce plus haut ou plus bas, portant l’Accord parfait, y subsiste toûjours.", "english": "2. Sixth note B seems to require a small-sixth chord corresponding to fundamental-bass B’s seventh chord. We omit one dissonant sound for several reasons. First, either choice is permissible. Second, the next bass note is the leading note and therefore the major dissonance, as we shall see. Dissonances resist doubling; a small-sixth chord here would force the sixth note’s third to descend onto that same major dissonance. Finally, our rule still holds: use a sixth chord on every note preceding a perfect-chord note a third higher or lower.", "sources": [ { "pdf_page": 245, "source_image": "source-pages/bnf-245.png", "printed_page": 213, "bbox_pixels": [ 279, 1788, 2494, 1048 ], "crop_image": "assets/III.11-038.png" } ] }, { "id": "III.11-039", "type": "paragraph", "section": "III.11", "lesson": 55, "exercise": 55, "reading_order": 1491, "original": "3°. Si la quatriéme Notte R, ne se trouvoit point dans la Basse-Continuë, & qu’il y eût en sa place la seconde Notte A ou C, ou la sixiéme Notte T, immédiatement avant la Dominante L ou K, il faudroit ajoûter un Dieze à cette quatriéme Notte, comme nous l’avons fait à S ; parce que toute Notte où se fait l’Accord parfait aime à être précedée de sa Notte sensible, à l’exception des Tons mineurs, où la sixiéme Notte ne descend jamais que d’un semi-Ton sur la Dominante, & où la Notte sensible de cette Dominante ne peut être pour lors entenduë, quelque Notte qui précede cette Dominante dans la Basse ; car si elle étoit précedée de sa Notte sensible, elle seroit Notte tonique, & le veritable Ton que l’on traiteroit pour lors, ne pourroit se distinguer que par les Nottes qui suivroient cette Dominante ; ce qui se découvre dans nôtre Exemple, où la Dominante peut être prise pour Notte tonique, ne paroissant pour ce qu’elle est que dans la Notte qui la suit ; donc l’Accord du Tri-Ton dérive de celuy de la Septiéme de cette même Dominante, qui se trouve au-dessous dans la Basse fondamentale à D.", "english": "3. If fourth note R were absent from the continuo bass and replaced by second note A or C, or sixth note T, immediately before dominant L or K, the fourth note would need a sharp, as at S. Every perfect-chord note likes its leading note before it. Minor keys are excepted: their sixth descends only a semitone to the dominant, and the dominant’s own leading note then cannot sound, whatever bass note precedes it. Were that leading note present, the dominant would be tonic, and the actual key could be determined only from the following notes. Our example shows this: the dominant may be taken as tonic, revealing its true role only through the next note. Therefore the tritone chord derives from the seventh chord on that same dominant, shown below at fundamental-bass D.", "sources": [ { "pdf_page": 245, "source_image": "source-pages/bnf-245.png", "printed_page": 213, "bbox_pixels": [ 279, 2836, 2494, 681 ], "crop_image": "assets/III.11-039.png" }, { "pdf_page": 246, "source_image": "source-pages/bnf-246.png", "printed_page": 214, "bbox_pixels": [ 279, 395, 2494, 606 ], "crop_image": "assets/III.11-040.png" } ] }, { "id": "III.11-041", "type": "paragraph", "section": "III.11", "lesson": 55, "exercise": 55, "reading_order": 1492, "original": "4°. La progression diatonique de la Basse-Continuë dérange celle des Parties à (F), à (G) & à (H) ; ce qui ne peut se faire autrement, soit pour éviter les deux Octaves ou Quintes consecutives, soit pour remettre une Partie dans sa portée naturelle & au-dessus de la Basse, soit pour faire entendre tous les Sons dont un Accord est composé.", "english": "4. The continuo bass’s diatonic movement disturbs the other parts’ movement at F, G, and H. This is unavoidable to prevent consecutive octaves or fifths, restore a part to its natural range and above the bass, or sound every chord member.", "sources": [ { "pdf_page": 246, "source_image": "source-pages/bnf-246.png", "printed_page": 214, "bbox_pixels": [ 279, 1001, 2494, 443 ], "crop_image": "assets/III.11-041.png" } ] }, { "id": "III.11-042", "type": "paragraph", "section": "III.11", "lesson": 55, "exercise": 55, "reading_order": 1493, "original": "Si les Parties superieures doivent suivre une Progression diatonique, ce n’est qu’autant que la Basse en suit une Consonante ; & si celle-cy prend le change, les autres peuvent faire de même ; d’ailleurs il est souvent bon de déranger l’ordre diatonique d’une Partie quelconque, pour en diversifier le Chant ; l’on pourroit même changer l’ordre & la progression des Parties qui sont au-dessus de la Basse-Continuë, sans tomber dans aucune faute ; mais cela ne doit pas nous occuper encore.", "english": "Upper parts must move diatonically only while the bass moves consonantly. If the bass changes its manner, the others may do likewise. It is often good to interrupt any part’s diatonic order to vary the melody. One could even change the order and progression of the parts above the continuo bass without error, but this should not occupy us yet.", "sources": [ { "pdf_page": 246, "source_image": "source-pages/bnf-246.png", "printed_page": 214, "bbox_pixels": [ 279, 1444, 2494, 599 ], "crop_image": "assets/III.11-042.png" } ] }, { "id": "III.11-043", "type": "paragraph", "section": "III.11", "lesson": 55, "exercise": 55, "reading_order": 1494, "original": "5°. Il se trouve dans nôtre Exemple plusieurs Septiémes sans être préparées, ce qui contredit nôtre premiere Regle ; mais ce n’est pas icy le lieu d’en parler ; attachons-nous seulement à suivre la progression déterminée aux Accords, selon l’ordre de cette Octave ; & nous verrons dans la suite qu’après l’Accord consonant, il est libre de passer où l’on veut, en observant les regles de la Modulation.", "english": "5. Several unprepared sevenths in this example contradict our first rule, but this is not the place to discuss them. Attend only to the prescribed chord progression within this octave. Later we shall see that after a consonant chord we may proceed freely, observing modulation’s rules.", "sources": [ { "pdf_page": 246, "source_image": "source-pages/bnf-246.png", "printed_page": 214, "bbox_pixels": [ 279, 2043, 2494, 509 ], "crop_image": "assets/III.11-043.png" } ] }, { "id": "III.11-044", "type": "paragraph", "section": "III.11", "lesson": 55, "exercise": 55, "reading_order": 1495, "original": "6°. L’on trouvera icy nôtre remarque du Livre précedent, où nous disons, que s’il est permis de faire monter la Basse-fondamentale d’un Ton ou d’un semi-Ton, la progression d’une Tierce & d’une Quarte y est toûjours sous-entenduë, comme cela se voit entre les Nottes (Z), (Y) & (A) où la Notte (Y) est ajoûtée ; la Septiéme se trouvant préparée par la Quinte de la Notte (Z), & la Tierce préparant la Septiéme de la Notte (A), ce qui ne change point le fond des Accords ; & l’on y voit de plus, que la Notte (Y) retranchée, le Ton ou la Seconde qui se trouve entre les Nottes (Z) & (A) est formée des mêmes Nottes qui composent la Septiéme entre (A) & (X.)", "english": "6. Here is the preceding book’s observation: when fundamental bass is allowed to rise a tone or semitone, a third and fourth are always implied. The added Y between Z and A shows this. The seventh is prepared by Z’s fifth, and the third prepares A’s seventh; the chord substance is unchanged. Remove Y, and the whole tone or second between Z and A consists of the same notes as the seventh between A and X.", "sources": [ { "pdf_page": 246, "source_image": "source-pages/bnf-246.png", "printed_page": 214, "bbox_pixels": [ 279, 2552, 2494, 834 ], "crop_image": "assets/III.11-044.png" } ] }, { "id": "III.12-001", "type": "heading", "section": "III.12", "lesson": 56, "exercise": 56, "reading_order": 1496, "original": "CHAPITRE DOUZIÉME.", "english": "CHAPTER TWELVE.", "sources": [ { "pdf_page": 247, "source_image": "source-pages/bnf-247.png", "printed_page": 215, "bbox_pixels": [ 279, 432, 2494, 95 ], "crop_image": "assets/III.12-001.png" } ], "correction_refs": [ "supplement-214" ] }, { "id": "III.12-002", "type": "heading", "section": "III.12", "lesson": 56, "exercise": 56, "reading_order": 1497, "original": "Suite des Regles tirées de l’Exemple précedent.", "english": "Further rules drawn from the preceding example.", "sources": [ { "pdf_page": 247, "source_image": "source-pages/bnf-247.png", "printed_page": 215, "bbox_pixels": [ 279, 539, 2494, 99 ], "crop_image": "assets/III.12-002.png" } ] }, { "id": "III.12-003", "type": "paragraph", "section": "III.12", "lesson": 56, "exercise": 56, "reading_order": 1498, "original": "SOuvenez-vous que lorsqu’une Notte de la Basse doit porter l’Accord de la Septiéme, l’on peut toûjours en retrancher celle qui fait la Septiéme, excepté qu’elle ne se trouve préparée par une Consonance dans l’Accord précedent ; quoique, si cette consonance est majeure, comme la Tierce & la Sixte peuvent l’être, il vaut mieux faire monter d’un semi-Ton cette Tierce ou cette Sixte ; mais si la Notte de la Basse ne porte qu’un Accord dérivé de celuy de la Septiéme, vous pouvez retrancher de cet Accord l’un des deux Sons qui forment la dissonance, l’un de ces deux Sons étant facile à reconnoître, lorsqu’on remarque qu’ils se joignent toûjours, selon ce qui en a été dit au Chap. XI.", "english": "Remember that when a bass note is to carry a seventh chord, the note forming the seventh can always be omitted, unless it is prepared by a consonance in the preceding chord. Yet if that consonance is major, as a third or sixth can be, it is better to raise that third or sixth a semitone. If the bass note carries only a chord derived from the seventh chord, however, you may omit one of the two sounds forming the dissonance. Either is easily recognized by noticing that they always adjoin one another, as explained in chapter XI.", "sources": [ { "pdf_page": 247, "source_image": "source-pages/bnf-247.png", "printed_page": 215, "bbox_pixels": [ 279, 655, 2494, 831 ], "crop_image": "assets/III.12-003.png" } ] }, { "id": "III.12-004", "type": "paragraph", "section": "III.12", "lesson": 56, "exercise": 56, "reading_order": 1499, "original": "L’on peut faire repeter dans la Basse une même Notte autant de fois que le bon goût le permet, en luy donnant le même Accord ou en luy en donnant de differens, à mesure que nous connoîtrons comment cela peut se faire.", "english": "The same bass note may be repeated as often as good taste permits, with the same chord or with different chords, as we learn how this can be done.", "sources": [ { "pdf_page": 247, "source_image": "source-pages/bnf-247.png", "printed_page": 215, "bbox_pixels": [ 279, 1487, 2494, 301 ], "crop_image": "assets/III.12-004.png" } ] }, { "id": "III.12-005", "type": "paragraph", "section": "III.12", "lesson": 56, "exercise": 56, "reading_order": 1500, "original": "L’on peut encore passer d’une Notte à une autre, dont l’Accord ne differe que par le nom, pouvant passer de l’Accord de la Septiéme à celuy de la fausse-Quinte, sur la Notte qui fait la Tierce de celle où l’on a entendu cette Septiéme ; & sur celle qui en fait la Quinte, l’on peut faire l’Accord de la petite Sixte, de même que l’on peut faire l’Accord du Tri-Ton sur celle qui en fait la Septiéme ; parce que tous ces Accords ne sont dans le fond qu’un même, ainsi des autres en pareil cas. Voyez l’Exemple qui suit.", "english": "One may also pass from one note to another whose chord differs only in name. From a seventh chord one may pass to the diminished-fifth chord upon the note a third above the note that bore the seventh; upon its fifth one may place the small-sixth chord; likewise, upon its seventh one may place the tritone chord. All these chords are essentially one and the same. The same applies to the others in similar circumstances. See the following example.", "sources": [ { "pdf_page": 247, "source_image": "source-pages/bnf-247.png", "printed_page": 215, "bbox_pixels": [ 279, 1788, 2494, 589 ], "crop_image": "assets/III.12-005.png" } ] }, { "id": "III.12-006", "type": "music", "section": "III.12", "lesson": 56, "exercise": 56, "reading_order": 1501, "original": "Accords équivalens par renversement ; Idem.", "english": "Chords equivalent through inversion; the same.", "sources": [ { "pdf_page": 247, "source_image": "source-pages/bnf-247.png", "printed_page": 215, "bbox_pixels": [ 415, 2363, 2204, 636 ], "crop_image": "assets/III.12-006.png" } ], "original_title": "Accords équivalens par renversement ; Idem.", "english_title": "Chords equivalent through inversion; the same.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.12-006" ], "music_asset_refs": [ "III.12-006" ] }, { "id": "III.12-007", "type": "paragraph", "section": "III.12", "lesson": 56, "exercise": 56, "reading_order": 1502, "original": "Les Nottes qui se trouvent une Tierce au-dessus de celles qui immédiatement après, portent l’Accord parfait ou celuy de la Septiéme, doivent porter ordinairement un Accord dérivé de celuy qui suit, comme l’on voit à (A) que l’Accord de Sixte dérive du Parfait qui suit, & à (B) que l’Accord de la grande Sixte ou de la fausse-Quinte dérivent de celuy de la Septiéme qui suit.", "english": "Notes a third above notes that immediately afterward carry a perfect or seventh chord should ordinarily carry a chord derived from the following one. At A, the sixth chord derives from the perfect chord that follows; at B, the great-sixth or diminished-fifth chord derives from the following seventh chord.", "sources": [ { "pdf_page": 247, "source_image": "source-pages/bnf-247.png", "printed_page": 215, "bbox_pixels": [ 279, 2978, 2494, 438 ], "crop_image": "assets/III.12-007.png" } ] }, { "id": "III.12-008", "type": "paragraph", "section": "III.12", "lesson": 56, "exercise": 56, "reading_order": 1503, "original": "Lorsque les Nottes d’une Basse changent de situation, sans que pour cela la substance de l’Accord change, l’on peut ne rien changer dans les Parties, à l’égard des Accords consonans ; mais à l’égard des Dissonans, il faut faire ensorte que les quatre Sons differens dont ils sont composez, puissent être toûjours entendus ; ce qui peut se faire en ajoûtant l’Octave de la Notte que l’on quitte (D), lorsqu’elle n’a point eu lieu dans l’Accord de cette même Notte qui a précedé dans la Basse-fondamentale, ou en quittant l’Octave de la Notte présente J, pour mettre à sa place l’Octave de la Notte que l’on quitte C.", "english": "When the bass notes change position without changing the substance of the chord, the other parts may remain unchanged in consonant chords. With dissonant chords, however, ensure that all four different sounds forming them can always be heard. One can add the octave of the note being left, D, when it did not occur in the chord of that same note previously heard in the fundamental bass; or leave the octave of the present note, J, and replace it with the octave of the note being left, C.", "sources": [ { "pdf_page": 247, "source_image": "source-pages/bnf-247.png", "printed_page": 215, "bbox_pixels": [ 279, 3416, 2494, 159 ], "crop_image": "assets/III.12-008.png" }, { "pdf_page": 248, "source_image": "source-pages/bnf-248.png", "printed_page": 216, "bbox_pixels": [ 279, 363, 2494, 531 ], "crop_image": "assets/III.12-009.png" } ] }, { "id": "III.13-001", "type": "heading", "section": "III.13", "lesson": 57, "exercise": 57, "reading_order": 1504, "original": "CHAPITRE TREIZIÉME.", "english": "CHAPTER THIRTEEN.", "sources": [ { "pdf_page": 248, "source_image": "source-pages/bnf-248.png", "printed_page": 216, "bbox_pixels": [ 279, 932, 2494, 97 ], "crop_image": "assets/III.13-001.png" } ], "correction_refs": [ "supplement-214" ] }, { "id": "III.13-002", "type": "heading", "section": "III.13", "lesson": 57, "exercise": 57, "reading_order": 1505, "original": "De la Cadence parfaite.", "english": "On the perfect cadence.", "sources": [ { "pdf_page": 248, "source_image": "source-pages/bnf-248.png", "printed_page": 216, "bbox_pixels": [ 279, 1040, 2494, 84 ], "crop_image": "assets/III.13-002.png" } ] }, { "id": "III.13-003", "type": "paragraph", "section": "III.13", "lesson": 57, "exercise": 57, "reading_order": 1506, "original": "ON appelle Cadence parfaite, toutes les conclusions de Chant qui se font sur une Notte tonique précedée de sa Dominante ; cette Notte tonique doit être toûjours entenduë dans le premier Temps de la Mesure, pour que la conclusion puisse se faire sentir, & sa Dominante qui la précede en ce cas, doit porter toûjours l’Accord de la Septiéme, ou au moins le Parfait, parce que la Septiéme peut y être sous-entenduë. Voyez l’Exemple suivant.", "english": "Every melodic conclusion on a tonic note preceded by its dominant is called a perfect cadence. The tonic must always be heard on the first beat of the measure for the conclusion to be felt. Its preceding dominant must carry a seventh chord, or at least a perfect chord, since the seventh can be understood without being sounded. See the following example.", "sources": [ { "pdf_page": 248, "source_image": "source-pages/bnf-248.png", "printed_page": 216, "bbox_pixels": [ 279, 1149, 2494, 535 ], "crop_image": "assets/III.13-003.png" } ] }, { "id": "III.13-004", "type": "music", "section": "III.13", "lesson": 57, "exercise": 57, "reading_order": 1507, "original": "Cadence parfaite — dispositions et Basse fondamentale.", "english": "Perfect cadence—dispositions and fundamental bass.", "sources": [ { "pdf_page": 248, "source_image": "source-pages/bnf-248.png", "printed_page": 216, "bbox_pixels": [ 381, 1665, 1494, 1835 ], "crop_image": "assets/III.13-004.png" } ], "original_title": "Cadence parfaite — dispositions et Basse fondamentale.", "english_title": "Perfect cadence—dispositions and fundamental bass.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.13-004" ], "music_asset_refs": [ "III.13-004" ] }, { "id": "III.13-005", "type": "paragraph", "section": "III.13", "lesson": 57, "exercise": 57, "reading_order": 1508, "original": "C’est par le moyen de cette Cadence parfaite que nous pouvons juger des Nottes d’une Basse, qui doivent porter des Accords parfaits ; parce que par tout où nous sentons que le Chant se repose, il est certain que c’est-là où l’Accord parfait doit être entendu ; & ce repos ne se fait pas sentir seulement dans la progression la plus naturelle à cette cadence, mais encore dans celles qui sont formées des Sons qui luy servent d’accompagnement, dont vous voyez la disposition cy à côté. Ayant chiffré chaque Partie selon l’Accord qu’elle devroit porter, si elle se rencontroit à la Basse, en se souvenant que l’Accord parfait peut se faire entendre après la grande Sixte, de même qu’après la fausse-Quinte ; qu’ainsi lorsqu’on ne s’écarte pas du Ton que l’on traite, il n’y a que la Notte Tonique & sa Dominante sur qui le Chant puisse se reposer ; ce qui fixe l’objet, de maniere que quelque progression que l’on donne à une Basse-Continuë, l’on sent & l’on sçait en même temps les Nottes sur lesquelles le Chant peut se reposer, & les Accords qui doivent préceder ce repos, selon les differentes progressions de cette Basse, comme cela est marqué dans chaque Partie ; car quelque Partie que l’on choisisse pour Basse, les autres luy serviront toûjours d’accompagnement en pareil cas.", "english": "The perfect cadence enables us to judge which bass notes should carry perfect chords: wherever we feel the melody come to rest, the perfect chord must certainly be heard. This repose is felt not only in the progression most natural to the cadence, but also in progressions formed from its accompanying sounds, whose disposition is shown alongside. Each part has been figured according to the chord it would carry if placed in the bass. Remember that the perfect chord may follow the great-sixth chord as well as the diminished-fifth chord. Thus, as long as we remain in the key under consideration, the melody can rest only upon the tonic and its dominant. This fixes our object: whatever progression we give a continuo bass, we both feel and know the notes on which the melody may rest, and the chords that must precede that repose according to the bass's different movements, as marked in each part. Whichever part is chosen as bass, the others will always accompany it in such a case.", "sources": [ { "pdf_page": 248, "source_image": "source-pages/bnf-248.png", "printed_page": 216, "bbox_pixels": [ 279, 1706, 2494, 1822 ], "crop_image": "assets/III.13-005.png" } ] }, { "id": "III.13-006", "type": "paragraph", "section": "III.13", "lesson": 57, "exercise": 57, "reading_order": 1509, "original": "Pour en donner encore une idée plus distincte, nous allons voir la force que la Notte sensible a dans cette occasion ; comment nous distinguons par son moyen les Dissonances, & l’obligation où elle nous met dans l’ordre des Accords.", "english": "To make this still clearer, we shall examine the leading note's power in this situation: how it enables us to distinguish dissonances, and what obligations it imposes upon the order of chords.", "sources": [ { "pdf_page": 249, "source_image": "source-pages/bnf-249.png", "printed_page": 217, "bbox_pixels": [ 279, 402, 2494, 305 ], "crop_image": "assets/III.13-006.png" } ] }, { "id": "III.14-001", "type": "heading", "section": "III.14", "lesson": 58, "exercise": 58, "reading_order": 1510, "original": "CHAPITRE QUATORZIÉME.", "english": "CHAPTER FOURTEEN.", "sources": [ { "pdf_page": 249, "source_image": "source-pages/bnf-249.png", "printed_page": 217, "bbox_pixels": [ 279, 904, 2494, 114 ], "crop_image": "assets/III.14-001.png" } ] }, { "id": "III.14-002", "type": "heading", "section": "III.14", "lesson": 58, "exercise": 58, "reading_order": 1511, "original": "De la Notte sensible, & de la maniere dont se sauvent toutes les Dissonances.", "english": "On the leading note and the manner in which all dissonances resolve.", "sources": [ { "pdf_page": 249, "source_image": "source-pages/bnf-249.png", "printed_page": 217, "bbox_pixels": [ 279, 1074, 2494, 180 ], "crop_image": "assets/III.14-002.png" } ] }, { "id": "III.14-003", "type": "paragraph", "section": "III.14", "lesson": 58, "exercise": 58, "reading_order": 1512, "original": "SI-tôt que la Notte sensible paroît dans un Accord dissonant, il est certain qu’elle détermine une conclusion de Chant, & que par consequent elle doit être suivie de l’Accord parfait de la Notte tonique, sur elle ou sur ses dérivez ; au lieu que si cette Notte sensible n’a point lieu dans un Accord dissonant, la conclusion n’est point déterminée, & cet Accord dissonant doit être suivi d’un autre Dissonant, & ainsi par enchaînement, jusqu’à ce que l’on y entende cette Notte sensible, qui détermine pour lors la conclusion, ou au moins une imitation de cette conclusion ; comme par exemple, lorsqu’on tombe sur la Mediante au lieu de la Notte tonique. Les Exemples précedens de la Septiéme, nous prouvent ce que nous avançons-icy, puisqu’après le premier Accord de Septiéme, il en suit toûjours un autre, jusqu’à la Dominante tonique, où cette Notte sensible se fait entendre.", "english": "As soon as the leading note appears in a dissonant chord, it certainly determines a melodic conclusion. It must consequently be followed by the tonic's perfect chord, upon the tonic or in its derived forms. If the leading note is absent from a dissonant chord, however, the conclusion is not determined. That dissonant chord must be followed by another dissonant chord, continuing in a chain until the leading note is heard. It then determines a conclusion, or at least an imitation of one—for example, when we arrive on the mediant instead of the tonic. The preceding seventh-chord examples prove this: after the first seventh chord, another always follows, until the tonic dominant is reached and the leading note is heard.", "sources": [ { "pdf_page": 249, "source_image": "source-pages/bnf-249.png", "printed_page": 217, "bbox_pixels": [ 279, 1364, 2494, 1053 ], "crop_image": "assets/III.14-003.png" } ] }, { "id": "III.14-004", "type": "paragraph", "section": "III.14", "lesson": 58, "exercise": 58, "reading_order": 1513, "original": "Souvenez-vous que contre la regle que nous venons de poser, l’Accord parfait de la Dominante peut suivre celuy de la grande Sixte d’une quatriéme Notte, quoique la Notte sensible n’ait point lieu dans ce dernier Accord, qui est cependant dissonant.", "english": "Remember an exception to the rule just given: the dominant's perfect chord may follow the great-sixth chord on the fourth note, although the leading note is absent from that latter chord, which is nevertheless dissonant.", "sources": [ { "pdf_page": 249, "source_image": "source-pages/bnf-249.png", "printed_page": 217, "bbox_pixels": [ 279, 2417, 2494, 299 ], "crop_image": "assets/III.14-004.png" } ] }, { "id": "III.14-005", "type": "paragraph", "section": "III.14", "lesson": 58, "exercise": 58, "reading_order": 1514, "original": "Pour reconnoître à present une Notte sensible dans un Accord dissonant, il faut qu’il s’y trouve absolument un Intervale de fausse-Quinte ou de Tri-Ton, soit entre les Parties, soit entre une Partie & la Basse ; & il faut même que ces Intervales soient formez de la Tierce majeure & de la Septiéme de la Notte fondamentale d’un Accord de Septiéme, cette Notte étant toûjours la Dominante tonique ; sinon, la Regle seroit fausse. Ainsi dans le Ton d’Ut cette fausse-Quinte ou ce Tri-Ton se trouveront entre les Nottes Si & Fa, selon leur differente disposition, l’une formant la Tierce majeure, & l’autre la Septiéme de Sol, Dominante tonique.", "english": "To recognize a leading note in a dissonant chord at present, there must necessarily be a diminished fifth or tritone, either between upper parts or between a part and the bass. Moreover, these intervals must be formed by the major third and seventh of the fundamental note of a seventh chord, that fundamental always being the tonic dominant. Otherwise the rule would be false. Thus, in C, this diminished fifth or tritone lies between B and F, according to their disposition: one forms the major third, the other the seventh, of G, the tonic dominant.", "sources": [ { "pdf_page": 249, "source_image": "source-pages/bnf-249.png", "printed_page": 217, "bbox_pixels": [ 279, 2716, 2494, 748 ], "crop_image": "assets/III.14-005.png" } ] }, { "id": "III.14-006", "type": "heading", "section": "III.14", "lesson": 58, "exercise": 58, "reading_order": 1515, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 250, "source_image": "source-pages/bnf-250.png", "printed_page": 218, "bbox_pixels": [ 279, 455, 2494, 92 ], "crop_image": "assets/III.14-006.png" } ] }, { "id": "III.14-007", "type": "music", "section": "III.14", "lesson": 58, "exercise": 58, "reading_order": 1516, "original": "Tri-Ton, fausse-Quinte, Nottes sensibles et Guidons de résolution.", "english": "Tritone, diminished fifth, leading notes, and resolution guides.", "sources": [ { "pdf_page": 250, "source_image": "source-pages/bnf-250.png", "printed_page": 218, "bbox_pixels": [ 1008, 565, 1030, 447 ], "crop_image": "assets/III.14-007.png" } ], "original_title": "Tri-Ton, fausse-Quinte, Nottes sensibles et Guidons de résolution.", "english_title": "Tritone, diminished fifth, leading notes, and resolution guides.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.14-007" ], "music_asset_refs": [ "III.14-007" ] }, { "id": "III.14-008", "type": "paragraph", "section": "III.14", "lesson": 58, "exercise": 58, "reading_order": 1517, "original": "Nous venons de voir la même chose dans l’Exemple de la Cadence parfaite ; de sorte que quelque partie de cette Cadence que l’on prenne pour Basse, les autres devant en former l’Accord, l’un de ces deux Intervales s’y rencontrera toûjours, parce que leur difference ne provient que de la differente situation des deux Nottes qui composent l’un & l’autre Intervale.", "english": "We have just seen the same thing in the perfect-cadence example. Whichever part of that cadence is taken as bass, the others must form its chord, and one of these two intervals will always occur. Their difference arises only from the different positions of the two notes forming both intervals.", "sources": [ { "pdf_page": 250, "source_image": "source-pages/bnf-250.png", "printed_page": 218, "bbox_pixels": [ 279, 1059, 2494, 453 ], "crop_image": "assets/III.14-008.png" } ] }, { "id": "III.14-009", "type": "paragraph", "section": "III.14", "lesson": 58, "exercise": 58, "reading_order": 1518, "original": "Les Guidons [signes de guidon] mis à la suite de ces Intervales, font voir leur progression naturelle, comme elle est marquée par les Nottes de l’Exemple de la Cadence parfaite, d’où nous devons tirer une Regle certaine pour la progression de toutes les Dissonances ; ce qu’on appelle Sauver.", "english": "The guides [guide-note signs] placed after these intervals show their natural progression, as marked by the notes of the perfect-cadence example. From this we must draw a certain rule for the progression of all dissonances, which is called resolution.", "sources": [ { "pdf_page": 250, "source_image": "source-pages/bnf-250.png", "printed_page": 218, "bbox_pixels": [ 279, 1512, 2494, 370 ], "crop_image": "assets/III.14-009.png" } ] }, { "id": "III.14-010", "type": "paragraph", "section": "III.14", "lesson": 58, "exercise": 58, "reading_order": 1519, "original": "De même que nous distinguons la Tierce en majeure & en mineure, de même aussi distinguons-nous toutes les dissonances en majeure & en mineure.", "english": "Just as we distinguish thirds as major and minor, so we distinguish all dissonances as major and minor.", "sources": [ { "pdf_page": 250, "source_image": "source-pages/bnf-250.png", "printed_page": 218, "bbox_pixels": [ 279, 1882, 2494, 223 ], "crop_image": "assets/III.14-010.png" } ] }, { "id": "III.14-011", "type": "paragraph", "section": "III.14", "lesson": 58, "exercise": 58, "reading_order": 1520, "original": "Toutes les Dissonances majeures, sont celles qui sont formées de la Notte sensible ; & de même que celle-cy doit monter naturellement d’un semi-Ton sur la Notte tonique, comme on vient de le voir dans les Exemples, toutes les Dissonances majeures doivent en faire autant.", "english": "Major dissonances are all those formed by the leading note. Just as that note must naturally rise a semitone to the tonic, as the examples have shown, all major dissonances must do the same.", "sources": [ { "pdf_page": 250, "source_image": "source-pages/bnf-250.png", "printed_page": 218, "bbox_pixels": [ 279, 2105, 2494, 305 ], "crop_image": "assets/III.14-011.png" } ] }, { "id": "III.14-012", "type": "paragraph", "section": "III.14", "lesson": 58, "exercise": 58, "reading_order": 1521, "original": "Pour reconnoître une Dissonance majeure, si l’on sçait le Ton dans lequel on est, on remarquera que toutes les fois que la Notte qui est un semi-Ton au-dessous de la Tonique se rencontrera dans un Accord dissonant, elle sera elle-même cette Dissonance majeure ; sinon, en rapportant un Accord à son fondement, on trouvera qu’elle sera toûjours formée de la Tierce majeure d’une Dominante tonique, portant un Accord de Septiéme : Ainsi la Tierce majeure d’une Dominante tonique, qui porte un Accord de Septiéme, peut être regardée comme Dissonance majeure ; par consequent la Notte sensible sur laquelle on fait toûjours l’Accord de la fausse-Quinte, la Sixte majeure de la seconde Notte du Ton & le Tri-Ton de la quatriéme Notte du Ton, sont aussi ces Dissonances majeures.", "english": "To recognize a major dissonance when the key is known, observe that whenever the note a semitone below the tonic occurs in a dissonant chord, that note itself is the major dissonance. If the key is not known, refer the chord to its foundation: the major dissonance will always be formed by the major third of a tonic dominant carrying a seventh chord. Thus the major third of a tonic dominant with a seventh chord may be regarded as a major dissonance. Consequently the leading note, upon which the diminished-fifth chord is always formed, the major sixth above the key's second note, and the tritone above its fourth note are also these major dissonances.", "sources": [ { "pdf_page": 250, "source_image": "source-pages/bnf-250.png", "printed_page": 218, "bbox_pixels": [ 279, 2411, 2494, 894 ], "crop_image": "assets/III.14-012.png" } ] }, { "id": "III.14-013", "type": "paragraph", "section": "III.14", "lesson": 58, "exercise": 58, "reading_order": 1522, "original": "Toutes les Dissonances mineures sont celles qui sont formées de la Notte qui fait la Septiéme contre la Basse-fondamentale ; Et ces Dissonances doivent être sauvées en descendant diatoniquement, telles sont la Septiéme & la fausse-Quinte.", "english": "Minor dissonances are all those formed by the note making a seventh against the fundamental bass. They must resolve by descending diatonically; the seventh and diminished fifth are such dissonances.", "sources": [ { "pdf_page": 250, "source_image": "source-pages/bnf-250.png", "printed_page": 218, "bbox_pixels": [ 279, 3304, 2494, 172 ], "crop_image": "assets/III.14-013.png" }, { "pdf_page": 251, "source_image": "source-pages/bnf-251.png", "printed_page": 219, "bbox_pixels": [ 279, 361, 2494, 159 ], "crop_image": "assets/III.14-014.png" } ] }, { "id": "III.14-015", "type": "paragraph", "section": "III.14", "lesson": 58, "exercise": 58, "reading_order": 1523, "original": "Lorsque vous ne trouverez point de Dissonance majeure dans un Accord dissonant, il est certain que la seule Dissonance mineure y aura lieu ; mais celle-cy se rencontre toûjours avec la majeure ; ce qui ne détruit point la progression qui leur est déterminée.", "english": "When no major dissonance is found in a dissonant chord, only the minor dissonance is present. The minor dissonance, however, always accompanies the major one. This does not alter the progression prescribed for either.", "sources": [ { "pdf_page": 251, "source_image": "source-pages/bnf-251.png", "printed_page": 219, "bbox_pixels": [ 279, 520, 2494, 301 ], "crop_image": "assets/III.14-015.png" } ] }, { "id": "III.14-016", "type": "paragraph", "section": "III.14", "lesson": 58, "exercise": 58, "reading_order": 1524, "original": "C’est ainsi que l’on est instruit tout d’un coup des differentes manieres de sauver les Dissonances, qui ne consistent pas dans leur differente progression, mais seulement dans celle de la Basse, où il est permis de passer sur chacune des Nottes de l’Accord qui doit être entendu naturellement ; ce qui se connoît toûjours en rapportant tous les Accords à leur fondement.", "english": "Thus we learn at once the different ways of resolving dissonances. These consist not in different movements of the dissonances themselves, but only in different movements of the bass, which may pass to any note of the chord that should naturally be heard. This is always understood by referring every chord to its foundation.", "sources": [ { "pdf_page": 251, "source_image": "source-pages/bnf-251.png", "printed_page": 219, "bbox_pixels": [ 279, 821, 2494, 451 ], "crop_image": "assets/III.14-016.png" } ] }, { "id": "III.15-001", "type": "heading", "section": "III.15", "lesson": 59, "exercise": 59, "reading_order": 1525, "original": "CHAPITRE QUINZIÉME.", "english": "CHAPTER FIFTEEN.", "sources": [ { "pdf_page": 251, "source_image": "source-pages/bnf-251.png", "printed_page": 219, "bbox_pixels": [ 279, 1403, 2494, 103 ], "crop_image": "assets/III.15-001.png" } ] }, { "id": "III.15-002", "type": "heading", "section": "III.15", "lesson": 59, "exercise": 59, "reading_order": 1526, "original": "De la Onziéme dite Quarte.", "english": "On the eleventh, called the fourth.", "sources": [ { "pdf_page": 251, "source_image": "source-pages/bnf-251.png", "printed_page": 219, "bbox_pixels": [ 279, 1555, 2494, 101 ], "crop_image": "assets/III.15-002.png" } ] }, { "id": "III.15-003", "type": "paragraph", "section": "III.15", "lesson": 59, "exercise": 59, "reading_order": 1527, "original": "LA Cadence parfaite est ordinairement précedée d’un Accord dissonant, qu’on a appellé jusqu’à present Quarte *, mais que l’on devroit plûtôt appeller Onziéme : cet Accord ne differe dans cette occasion du Parfait, qu’en ce qu’on y fait entendre la Quarte au lieu de la Tierce ; aussi ne se fait-il que sur les Nottes qui doivent porter naturellement un Accord parfait ou de Septiéme, de l’un desquels il est toûjours suivi sur la même Notte où il a été entendu ; la dissonance que la Quarte y forme étant sauvée par ce moyen, en descendant diatoniquement sur la Tierce dont elle a occupé la place ; ainsi elle doit être admise au nombre des Dissonances mineures, étant formée, comme les autres, de la Septiéme du Son fondamental ; mais nous n’en donnerons l’explication que lorsque nous parlerons des Dissonances par supposition. Voicy seulement un Exemple de toutes les manieres dont elle se prépare & dont elle se sauve.", "english": "The perfect cadence is ordinarily preceded by a dissonant chord hitherto called the fourth,* though it should rather be called the eleventh. In this situation it differs from the perfect chord only by sounding the fourth instead of the third. It therefore occurs only on notes that naturally should carry a perfect or seventh chord, one of which always follows it upon the same bass note. The dissonance formed by the fourth is thereby resolved by descending diatonically to the third whose place it occupied. It must therefore be counted among minor dissonances, being formed, like the others, from the seventh of the fundamental sound. We shall explain this only when discussing dissonances by supposition. For now, here is an example of all the ways it is prepared and resolved.", "sources": [ { "pdf_page": 251, "source_image": "source-pages/bnf-251.png", "printed_page": 219, "bbox_pixels": [ 279, 1717, 2494, 1128 ], "crop_image": "assets/III.15-003.png" } ] }, { "id": "III.15-004", "type": "footnote", "section": "III.15", "lesson": 59, "exercise": 59, "reading_order": 1528, "original": "* Voyez le Second Livre, Chap. XI.", "english": "* See Book II, chapter XI.", "sources": [ { "pdf_page": 251, "source_image": "source-pages/bnf-251.png", "printed_page": 219, "bbox_pixels": [ 279, 2896, 2494, 77 ], "crop_image": "assets/III.15-004.png" } ] }, { "id": "III.15-005", "type": "heading", "section": "III.15", "lesson": 59, "exercise": 59, "reading_order": 1529, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 252, "source_image": "source-pages/bnf-252.png", "printed_page": 220, "bbox_pixels": [ 279, 440, 2494, 95 ], "crop_image": "assets/III.15-005.png" } ] }, { "id": "III.15-006", "type": "music", "section": "III.15", "lesson": 59, "exercise": 59, "reading_order": 1530, "original": "La XIme ou la Quarte préparée par la3,4,5,fausse-Quinte,6,7,8.", "english": "The eleventh or fourth prepared by the 3rd, 4th, 5th, diminished fifth, 6th, 7th, and 8th.", "sources": [ { "pdf_page": 252, "source_image": "source-pages/bnf-252.png", "printed_page": 220, "bbox_pixels": [ 297, 513, 2395, 2247 ], "crop_image": "assets/III.15-006.png" } ], "original_title": "La XIme ou la Quarte préparée par la3,4,5,fausse-Quinte,6,7,8.", "english_title": "The eleventh or fourth prepared by the 3rd, 4th, 5th, diminished fifth, 6th, 7th, and 8th.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.15-006" ], "music_asset_refs": [ "III.15-006" ] }, { "id": "III.15-007", "type": "paragraph", "section": "III.15", "lesson": 59, "exercise": 59, "reading_order": 1531, "original": "La Onziéme, que nous chiffrons cependant d’un 4. pour suivre l’habitude, se prépare, comme l’on voit, de toutes les Consonances, & même encore de la fausse-Quinte & de la Septiéme ; ce que l’on peut remarquer à toutes les deux Nottes qui sont liées par un demi cercle ⌢ étant toûjours préparée dans le dernier Temps de la Mesure, & entenduë dans le premier Temps suivant.", "english": "The eleventh, which we nevertheless figure with a 4 to follow custom, is prepared, as shown, by every consonance and even by the diminished fifth and seventh. This can be seen in each pair of notes joined by a semicircle ⌢. It is always prepared on the measure's last beat and heard on the following first beat.", "sources": [ { "pdf_page": 252, "source_image": "source-pages/bnf-252.png", "printed_page": 220, "bbox_pixels": [ 279, 2771, 2494, 451 ], "crop_image": "assets/III.15-007.png" } ] }, { "id": "III.15-008", "type": "paragraph", "section": "III.15", "lesson": 59, "exercise": 59, "reading_order": 1532, "original": "Il faut bien s’attacher dans le Ton d’Ut à connoître toutes ces differentes préparations, qui ne proviennent que des differentes progressions de la Basse ; parce que c’est la même chose dans tous les Tons. Ce n’est pas trop icy le lieu de parler de cette Dissonance ; Mais comme l’on ne fait guéres de Cadence parfaite qu’elle ne les précede immédiatement, plusieurs Auteurs ne l’en ayant pas même separée, nous avons crû bien faire, en les imitant, dans cette occasion.", "english": "Study all these different preparations carefully in the key of C. They arise solely from the bass's different progressions, and the same applies in every key. This is not quite the place to discuss this dissonance. But a perfect cadence is seldom made without this dissonance immediately preceding it, and several authors have not even separated the two. We therefore thought it appropriate to imitate them on this occasion.", "sources": [ { "pdf_page": 252, "source_image": "source-pages/bnf-252.png", "printed_page": 220, "bbox_pixels": [ 279, 3223, 2494, 303 ], "crop_image": "assets/III.15-008.png" }, { "pdf_page": 253, "source_image": "source-pages/bnf-253.png", "printed_page": 221, "bbox_pixels": [ 279, 395, 2494, 245 ], "crop_image": "assets/III.15-009.png" } ] }, { "id": "III.16-001", "type": "heading", "section": "III.16", "lesson": 60, "exercise": 60, "reading_order": 1533, "original": "CHAPITRE SEIZIÉME.", "english": "CHAPTER SIXTEEN.", "sources": [ { "pdf_page": 253, "source_image": "source-pages/bnf-253.png", "printed_page": 221, "bbox_pixels": [ 279, 696, 2494, 99 ], "crop_image": "assets/III.16-001.png" } ], "correction_refs": [ "supplement-215" ] }, { "id": "III.16-002", "type": "heading", "section": "III.16", "lesson": 60, "exercise": 60, "reading_order": 1534, "original": "De la Cadence irreguliere.", "english": "On the irregular cadence.", "sources": [ { "pdf_page": 253, "source_image": "source-pages/bnf-253.png", "printed_page": 221, "bbox_pixels": [ 279, 814, 2494, 95 ], "crop_image": "assets/III.16-002.png" } ] }, { "id": "III.16-003", "type": "paragraph", "section": "III.16", "lesson": 60, "exercise": 60, "reading_order": 1535, "original": "LA Cadence irreguliere * se fait ordinairement sur une Dominante, précedée de sa Notte tonique, au lieu que la Parfaite se fait sur une Notte tonique précedée de sa Dominante, cette derniere Cadence se faisant en descendant de Quinte, & l’irreguliere en montant de Quinte ; de sorte que celle-cy peut se faire encore sur la Notte tonique, précedée de sa quatriéme Notte, puisque descendre de Quarte ou monter de Quinte, c’est la même chose. Les deux Nottes qui terminent cette Cadence, doivent porter naturellement l’Accord parfait, mais en ajoûtant la Sixte à l’Accord parfait de la premiere, la conclusion se fait mieux sentir, & l’on en tire même une suite d’Harmonie & de Melodie fort agréable.", "english": "The irregular cadence* ordinarily occurs on a dominant preceded by its tonic, whereas the perfect cadence occurs on a tonic preceded by its dominant. The latter descends a fifth; the irregular cadence rises a fifth. Thus the irregular cadence can also occur on the tonic preceded by the fourth note, since descending a fourth and ascending a fifth are equivalent. The two notes concluding this cadence should naturally bear perfect chords. Adding the sixth to the first note’s perfect chord, however, makes the conclusion more perceptible and yields a very pleasing succession of harmony and melody.", "sources": [ { "pdf_page": 253, "source_image": "source-pages/bnf-253.png", "printed_page": 221, "bbox_pixels": [ 279, 947, 2494, 827 ], "crop_image": "assets/III.16-003.png" } ] }, { "id": "III.16-004", "type": "paragraph", "section": "III.16", "lesson": 60, "exercise": 60, "reading_order": 1536, "original": "Cette Sixte ajoûtée à l’Accord parfait, forme l’Accord de la grande Sixte, que porte naturellement la quatriéme Notte, lorsqu’elle précede immédiatement la Dominante tonique ; ainsi en passant de la quatriéme Notte à la Tonique par les mêmes Accords que cette quatriéme Notte doit porter en montant sur la Dominante, & que la Tonique doit porter naturellement, cela forme une Cadence irreguliere ; de même qu’en passant de la Notte tonique à sa Dominante, en ajoûtant une Sixte à l’Accord parfait de la premiere.", "english": "This sixth added to the perfect chord forms the great-sixth chord, which naturally belongs to the fourth note when it immediately precedes the tonic dominant. Thus moving from the fourth note to the tonic, with the same chords that the fourth note should take when rising to the dominant and that the tonic naturally takes, produces an irregular cadence. So does moving from tonic to dominant with a sixth added to the first note’s perfect chord.", "sources": [ { "pdf_page": 253, "source_image": "source-pages/bnf-253.png", "printed_page": 221, "bbox_pixels": [ 279, 1775, 2494, 608 ], "crop_image": "assets/III.16-004.png" } ] }, { "id": "III.16-005", "type": "footnote", "section": "III.16", "lesson": 60, "exercise": 60, "reading_order": 1537, "original": "* Voyez le Second Livre, Chap. VII.", "english": "* See Book II, chapter VII.", "sources": [ { "pdf_page": 253, "source_image": "source-pages/bnf-253.png", "printed_page": 221, "bbox_pixels": [ 279, 2391, 2494, 77 ], "crop_image": "assets/III.16-005.png" } ] }, { "id": "III.16-006", "type": "heading", "section": "III.16", "lesson": 60, "exercise": 60, "reading_order": 1538, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 253, "source_image": "source-pages/bnf-253.png", "printed_page": 221, "bbox_pixels": [ 279, 2477, 2494, 95 ], "crop_image": "assets/III.16-006.png" } ] }, { "id": "III.16-007", "type": "music", "section": "III.16", "lesson": 60, "exercise": 60, "reading_order": 1539, "original": "Cadences irregulieres A et B.", "english": "Irregular cadences A and B.", "sources": [ { "pdf_page": 253, "source_image": "source-pages/bnf-253.png", "printed_page": 221, "bbox_pixels": [ 415, 2546, 1694, 778 ], "crop_image": "assets/III.16-007.png" } ], "original_title": "Cadences irregulieres A et B.", "english_title": "Irregular cadences A and B.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.16-007" ], "music_asset_refs": [ "III.16-007" ] }, { "id": "III.16-008", "type": "paragraph", "section": "III.16", "lesson": 60, "exercise": 60, "reading_order": 1540, "original": "(A) Cadence irreguliere de la Notte tonique à sa Dominante.\n(B) Cadence irreguliere de la quatriéme Notte à la Tonique.", "english": "(A) Irregular cadence from the tonic to its dominant.\n(B) Irregular cadence from the fourth note to the tonic.", "sources": [ { "pdf_page": 253, "source_image": "source-pages/bnf-253.png", "printed_page": 221, "bbox_pixels": [ 279, 3304, 2494, 112 ], "crop_image": "assets/III.16-008.png" } ], "format": "preformatted" }, { "id": "III.16-009", "type": "paragraph", "section": "III.16", "lesson": 60, "exercise": 60, "reading_order": 1541, "original": "Il se trouve icy une Dissonance entre la Quinte & la Sixte ajoûtée, laquelle Dissonance est formée par consequent de la Sixte ; de sorte que cette Sixte ne pouvant descendre sur cette Quinte, elle monte d’obligation sur la Tierce. Voyez l’Exemple précedent, où l’on apperçoit cette progression par cette marque ╱ mise entre la Sixte de la premiere Notte, & la Tierce de l’autre.", "english": "Here a dissonance occurs between the fifth and added sixth; the sixth therefore forms the dissonance. Since it cannot descend onto that fifth, it must rise to the third. In the preceding example, the mark ╱ between the first note’s sixth and the other note’s third shows this movement.", "sources": [ { "pdf_page": 253, "source_image": "source-pages/bnf-253.png", "printed_page": 221, "bbox_pixels": [ 279, 3459, 2494, 105 ], "crop_image": "assets/III.16-009.png" }, { "pdf_page": 254, "source_image": "source-pages/bnf-254.png", "printed_page": 222, "bbox_pixels": [ 279, 395, 2494, 374 ], "crop_image": "assets/III.16-010.png" } ] }, { "id": "III.16-011", "type": "paragraph", "section": "III.16", "lesson": 60, "exercise": 60, "reading_order": 1542, "original": "Cette Sixte ajoûtée à l’Accord parfait, nous fournit par renversement une maniere aisée de faire entendre à quatre ou à cinq Parties, plusieurs Nottes consecutives d’une Basse, avec laquelle une des Parties procéde toûjours par Sixte, sans commettre aucune faute contre les Regles, en tirant sa preuve de la Basse-fondamentale.", "english": "Through inversion, this sixth added to the perfect chord gives us an easy way to set several consecutive bass notes in four or five parts, with one part continually moving in sixths with the bass, without violating any rule. The fundamental bass supplies the proof.", "sources": [ { "pdf_page": 254, "source_image": "source-pages/bnf-254.png", "printed_page": 222, "bbox_pixels": [ 279, 769, 2494, 378 ], "crop_image": "assets/III.16-011.png" } ] }, { "id": "III.16-012", "type": "heading", "section": "III.16", "lesson": 60, "exercise": 60, "reading_order": 1543, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 254, "source_image": "source-pages/bnf-254.png", "printed_page": 222, "bbox_pixels": [ 279, 1156, 2494, 99 ], "crop_image": "assets/III.16-012.png" } ] }, { "id": "III.16-013", "type": "music", "section": "III.16", "lesson": 60, "exercise": 60, "reading_order": 1544, "original": "Partie qui fait toujours la6 ; Basse-Continuë et Basse-fondamentale.", "english": "Part always making the sixth; continuo bass and fundamental bass.", "sources": [ { "pdf_page": 254, "source_image": "source-pages/bnf-254.png", "printed_page": 222, "bbox_pixels": [ 593, 1235, 2165, 2237 ], "crop_image": "assets/III.16-013.png" } ], "original_title": "Partie qui fait toujours la6 ; Basse-Continuë et Basse-fondamentale.", "english_title": "Part always making the sixth; continuo bass and fundamental bass.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.16-013" ], "music_asset_refs": [ "III.16-013" ] }, { "id": "III.16-014", "type": "annotation", "section": "III.16", "lesson": 60, "exercise": 60, "reading_order": 1545, "original": "voyés cet Exemple au Supplement", "english": "See this example in the Supplement", "sources": [ { "pdf_page": 254, "source_image": "source-pages/bnf-254.png", "printed_page": 222, "bbox_pixels": [ 249, 1186, 621, 148 ], "crop_image": "assets/III.16-014.png" } ] }, { "id": "III.16-015", "type": "paragraph", "section": "III.16", "lesson": 60, "exercise": 60, "reading_order": 1546, "original": "(A) (B) Cadences irregulieres où la Sixte est ajoûtée à l’Accord parfait de la Notte (A)", "english": "(A) (B) Irregular cadences in which the sixth is added to the perfect chord on note A.", "sources": [ { "pdf_page": 254, "source_image": "source-pages/bnf-254.png", "printed_page": 222, "bbox_pixels": [ 279, 3463, 2494, 86 ], "crop_image": "assets/III.16-015.png" } ] }, { "id": "III.16-016", "type": "paragraph", "section": "III.16", "lesson": 60, "exercise": 60, "reading_order": 1547, "original": "Ces six Parties pourroient être entenduës ensemble, à l’exception de l’endroit où la Basse-fondamentale monte d’une Seconde, sur la Notte qui porte une Septiéme J, & où il faudroit changer une Partie qui fait deux Quintes de suite avec cette Basse ; mais que l’on remarque seulement ces deux Parties, qui procédent toûjours par Sixte, tant en montant qu’en descendant, avec lesquelles la Sixte ajoûtée à l’Accord parfait, nous donne un moyen facile de faire entendre trois autres Parties, quoique toute cette progression ne soit composée que de trois Accords differens.", "english": "These six parts could sound together except where the fundamental bass rises a second to the note carrying a seventh at J. There one part would need changing because it makes two consecutive fifths with that bass. Notice simply the two parts that continually move in sixths, both ascending and descending. The added sixth gives us an easy way to combine three further parts with them, although the whole progression contains only three different chords.", "sources": [ { "pdf_page": 255, "source_image": "source-pages/bnf-255.png", "printed_page": 223, "bbox_pixels": [ 279, 367, 2494, 677 ], "crop_image": "assets/III.16-016.png" } ] }, { "id": "III.16-017", "type": "paragraph", "section": "III.16", "lesson": 60, "exercise": 60, "reading_order": 1548, "original": "L’on trouvera d’abord à C, l’Accord parfait de la Notte tonique, qui fait celuy de la Sixte sur sa Mediante, & à D, celuy de la Sixte-Quarte sur sa Dominante. L’on trouvera ensuite à F, l’Accord de la Septiéme de la Dominante tonique, qui fait celuy de la petite Sixte de la seconde Notte, & à G, celuy du Tri-Ton de la quatriéme Notte.", "english": "At C we first find the tonic’s perfect chord, which makes a sixth chord over its mediant and, at D, a sixth–fourth chord over its dominant. Then at F we find the tonic dominant’s seventh chord, which makes a small-sixth chord over the second note and, at G, a tritone chord over the fourth note.", "sources": [ { "pdf_page": 255, "source_image": "source-pages/bnf-255.png", "printed_page": 223, "bbox_pixels": [ 279, 1044, 2494, 449 ], "crop_image": "assets/III.16-017.png" } ] }, { "id": "III.16-018", "type": "paragraph", "section": "III.16", "lesson": 60, "exercise": 60, "reading_order": 1549, "original": "Pour conclusion, l’on trouvera à H, l’Accord parfait de la quatriéme Notte, auquel on ajoûte la Sixte, qui fait celuy de la petite Sixte de la Sixiéme Notte L ; mais ce même Accord n’étant pas toûjours affecté à une Cadence irreguliere, provient pour lors de celuy de la Septiéme de la seconde Notte J, où l’on voit qu’il suit sa progression naturelle.", "english": "Finally, at H we find the fourth note’s perfect chord with an added sixth, which makes the small-sixth chord over sixth note L. But this same chord does not always belong to an irregular cadence. In that case it arises from the seventh chord on second note J, where we see it follow its natural progression.", "sources": [ { "pdf_page": 255, "source_image": "source-pages/bnf-255.png", "printed_page": 223, "bbox_pixels": [ 279, 1493, 2494, 449 ], "crop_image": "assets/III.16-018.png" } ] }, { "id": "III.16-019", "type": "paragraph", "section": "III.16", "lesson": 60, "exercise": 60, "reading_order": 1550, "original": "Avant que l’on eût la connoissance de ces petites & grandes Sixtes, qui brillent dans cette suite d’Harmonie, il étoit presqu’impossible de bien ajoûter deux Parties avec ces Sixtes, au lieu que nous y en ajoûtons trois facilement, & que même la Basse-fondamentale peut y être jointe. Remarquez donc bien ce renversement d’Harmonie, qui ne consiste qu’à mettre à la Basse telle Notte que l’on veut, pourvû qu’elle soit comprise dans l’Accord fondamentale qui doit être entendu, pendant que l’on met au-dessus d’elle les autres Nottes dont l’Accord est composé, en conformant toûjours son Harmonie à l’une des deux Cadences, dont nous venons de parler, ou à la progression naturelle de la Basse-fondamentale, que l’on trouve dans les premiers Exemples de ce Livre ; car si la progression d’une Basse n’est point limitée après un Accord consonant, neanmoins l’Accord qui doit être entendu après le Consonant, est limité par les differentes progressions de cette Basse ; & supposé que l’on n’ait pas la facilité de rapporter une certaine progression de la Basse à son fondement, il n’y a qu’à remarquer le lieu qu’occupent les Nottes dans le Ton où l’on est ; ainsi ne s’agissant à present que de celuy d’Ut, & sçachant que telles & telles Nottes doivent porter un tel Accord, selon leur differente progression, on ne peut jamais manquer, en donnant à ces Nottes l’Accord qui leur convient en pareil cas ; & l’experience s’augmentant par la pratique, l’on devient l’arbitre du choix que l’on peut faire de deux differens Accords, qui peuvent être entendus sur une même Notte, comme on peut le remarquer dans l’Exemple précedent, où l’on a le choix de faire entendre sur la quatriéme Notte l’Accord du Tri-Ton, au lieu de celuy de la grande Sixte, ou celui-cy au lieu de l’autre, & même l’un après l’autre, en mettant toûjours celuy de la grande Sixte le premier ; le tout lorsque cette quatriéme Notte va tomber sur la Mediante ou sur la Notte tonique, ayant separé les Mesures ou cela se rencontre par des demi cercles au-dessus & au-dessous des Parties, ainsi, H C ; G C ; H G.", "english": "Before these small- and great-sixth chords, which shine in this harmonic succession, were understood, adding even two parts correctly to these sixths was almost impossible. We now add three easily, and even the fundamental bass may join them. Observe this inversion of harmony carefully. It consists simply in choosing any note of the fundamental chord that should sound and placing it in the bass, with the chord’s other notes above. Always conform the harmony to one of the two cadences just discussed, or to the natural fundamental-bass progression in this book’s first examples. Although the bass’s movement after a consonant chord is unrestricted, the chord following it is restricted by the bass’s different movements. If referring a bass progression to its foundation is difficult, simply observe each note’s position in the current key. We are considering only C for now. Knowing which chord each note needs according to its movement, we cannot fail if we supply the appropriate chord. Practice increases experience, and we learn to choose between two different chords available on one note. The preceding example permits either a tritone or great-sixth chord on the fourth note, or both successively, always with the great-sixth chord first. This applies when the fourth note moves to the mediant or tonic. Semicircles above and below the parts mark the measures concerned: H C; G C; H G.", "sources": [ { "pdf_page": 255, "source_image": "source-pages/bnf-255.png", "printed_page": 223, "bbox_pixels": [ 279, 1942, 2494, 1566 ], "crop_image": "assets/III.16-019.png" }, { "pdf_page": 256, "source_image": "source-pages/bnf-256.png", "printed_page": 224, "bbox_pixels": [ 279, 350, 2494, 881 ], "crop_image": "assets/III.16-020.png" } ] }, { "id": "III.16-021", "type": "image", "section": "III.16", "lesson": 60, "exercise": 60, "reading_order": 1551, "original": "H C ; G C ; H G.", "english": "H C; G C; H G.", "sources": [ { "pdf_page": 256, "source_image": "source-pages/bnf-256.png", "printed_page": 224, "bbox_pixels": [ 606, 1087, 662, 198 ], "crop_image": "assets/III.16-021.png" } ], "original_title": "Demi-cercles de séparation des Mesures", "english_title": "Semicircles separating measures", "asset_refs": [ "III.16-021" ] }, { "id": "III.16-022", "type": "paragraph", "section": "III.16", "lesson": 60, "exercise": 60, "reading_order": 1552, "original": "Au reste, lorsque la progression d’une Basse est conforme à la fondamentale, il faut donner des Accords fondamentaux à chaque Notte de cette progression, excepté lorsque l’on passe de la sixiéme Notte à la Mediante, où l’Harmonie renversée de la Cadence irreguliere convient à merveille.", "english": "Furthermore, when a bass progression agrees with the fundamental progression, each note should receive a fundamental chord. The exception is movement from the sixth note to the mediant, where the inverted harmony of the irregular cadence is particularly suitable.", "sources": [ { "pdf_page": 256, "source_image": "source-pages/bnf-256.png", "printed_page": 224, "bbox_pixels": [ 279, 1276, 2494, 367 ], "crop_image": "assets/III.16-022.png" } ] }, { "id": "III.16-023", "type": "heading", "section": "III.16", "lesson": 60, "exercise": 60, "reading_order": 1553, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 256, "source_image": "source-pages/bnf-256.png", "printed_page": 224, "bbox_pixels": [ 279, 1646, 2494, 97 ], "crop_image": "assets/III.16-023.png" } ] }, { "id": "III.16-024", "type": "music", "section": "III.16", "lesson": 60, "exercise": 60, "reading_order": 1554, "original": "Basse chiffrée A–N ; Cadence H–J et sa Basse fondamentale.", "english": "Figured bass A–N; cadence H–J and its fundamental bass.", "sources": [ { "pdf_page": 256, "source_image": "source-pages/bnf-256.png", "printed_page": 224, "bbox_pixels": [ 413, 1742, 2184, 857 ], "crop_image": "assets/III.16-024.png" } ], "original_title": "Basse chiffrée A–N ; Cadence H–J et sa Basse fondamentale.", "english_title": "Figured bass A–N; cadence H–J and its fundamental bass.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.16-024" ], "music_asset_refs": [ "III.16-024" ] }, { "id": "III.16-025", "type": "paragraph", "section": "III.16", "lesson": 60, "exercise": 60, "reading_order": 1555, "original": "Je donne l’Accord de la Septiéme à la seconde Notte A, parce que sa progression d’A à B est fondamentale.", "english": "I give second note A a seventh chord because its movement from A to B is fundamental.", "sources": [ { "pdf_page": 256, "source_image": "source-pages/bnf-256.png", "printed_page": 224, "bbox_pixels": [ 279, 2585, 2494, 163 ], "crop_image": "assets/III.16-025.png" } ] }, { "id": "III.16-026", "type": "paragraph", "section": "III.16", "lesson": 60, "exercise": 60, "reading_order": 1556, "original": "Je donne l’Accord de la Septiéme à B, parce que la Septiéme y est préparée par la Tierce mineure de la Notte A ; de sorte qu’il faut rester sur cette Tierce mineure plûtôt que de la faire monter sur l’Octave, ce qui est absolument défendu, excepté qu’elle se trouve doublée dans une Composition à plus de trois Parties, où pour lors l’une peut monter pendant que la Regle s’observe dans l’autre qui tient ferme. La Notte sensible se faisant entendre à B, je ne puis me dispenser de la faire monter sur la Notte tonique, dont l’Accord parfait doit être entendu ; mais cette Notte tonique ne se presentant point dans ma Basse, & ne s’y trouvant à present que sa Dominante, je suis obligé d’y representer cet Accord parfait par celuy de Sixte-quarte que je donne à cette Dominante à C.", "english": "I give B a seventh chord because its seventh is prepared by the minor third above A. We should therefore remain on that minor third rather than raise it to the octave, which is absolutely forbidden—unless it is doubled in a composition of more than three parts. Then one copy may rise while the other remains stationary and observes the rule. Since the leading note sounds at B, I must raise it to the tonic, whose perfect chord must be heard. But the tonic is absent from my bass; only its dominant is present. I am therefore obliged to represent that perfect chord by the sixth–fourth chord given to the dominant at C.", "sources": [ { "pdf_page": 256, "source_image": "source-pages/bnf-256.png", "printed_page": 224, "bbox_pixels": [ 279, 2748, 2494, 769 ], "crop_image": "assets/III.16-026.png" }, { "pdf_page": 257, "source_image": "source-pages/bnf-257.png", "printed_page": 225, "bbox_pixels": [ 279, 370, 2494, 155 ], "crop_image": "assets/III.16-027.png" } ] }, { "id": "III.16-028", "type": "paragraph", "section": "III.16", "lesson": 60, "exercise": 60, "reading_order": 1557, "original": "J’aurois pû donner l’Accord de la grande Sixte, de même que celuy du Tri-Ton à la quatriéme Notte D, qui descend sur la Mediante.", "english": "I could have given either the great-sixth chord or the tritone chord to fourth note D, which descends to the mediant.", "sources": [ { "pdf_page": 257, "source_image": "source-pages/bnf-257.png", "printed_page": 225, "bbox_pixels": [ 279, 524, 2494, 155 ], "crop_image": "assets/III.16-028.png" } ] }, { "id": "III.16-029", "type": "paragraph", "section": "III.16", "lesson": 60, "exercise": 60, "reading_order": 1558, "original": "Je ne puis me dispenser de donner l’Accord de Sixte à la Mediante F, parce que la Dissonance qui a eu lieu auparavant, ne peut être sauvée que par cet Accord, quoique la progression de cette Mediante à la sixiéme Notte G, soit fondamentale ; mais la Dissonance qui veut être absolument sauvée, est, en ce cas, nôtre premier objet.", "english": "I must give mediant F a sixth chord, since only that chord can resolve the preceding dissonance, although the mediant’s movement to sixth note G is fundamental. Here the dissonance’s absolute need for resolution is our first concern.", "sources": [ { "pdf_page": 257, "source_image": "source-pages/bnf-257.png", "printed_page": 225, "bbox_pixels": [ 279, 679, 2494, 370 ], "crop_image": "assets/III.16-029.png" } ] }, { "id": "III.16-030", "type": "paragraph", "section": "III.16", "lesson": 60, "exercise": 60, "reading_order": 1559, "original": "Cadence irreguliere renversée entre les Nottes H J. Voyez la Basse-fondamentale au-dessous.", "english": "Inverted irregular cadence between H and J. See the fundamental bass below.", "sources": [ { "pdf_page": 257, "source_image": "source-pages/bnf-257.png", "printed_page": 225, "bbox_pixels": [ 279, 1048, 2494, 153 ], "crop_image": "assets/III.16-030.png" } ] }, { "id": "III.16-031", "type": "paragraph", "section": "III.16", "lesson": 60, "exercise": 60, "reading_order": 1560, "original": "La Notte L, doit porter l’Accord de la grande Sixte, qui est le même que celuy de la Septiéme que porte la Notte M, qui se trouve une Tierce au-dessous, selon ce que nous en avons dit cy-devant au Chapitre XII.", "english": "Note L must bear the great-sixth chord, the same chord as the seventh chord on M a third below it, as explained earlier in chapter XII.", "sources": [ { "pdf_page": 257, "source_image": "source-pages/bnf-257.png", "printed_page": 225, "bbox_pixels": [ 279, 1201, 2494, 299 ], "crop_image": "assets/III.16-031.png" } ] }, { "id": "III.16-032", "type": "paragraph", "section": "III.16", "lesson": 60, "exercise": 60, "reading_order": 1561, "original": "La Notte M, porte l’Accord de la Septiéme pour la même raison que la Notte A.", "english": "Note M bears a seventh chord for the same reason as A.", "sources": [ { "pdf_page": 257, "source_image": "source-pages/bnf-257.png", "printed_page": 225, "bbox_pixels": [ 279, 1500, 2494, 153 ], "crop_image": "assets/III.16-032.png" } ] }, { "id": "III.16-033", "type": "paragraph", "section": "III.16", "lesson": 60, "exercise": 60, "reading_order": 1562, "original": "La Onziéme preparée par M, N, cette Onziéme preparant la Cadence parfaite qui suit.", "english": "The eleventh is prepared through M, N; this eleventh prepares the perfect cadence that follows.", "sources": [ { "pdf_page": 257, "source_image": "source-pages/bnf-257.png", "printed_page": 225, "bbox_pixels": [ 279, 1652, 2494, 150 ], "crop_image": "assets/III.16-033.png" } ] }, { "id": "III.17-001", "type": "heading", "section": "III.17", "lesson": 61, "exercise": 61, "reading_order": 1563, "original": "CHAPITRE DIX-SEPTIÉME.", "english": "CHAPTER SEVENTEEN.", "sources": [ { "pdf_page": 257, "source_image": "source-pages/bnf-257.png", "printed_page": 225, "bbox_pixels": [ 279, 1966, 2494, 97 ], "crop_image": "assets/III.17-001.png" } ], "correction_refs": [ "supplement-217" ] }, { "id": "III.17-002", "type": "heading", "section": "III.17", "lesson": 61, "exercise": 61, "reading_order": 1564, "original": "Des differentes progressions d’une Basse qui ont rapport ensemble, & dont l’Harmonie ne change point dans les Parties superieures.", "english": "Different related bass progressions that leave the harmony of the upper parts unchanged.", "sources": [ { "pdf_page": 257, "source_image": "source-pages/bnf-257.png", "printed_page": 225, "bbox_pixels": [ 279, 2118, 2494, 172 ], "crop_image": "assets/III.17-002.png" } ] }, { "id": "III.17-003", "type": "paragraph", "section": "III.17", "lesson": 61, "exercise": 61, "reading_order": 1565, "original": "COmme la Notte tonique, sa Mediante & sa Dominante, peuvent porter chacune un Accord composé des mêmes Sons, l’on doit se mettre dans l’esprit, que par tout où la progression naturelle d’une Basse conduit à la principale de ces Nottes qui est la tonique, on peut luy subroger l’une des deux autres. Si pareillement la progression conduit à la Mediante, on peut luy subroger la Notte tonique ; l’on peut par la même raison subroger à la Dominante sa Tierce, sa Quinte & sa Septiéme, lorsqu’elle doit porter l’Accord de Septiéme ; ou sa Tierce & sa Quinte, lorsqu’elle ne doit porter que l’Accord parfait.", "english": "Since the tonic, its mediant, and its dominant can each carry a chord composed of the same sounds, remember that wherever the natural bass progression leads to their principal note, the tonic, either of the other two may be substituted for it. Likewise, if the progression leads to the mediant, the tonic may replace it. For the same reason, the dominant may be replaced by its third, fifth, or seventh when it is to bear a seventh chord, or by its third or fifth when it is to bear only a perfect chord.", "sources": [ { "pdf_page": 257, "source_image": "source-pages/bnf-257.png", "printed_page": 225, "bbox_pixels": [ 279, 2370, 2494, 746 ], "crop_image": "assets/III.17-003.png" } ] }, { "id": "III.17-004", "type": "paragraph", "section": "III.17", "lesson": 61, "exercise": 61, "reading_order": 1566, "original": "Voyez l’Exemple suivant.", "english": "See the following example.", "sources": [ { "pdf_page": 257, "source_image": "source-pages/bnf-257.png", "printed_page": 225, "bbox_pixels": [ 279, 3124, 2494, 92 ], "crop_image": "assets/III.17-004.png" } ] }, { "id": "III.17-005", "type": "heading", "section": "III.17", "lesson": 61, "exercise": 61, "reading_order": 1567, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 258, "source_image": "source-pages/bnf-258.png", "printed_page": 226, "bbox_pixels": [ 279, 473, 2494, 92 ], "crop_image": "assets/III.17-005.png" } ] }, { "id": "III.17-006", "type": "music", "section": "III.17", "lesson": 61, "exercise": 61, "reading_order": 1568, "original": "Chûtes sur la Notte tonique, la Mediante et la Dominante.", "english": "Arrivals on the tonic, mediant, and dominant.", "sources": [ { "pdf_page": 258, "source_image": "source-pages/bnf-258.png", "printed_page": 226, "bbox_pixels": [ 417, 541, 2159, 1525 ], "crop_image": "assets/III.17-006.png" } ], "original_title": "Chûtes sur la Notte tonique, la Mediante et la Dominante.", "english_title": "Arrivals on the tonic, mediant, and dominant.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.17-006" ], "music_asset_refs": [ "III.17-006" ] }, { "id": "III.17-007", "type": "paragraph", "section": "III.17", "lesson": 61, "exercise": 61, "reading_order": 1569, "original": "Les quatre dernieres chûtes & les quatre suivantes, ne conviennent point à la Dominante, parce qu’elle passeroit, en ce cas, pour Notte tonique.", "english": "The last four arrivals and the following four are unsuitable for the dominant, because it would then be taken for a tonic.", "sources": [ { "pdf_page": 258, "source_image": "source-pages/bnf-258.png", "printed_page": 226, "bbox_pixels": [ 279, 2105, 2494, 223 ], "crop_image": "assets/III.17-007.png" } ] }, { "id": "III.17-008", "type": "heading", "section": "III.17", "lesson": 61, "exercise": 61, "reading_order": 1570, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 258, "source_image": "source-pages/bnf-258.png", "printed_page": 226, "bbox_pixels": [ 279, 2329, 2494, 95 ], "crop_image": "assets/III.17-008.png" } ] }, { "id": "III.17-009", "type": "music", "section": "III.17", "lesson": 61, "exercise": 61, "reading_order": 1571, "original": "Notte tonique précedée de la Dominante A, de la quatriéme B, de la sensible C, ou de la seconde D.", "english": "Tonic preceded by dominant A, fourth note B, leading note C, or second note D.", "sources": [ { "pdf_page": 258, "source_image": "source-pages/bnf-258.png", "printed_page": 226, "bbox_pixels": [ 415, 2404, 2148, 834 ], "crop_image": "assets/III.17-009.png" } ], "original_title": "Notte tonique précedée de la Dominante A, de la quatriéme B, de la sensible C, ou de la seconde D.", "english_title": "Tonic preceded by dominant A, fourth note B, leading note C, or second note D.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.17-009" ], "music_asset_refs": [ "III.17-009" ] }, { "id": "III.17-010", "type": "paragraph", "section": "III.17", "lesson": 61, "exercise": 61, "reading_order": 1572, "original": "Quoique dans les Exemples nous ayons commencé par la Notte tonique, on auroit pû commencer également par la Mediante ou par la Dominante ; Voyez les Guidons.", "english": "Although our examples begin with the tonic, they could equally begin with the mediant or dominant. See the guide notes.", "sources": [ { "pdf_page": 258, "source_image": "source-pages/bnf-258.png", "printed_page": 226, "bbox_pixels": [ 279, 3231, 2494, 305 ], "crop_image": "assets/III.17-010.png" } ] }, { "id": "III.17-011", "type": "image", "section": "III.17", "lesson": 61, "exercise": 61, "reading_order": 1573, "original": "Guidons des Nottes de départ : alternatives muettes.", "english": "Guide notes for starting notes: silent alternatives.", "sources": [ { "pdf_page": 258, "source_image": "source-pages/bnf-258.png", "printed_page": 226, "bbox_pixels": [ 2090, 3229, 454, 260 ], "crop_image": "assets/III.17-011.png" } ], "original_title": "Guidons des Nottes de départ", "english_title": "Guide notes for starting notes", "asset_refs": [ "III.17-011" ] }, { "id": "III.17-012", "type": "paragraph", "section": "III.17", "lesson": 61, "exercise": 61, "reading_order": 1574, "original": "Nous ne pretendons pas parler du commencement d’une Piece où la Notte tonique doit être toûjours à la tête, bien que l’on puisse transgresser cette Regle par rapport aux Fugues, &c. mais nous n’y sommes pas encore.", "english": "We do not mean the beginning of a piece, where the tonic must always come first. This rule can be broken in connection with fugues and so forth, but we have not yet reached that subject.", "sources": [ { "pdf_page": 259, "source_image": "source-pages/bnf-259.png", "printed_page": 227, "bbox_pixels": [ 279, 378, 2494, 303 ], "crop_image": "assets/III.17-012.png" } ] }, { "id": "III.17-013", "type": "paragraph", "section": "III.17", "lesson": 61, "exercise": 61, "reading_order": 1575, "original": "Lorsque la seconde Notte précede immédiatement la Dominante tonique, elle la domine pour lors, & doit porter, en ce cas, l’Accord de la Septiéme ; ainsi sa Tierce & sa Quinte peuvent luy être subrogées, mais rarement sa Septiéme ; parce que c’est la Notte tonique, qui ne peut paroître comme telle, quant à present, qu’avec l’Accord parfait.", "english": "When the second note immediately precedes the tonic dominant, it then acts as its dominant and must carry a seventh chord. Its third and fifth may therefore replace it, but rarely its seventh, since that is the tonic, which, as such and for our present purposes, may appear only with the perfect chord.", "sources": [ { "pdf_page": 259, "source_image": "source-pages/bnf-259.png", "printed_page": 227, "bbox_pixels": [ 279, 681, 2494, 443 ], "crop_image": "assets/III.17-013.png" } ] }, { "id": "III.17-014", "type": "annotation", "section": "III.17", "lesson": 61, "exercise": 61, "reading_order": 1576, "original": "voir le Supplement", "english": "See the Supplement", "sources": [ { "pdf_page": 259, "source_image": "source-pages/bnf-259.png", "printed_page": 227, "bbox_pixels": [ 2369, 1036, 374, 146 ], "crop_image": "assets/III.17-014.png" } ] }, { "id": "III.17-015", "type": "heading", "section": "III.17", "lesson": 61, "exercise": 61, "reading_order": 1577, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 259, "source_image": "source-pages/bnf-259.png", "printed_page": 227, "bbox_pixels": [ 279, 1121, 2494, 92 ], "crop_image": "assets/III.17-015.png" } ] }, { "id": "III.17-016", "type": "music", "section": "III.17", "lesson": 61, "exercise": 61, "reading_order": 1578, "original": "La Dominante précedée de la seconde Notte ou de ses dérivez.", "english": "Dominant preceded by the second note or its derivatives.", "sources": [ { "pdf_page": 259, "source_image": "source-pages/bnf-259.png", "printed_page": 227, "bbox_pixels": [ 256, 1203, 2167, 866 ], "crop_image": "assets/III.17-016.png" } ], "original_title": "La Dominante précedée de la seconde Notte ou de ses dérivez.", "english_title": "Dominant preceded by the second note or its derivatives.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.17-016" ], "music_asset_refs": [ "III.17-016" ] }, { "id": "III.17-017", "type": "paragraph", "section": "III.17", "lesson": 61, "exercise": 61, "reading_order": 1579, "original": "L’on peut mettre à present toutes ces Nottes à la place les unes des autres, pourvû que la suite de l’Harmonie n’en soit point alterée, n’y ayant pour la connoître, qu’à la rapporter à son fondement.", "english": "All these notes may now replace one another, provided the harmonic succession is not altered. To understand that succession, simply refer it to its foundation.", "sources": [ { "pdf_page": 259, "source_image": "source-pages/bnf-259.png", "printed_page": 227, "bbox_pixels": [ 279, 2095, 2494, 307 ], "crop_image": "assets/III.17-017.png" } ] }, { "id": "III.17-018", "type": "paragraph", "section": "III.17", "lesson": 61, "exercise": 61, "reading_order": 1580, "original": "Voyez l’Exemple suivant.", "english": "See the following example.", "sources": [ { "pdf_page": 259, "source_image": "source-pages/bnf-259.png", "printed_page": 227, "bbox_pixels": [ 279, 2449, 2494, 95 ], "crop_image": "assets/III.17-018.png" } ] }, { "id": "III.17-019", "type": "heading", "section": "III.17", "lesson": 61, "exercise": 61, "reading_order": 1581, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 260, "source_image": "source-pages/bnf-260.png", "printed_page": 228, "bbox_pixels": [ 279, 408, 2494, 99 ], "crop_image": "assets/III.17-019.png" } ] }, { "id": "III.17-020", "type": "music", "section": "III.17", "lesson": 61, "exercise": 61, "reading_order": 1582, "original": "Seconde Notte, Dominante tonique et substitutions A–F.", "english": "Second note, tonic dominant, and substitutions A–F.", "sources": [ { "pdf_page": 260, "source_image": "source-pages/bnf-260.png", "printed_page": 228, "bbox_pixels": [ 415, 494, 2159, 625 ], "crop_image": "assets/III.17-020.png" } ], "original_title": "Seconde Notte, Dominante tonique et substitutions A–F.", "english_title": "Second note, tonic dominant, and substitutions A–F.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.17-020" ], "music_asset_refs": [ "III.17-020" ] }, { "id": "III.17-021", "type": "paragraph", "section": "III.17", "lesson": 61, "exercise": 61, "reading_order": 1583, "original": "La seconde Notte qui domine ici la Dominante tonique, & qui sert de Basse fondamentale aux autres.\nLa seconde Notte A, qui tient lieu de Dominante tonique.\nLa quatriéme Notte B, qui tient lieu de la seconde Notte, pendant que cette seconde Notte C, tient lieu de Dominante tonique.\nLa quatriéme Notte D, qui tient lieu de seconde Notte, & à F, de Dominante tonique.", "english": "The second note, here acting as dominant of the tonic dominant and serving as fundamental bass for the others.\nSecond note A, taking the place of the tonic dominant.\nFourth note B, replacing the second note, while second note C takes the place of the tonic dominant.\nFourth note D, replacing the second note, and at F the tonic dominant.", "sources": [ { "pdf_page": 260, "source_image": "source-pages/bnf-260.png", "printed_page": 228, "bbox_pixels": [ 279, 1121, 2494, 391 ], "crop_image": "assets/III.17-021.png" } ], "format": "preformatted" }, { "id": "III.17-022", "type": "music", "section": "III.17", "lesson": 61, "exercise": 61, "reading_order": 1584, "original": "Substitutions par la Notte sensible G et la sixiéme H.", "english": "Substitutions through leading note G and sixth note H.", "sources": [ { "pdf_page": 260, "source_image": "source-pages/bnf-260.png", "printed_page": 228, "bbox_pixels": [ 415, 1482, 2159, 675 ], "crop_image": "assets/III.17-022.png" } ], "original_title": "Substitutions par la Notte sensible G et la sixiéme H.", "english_title": "Substitutions through leading note G and sixth note H.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.17-022" ], "music_asset_refs": [ "III.17-022" ] }, { "id": "III.17-023", "type": "paragraph", "section": "III.17", "lesson": 61, "exercise": 61, "reading_order": 1585, "original": "La Notte sensible G, qui après la quatriéme Notte tient lieu de la Dominante tonique.\nLa même chose dans une differente progression.\nLa sixiéme Notte H, qui tient lieu de la seconde Notte, lorsque celle-cy domine la Dominante tonique, cette Dominante tonique étant encor representée par sa 3♯ qui est la Notte sensible G.", "english": "Leading note G, which after the fourth note takes the place of the tonic dominant.\nThe same thing in a different progression.\nSixth note H, replacing the second note when the latter acts as dominant of the tonic dominant; that tonic dominant is again represented by its 3♯, leading note G.", "sources": [ { "pdf_page": 260, "source_image": "source-pages/bnf-260.png", "printed_page": 228, "bbox_pixels": [ 279, 2140, 2494, 593 ], "crop_image": "assets/III.17-023.png" } ], "format": "preformatted" }, { "id": "III.17-024", "type": "paragraph", "section": "III.17", "lesson": 61, "exercise": 61, "reading_order": 1586, "original": "L’Accord de Sixte-quarte convient souvent mieux que le parfait à la Dominante dans une progression diatonique, & sur tout lorsqu’elle se trouve dans un Temps faux de la Mesure.", "english": "The sixth–fourth chord often suits the dominant better than the perfect chord in a diatonic progression, especially when the dominant falls on a weak beat of the measure.", "sources": [ { "pdf_page": 260, "source_image": "source-pages/bnf-260.png", "printed_page": 228, "bbox_pixels": [ 279, 2759, 2494, 228 ], "crop_image": "assets/III.17-024.png" } ] }, { "id": "III.17-025", "type": "paragraph", "section": "III.17", "lesson": 61, "exercise": 61, "reading_order": 1587, "original": "Voilà en peu de mots toutes les differentes progressions d’une Basse, qui peuvent se pratiquer dans l’Harmonie la plus naturelle, en y comprenant ce que nous avons dit depuis le commencement de ce Livre ; car à l’égard de quelques autres Dissonances, dont nous n’avons pas encore parlé, leur progression est limitée de tous côtez ; de sorte que l’on n’aura pas de peine à en connoître l’usage, si-tôt qu’on possedera parfaitement tout ce qui a été dit jusqu’à present.", "english": "In these few words, together with what has been said from the beginning of this book, we have all the different bass progressions usable in the most natural harmony. As for certain other dissonances not yet discussed, their progression is restricted on every side. Once everything explained thus far is thoroughly mastered, their use will therefore be easy to understand.", "sources": [ { "pdf_page": 260, "source_image": "source-pages/bnf-260.png", "printed_page": 228, "bbox_pixels": [ 279, 2986, 2494, 591 ], "crop_image": "assets/III.17-025.png" } ] }, { "id": "III.18-001", "type": "heading", "section": "III.18", "lesson": 62, "exercise": 62, "reading_order": 1588, "original": "CHAPITRE DIX-HUITIÉME.", "english": "CHAPTER EIGHTEEN.", "sources": [ { "pdf_page": 261, "source_image": "source-pages/bnf-261.png", "printed_page": 229, "bbox_pixels": [ 470, 555, 2100, 110 ], "crop_image": "assets/III.18-001.png" } ], "correction_refs": [ "supplement-218", "supplement-219", "supplement-222", "supplement-223" ] }, { "id": "III.18-002", "type": "heading", "section": "III.18", "lesson": 62, "exercise": 62, "reading_order": 1589, "original": "De la maniere de préparer les Dissonances.", "english": "On the manner of preparing dissonances.", "sources": [ { "pdf_page": 261, "source_image": "source-pages/bnf-261.png", "printed_page": 229, "bbox_pixels": [ 470, 705, 2100, 110 ], "crop_image": "assets/III.18-002.png" } ] }, { "id": "III.18-003", "type": "paragraph", "section": "III.18", "lesson": 62, "exercise": 62, "reading_order": 1590, "original": "QUand nous avons expliqué la maniere de préparer & de sauver la Septiéme, nous avons pretendu parler en même-temps de toutes les Dissonances, puisqu’elle en est l’origine. Il est vrai, que comme nous les avons distinguées en majeures & en mineures, il n’y a que les mineures qui doivent se conformer en tout à la Septiéme ; car les majeures proviennent de la Notte sensible, qui fait neanmoins partie de l’Accord de la Septiéme. Or si la Notte sensible ne veut pas être preparée, il faut conclure de-là, que toutes les Dissonances majeures, (Voyez le Livre Second, Chap. XIII.) n’exigent pas non plus cette précaution ; mais si la Septiéme doit être preparée par une Consonance quelconque, nous devons en dire autant de toutes les Dissonances mineures ; ainsi lorsqu’on ne s’écarte point du Ton que l’on traite, l’on peut sans difficulté faire entendre une Dissonance, dont la Notte qui la forme aura fait Consonance dans l’Accord précedent ; cela pourra se faire aussi en passant d’un Ton à un autre, lorsqu’on sçaura comment il faut s’y prendre pour rendre leur enchaînement agréable. Si l’on se souvient encore de ce que nous avons dit, qu’une même Notte pouvoit servir à plusieurs Dissonances consecutives, lorsque les Accords où elle se rencontre ne font qu’un même Accord dans le fond, & que la onziéme pouvoit être preparée par la Septiéme ou par la fausse-Quinte, qui sont neanmoins des dissonances ; cela doit nous faire comprendre qu’une même Notte, qui aura formé une dissonance, pourra en former une autre dans un Accord qui nous paroîtra, en quelque façon, different, pourvû que l’on ne change pas de Ton en pareil cas.", "english": "When we explained how to prepare and resolve the seventh, we intended at the same time to speak of all dissonances, since it is their origin. It is true that, having distinguished them as major and minor, only the minor ones must conform in every respect to the seventh; for the major ones arise from the leading note, which nevertheless belongs to the seventh chord. Now, if the leading note does not require preparation, we must conclude that none of the major dissonances requires this precaution either (see Book Two, Chapter XIII). But if the seventh must be prepared by some consonance, we must say the same of all minor dissonances. Thus, provided we do not depart from the key being treated, we may readily sound a dissonance whose constituent note was consonant in the preceding chord. We may also do this when passing from one key to another, once we know how to make their connection pleasing. Remember also what we said: the same note may serve several consecutive dissonances when the chords containing it are fundamentally one and the same chord; and the eleventh may be prepared by the seventh or the diminished fifth, although these are themselves dissonances. This should make us understand that a note which has formed one dissonance may form another in a chord that seems in some way different, provided we do not change key in such a case.", "sources": [ { "pdf_page": 261, "source_image": "source-pages/bnf-261.png", "printed_page": 229, "bbox_pixels": [ 425, 870, 2200, 1850 ], "crop_image": "assets/III.18-003.png" } ] }, { "id": "III.18-004", "type": "paragraph", "section": "III.18", "lesson": 62, "exercise": 62, "reading_order": 1591, "original": "Si nous avons dit que la Septiéme ne pouvoit être preparée que de la Tierce, de la Quinte & de l’Octave, cela ne doit s’entendre que conformément à la progression fondamentale de la Basse, dont la plus naturelle est de descendre de Tierce, de Quinte ou de Septiéme ; en se souvenant que monter de Seconde ou descendre de Septiéme c’est la même chose, ainsi des autres Intervales qui ont le même rapport ; & que de ces Intervales qui ont le même rapport, il faut choisir ordinairement le plus petit pour la progression de la Basse, où il vaut mieux monter d’une Seconde, que de descendre d’une Septiéme, ainsi du reste ; mais si l’on s’attache au renversement des Accords, (pouvant faire entendre indifferemment dans nos Basses l’une des Nottes d’un Accord fondamental, sur laquelle Notte cet Accord fondamental changera de nom, par rapport aux differens Intervales, que les Sons dont il est composé formeront avec la Notte qui occupera pour lors la Basse ;) l’on trouvera icy qu’au lieu de la Tierce ou de la Quinte, la Sixte ou la Quarte prepareront la Septiéme ; là on trouvera que cette Tierce, cette Quarte, cette Quinte, cette Sixte, ou l’Octave même, prepareront une fausse-Quinte, parce que l’Accord de la Septiéme est representé dans celuy de la fausse-Quinte, aussi-bien que dans tout autre Accord dissonant ; de sorte que de quelque Consonance que l’on prepare une Dissonance, l’on ne peut se tromper, pourvû que l’on ne s’efforce pas à éviter le naturel ; Par exemple, si au lieu de mettre la Notte tonique à la Basse, je luy subroge sa Mediante ou sa Dominante portant chacune l’Accord dérivé du parfait de cette Notte tonique, & que je veuille faire entendre une Septiéme preparée par l’Octave, par la Quinte ou par la Tierce de cette Notte tonique ; cette Octave deviendra Sixte sur la Mediante, & Quarte sur la Dominante ; ainsi de la Quinte & de la Tierce à proportion ; si-bien que par ce rapport nôtre premiere Regle à l’égard des Septiémes est generale pour toutes les Dissonances mineures ; pareillement encore si après l’Accord parfait d’une Notte tonique sur elle, sur sa Mediante, ou sur sa Dominante, au lieu de faire entendre la Septiéme, (que l’une des Consonances de cet Accord parfait doit preparer,) je fais entendre une fausse-Quinte, un Tri-Ton, une grande ou petite Sixte, &c. cela proviendra de ce que j’aurai subrogé dans la Basse une des Nottes de cet Accord de Septiéme à la place de celle qui en est la fondamentale.", "english": "If we said that the seventh could be prepared only by the third, fifth, and octave, this must be understood only in relation to the fundamental progression of the bass. Its most natural movement is to descend by a third, fifth, or seventh. Remember that ascending a second is equivalent to descending a seventh, and likewise for other intervals having the same relationship. Of such related intervals, we should ordinarily choose the smaller for the bass: ascending a second is preferable to descending a seventh, and so on. But if we consider chord inversion—we may put any note of a fundamental chord in our bass, and that chord will change its name according to the different intervals its sounds form above the note then occupying the bass—we shall find in one place that the sixth or fourth prepares the seventh instead of the third or fifth. Elsewhere we shall find that this third, fourth, fifth, sixth, or even octave prepares a diminished fifth, because the seventh chord is represented in the diminished-fifth chord just as it is in every other dissonant chord. Thus we cannot go wrong in preparing a dissonance by any consonance, provided we do not strive to avoid what is natural. For example, instead of placing the tonic in the bass, I substitute its mediant or dominant, each bearing the chord derived from that tonic's perfect chord. If I wish to sound a seventh prepared by the octave, fifth, or third of that tonic, its octave becomes a sixth above the mediant and a fourth above the dominant; the fifth and third change correspondingly. By this relationship, our first rule for sevenths applies generally to every minor dissonance. Similarly, after the tonic's perfect chord, whether the tonic, its mediant, or its dominant is in the bass, suppose I sound a diminished fifth, a tritone, a great-sixth or small-sixth chord, and so forth, instead of the seventh which one consonance of that perfect chord must prepare. This results from my having substituted in the bass one of the notes of the seventh chord for its fundamental note.", "sources": [ { "pdf_page": 261, "source_image": "source-pages/bnf-261.png", "printed_page": 229, "bbox_pixels": [ 425, 2720, 2200, 850 ], "crop_image": "assets/III.18-004.png" }, { "pdf_page": 262, "source_image": "source-pages/bnf-262.png", "printed_page": 230, "bbox_pixels": [ 425, 400, 2200, 1960 ], "crop_image": "assets/III.18-005.png" } ] }, { "id": "III.18-006", "type": "heading", "section": "III.18", "lesson": 62, "exercise": 62, "reading_order": 1592, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 262, "source_image": "source-pages/bnf-262.png", "printed_page": 230, "bbox_pixels": [ 470, 2370, 2100, 110 ], "crop_image": "assets/III.18-006.png" } ] }, { "id": "III.18-007", "type": "music", "section": "III.18", "lesson": 62, "exercise": 62, "reading_order": 1593, "original": "Préparation des Dissonances — première série", "english": "Preparing dissonances — first series", "sources": [ { "pdf_page": 262, "source_image": "source-pages/bnf-262.png", "printed_page": 230, "bbox_pixels": [ 500, 2470, 2160, 1120 ], "crop_image": "assets/III.18-007.png" } ], "original_title": "Préparation des Dissonances — première série", "english_title": "Preparing dissonances — first series", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.18-007" ], "music_asset_refs": [ "III.18-007" ] }, { "id": "III.18-008", "type": "paragraph", "section": "III.18", "lesson": 62, "exercise": 62, "reading_order": 1594, "original": "Suite de l’Exemple précedent.", "english": "Continuation of the preceding example.", "sources": [ { "pdf_page": 263, "source_image": "source-pages/bnf-263.png", "printed_page": 231, "bbox_pixels": [ 865, 455, 1450, 105 ], "crop_image": "assets/III.18-008.png" } ] }, { "id": "III.18-009", "type": "music", "section": "III.18", "lesson": 62, "exercise": 62, "reading_order": 1595, "original": "Préparation des Dissonances — suite", "english": "Preparing dissonances — continuation", "sources": [ { "pdf_page": 263, "source_image": "source-pages/bnf-263.png", "printed_page": 231, "bbox_pixels": [ 245, 575, 2135, 1130 ], "crop_image": "assets/III.18-009.png" } ], "original_title": "Préparation des Dissonances — suite", "english_title": "Preparing dissonances — continuation", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.18-009" ], "music_asset_refs": [ "III.18-009" ] }, { "id": "III.18-010", "type": "paragraph", "section": "III.18", "lesson": 62, "exercise": 62, "reading_order": 1596, "original": "1°. A, la Septiéme preparée par l’Octave selon l’Harmonie fondamentale. D, Mediante sur laquelle l’Octave de la Basse-fondamentale devient Sixte. F, Dominante sur laquelle l’Octave de la Basse-fondamentale devient Quarte.", "english": "1. A: the seventh prepared by the octave according to fundamental harmony. D: the mediant, above which the octave of the fundamental bass becomes a sixth. F: the dominant, above which the octave of the fundamental bass becomes a fourth.", "sources": [ { "pdf_page": 263, "source_image": "source-pages/bnf-263.png", "printed_page": 231, "bbox_pixels": [ 270, 1740, 2200, 290 ], "crop_image": "assets/III.18-010.png" } ] }, { "id": "III.18-011", "type": "paragraph", "section": "III.18", "lesson": 62, "exercise": 62, "reading_order": 1597, "original": "Ainsi la Septiéme se trouve par ce moyen preparée de l’Octave, de la Sixte & de la Quarte. G, dans l’Accord de la grande Sixte, la Quinte qui représente la Septiéme est preparée de l’Octave, & les Guidons qui sont sur la Mediante & sur la Dominante, font voir que cette Quinte peut être également preparée par la Sixte & par la Quarte de ces deux Nottes, ainsi des autres endroits où se trouvent les Guidons.", "english": "The seventh is thus prepared by the octave, sixth, and fourth. G: in the great-sixth chord, the fifth representing the seventh is prepared by the octave. The cue signs on the mediant and dominant show that this fifth may equally be prepared by the sixth and fourth of those two notes. The same applies at the other places containing cue signs.", "sources": [ { "pdf_page": 263, "source_image": "source-pages/bnf-263.png", "printed_page": 231, "bbox_pixels": [ 270, 2030, 2200, 510 ], "crop_image": "assets/III.18-011.png" } ] }, { "id": "III.18-012", "type": "paragraph", "section": "III.18", "lesson": 62, "exercise": 62, "reading_order": 1598, "original": "H, dans l’Accord de la petite Sixte, la Tierce qui représente la Septiéme, est preparée par l’Octave, par la Sixte & par la Quarte.", "english": "H: in the small-sixth chord, the third representing the seventh is prepared by the octave, sixth, and fourth.", "sources": [ { "pdf_page": 263, "source_image": "source-pages/bnf-263.png", "printed_page": 231, "bbox_pixels": [ 270, 2540, 2200, 165 ], "crop_image": "assets/III.18-012.png" } ] }, { "id": "III.18-013", "type": "paragraph", "section": "III.18", "lesson": 62, "exercise": 62, "reading_order": 1599, "original": "J, la Seconde qui est preparée dans la Basse, est précedée de la Tierce dans le Dessus.", "english": "J: the second prepared in the bass is preceded by the third in the upper part.", "sources": [ { "pdf_page": 263, "source_image": "source-pages/bnf-263.png", "printed_page": 231, "bbox_pixels": [ 270, 2705, 2200, 145 ], "crop_image": "assets/III.18-013.png" } ] }, { "id": "III.18-014", "type": "paragraph", "section": "III.18", "lesson": 62, "exercise": 62, "reading_order": 1600, "original": "2°. B, la Septiéme preparée par la Quinte selon l’Harmonie fondamentale.", "english": "2. B: the seventh prepared by the fifth according to fundamental harmony.", "sources": [ { "pdf_page": 263, "source_image": "source-pages/bnf-263.png", "printed_page": 231, "bbox_pixels": [ 270, 2850, 2200, 160 ], "crop_image": "assets/III.18-014.png" } ] }, { "id": "III.18-015", "type": "paragraph", "section": "III.18", "lesson": 62, "exercise": 62, "reading_order": 1601, "original": "L, dans l’Accord de la grande Sixte, la Quinte qui représente la Septiéme, est preparée par la Quinte, par la Tierce & par l’Octave.", "english": "L: in the great-sixth chord, the fifth representing the seventh is prepared by the fifth, third, and octave.", "sources": [ { "pdf_page": 263, "source_image": "source-pages/bnf-263.png", "printed_page": 231, "bbox_pixels": [ 270, 3010, 2200, 155 ], "crop_image": "assets/III.18-015.png" } ] }, { "id": "III.18-016", "type": "paragraph", "section": "III.18", "lesson": 62, "exercise": 62, "reading_order": 1602, "original": "M, dans l’Accord de la petite Sixte, la Tierce qui représente la Septiéme, est preparée par la Quinte, par la Tierce & par l’Octave.", "english": "M: in the small-sixth chord, the third representing the seventh is prepared by the fifth, third, and octave.", "sources": [ { "pdf_page": 263, "source_image": "source-pages/bnf-263.png", "printed_page": 231, "bbox_pixels": [ 270, 3165, 2200, 155 ], "crop_image": "assets/III.18-016.png" } ] }, { "id": "III.18-017", "type": "paragraph", "section": "III.18", "lesson": 62, "exercise": 62, "reading_order": 1603, "original": "N, la Seconde preparée par l’Octave ou par la Quarte, marquée d’un Guidon.", "english": "N: the second prepared by the octave or by the fourth shown with a cue sign.", "sources": [ { "pdf_page": 263, "source_image": "source-pages/bnf-263.png", "printed_page": 231, "bbox_pixels": [ 270, 3320, 2200, 160 ], "crop_image": "assets/III.18-017.png" } ] }, { "id": "III.18-018", "type": "paragraph", "section": "III.18", "lesson": 62, "exercise": 62, "reading_order": 1604, "original": "3°. C, la Septiéme preparée par la Tierce selon l’Harmonie fondamentale.", "english": "3. C: the seventh prepared by the third according to fundamental harmony.", "sources": [ { "pdf_page": 263, "source_image": "source-pages/bnf-263.png", "printed_page": 231, "bbox_pixels": [ 270, 3480, 2200, 100 ], "crop_image": "assets/III.18-018.png" } ] }, { "id": "III.18-019", "type": "paragraph", "section": "III.18", "lesson": 62, "exercise": 62, "reading_order": 1605, "original": "O, dans l’Accord de la grande Sixte, la Quinte est preparée par la Tierce de la Notte fondamentale à laquelle la Septiéme est jointe.", "english": "O: in the great-sixth chord, the fifth is prepared by the third of the fundamental note to which the seventh is added.", "sources": [ { "pdf_page": 264, "source_image": "source-pages/bnf-264.png", "printed_page": 232, "bbox_pixels": [ 425, 365, 2200, 170 ], "crop_image": "assets/III.18-019.png" } ] }, { "id": "III.18-020", "type": "paragraph", "section": "III.18", "lesson": 62, "exercise": 62, "reading_order": 1606, "original": "P, cette même Quinte preparée par la Quarte de la Notte qui fait la Septiéme de la Basse-fondamentale, laquelle Notte doit porter l’Accord de Seconde.", "english": "P: this same fifth is prepared by the fourth of the note which forms the seventh of the fundamental bass; that note must bear the second chord.", "sources": [ { "pdf_page": 264, "source_image": "source-pages/bnf-264.png", "printed_page": 232, "bbox_pixels": [ 425, 535, 2200, 220 ], "crop_image": "assets/III.18-020.png" } ] }, { "id": "III.18-021", "type": "paragraph", "section": "III.18", "lesson": 62, "exercise": 62, "reading_order": 1607, "original": "Q, la Seconde preparée comme à J.", "english": "Q: the second prepared as at J.", "sources": [ { "pdf_page": 264, "source_image": "source-pages/bnf-264.png", "printed_page": 232, "bbox_pixels": [ 425, 755, 2200, 95 ], "crop_image": "assets/III.18-021.png" } ] }, { "id": "III.18-022", "type": "paragraph", "section": "III.18", "lesson": 62, "exercise": 62, "reading_order": 1608, "original": "R, cette même Quinte preparée par la Sixte de la Notte qui domine celle qui se trouve dans la Basse-fondamentale. Remarquez icy que toute Notte qui en domine une autre, peut toûjours la représenter, en portant un Accord renversé du parfait ou de celuy de la Septiéme que l’autre doit porter, & que cet Accord renversé est celuy de Sixte-quarte ou de petite Sixte.", "english": "R: this same fifth is prepared by the sixth of the note that is the dominant of the note in the fundamental bass. Observe here that any note which is the dominant of another can always represent it, bearing an inversion of the perfect or seventh chord that the other should carry. This inverted chord is the sixth–fourth or small-sixth chord.", "sources": [ { "pdf_page": 264, "source_image": "source-pages/bnf-264.png", "printed_page": 232, "bbox_pixels": [ 425, 850, 2200, 440 ], "crop_image": "assets/III.18-022.png" } ] }, { "id": "III.18-023", "type": "paragraph", "section": "III.18", "lesson": 62, "exercise": 62, "reading_order": 1609, "original": "S, cette même Quinte est preparée icy par l’Octave de la Notte qui fait la Tierce, ou qui est la Mediante de celle qui est à la Basse-fondamentale.", "english": "S: this same fifth is prepared here by the octave of the note which forms the third, or mediant, of the note in the fundamental bass.", "sources": [ { "pdf_page": 264, "source_image": "source-pages/bnf-264.png", "printed_page": 232, "bbox_pixels": [ 425, 1290, 2200, 220 ], "crop_image": "assets/III.18-023.png" } ] }, { "id": "III.18-024", "type": "paragraph", "section": "III.18", "lesson": 62, "exercise": 62, "reading_order": 1610, "original": "T, dans l’Accord de la petite Sixte, la Tierce est preparée par la Tierce, par la Sixte, ou par l’Octave ; & la Septiéme qui précede, est sauvée par la Sixte de la même Notte sur laquelle cette Septiéme a été entenduë.", "english": "T: in the small-sixth chord, the third is prepared by the third, sixth, or octave; and the preceding seventh is resolved by the sixth of the same note above which that seventh was heard.", "sources": [ { "pdf_page": 264, "source_image": "source-pages/bnf-264.png", "printed_page": 232, "bbox_pixels": [ 425, 1510, 2200, 300 ], "crop_image": "assets/III.18-024.png" } ] }, { "id": "III.18-025", "type": "paragraph", "section": "III.18", "lesson": 62, "exercise": 62, "reading_order": 1611, "original": "Nous n’avions pas encore parlé de la Seconde, mais avant que nous en disions davantage, remarquez toûjours qu’elle n’aime à être preparée que de la maniere précedente.", "english": "We had not yet discussed the second. Before saying more about it, however, observe that it prefers to be prepared only in the preceding manner.", "sources": [ { "pdf_page": 264, "source_image": "source-pages/bnf-264.png", "printed_page": 232, "bbox_pixels": [ 425, 1810, 2200, 225 ], "crop_image": "assets/III.18-025.png" } ] }, { "id": "III.18-026", "type": "paragraph", "section": "III.18", "lesson": 62, "exercise": 62, "reading_order": 1612, "original": "L’on voit assez que toutes les differentes manieres de preparer les Dissonances, proviennent de celle dont on prepare la Septiéme, & que la seule difficulté consiste à reconnoître dans la Basse, les Nottes qui composent l’Accord de celle qui en est la fondamentale, à quoi il faut s’attacher entierement ; autrement l’on doute de tout, & l’on ne sçait à quoi s’en tenir. Mettons-nous donc dans l’esprit que le premier Accord dissonant qui puisse être entendu, doit être toûjours précédé d’un Consonant, & que ce Consonant n’est autre que le Parfait de la Notte tonique de sa Dominante, ou de sa quatriéme Notte, lequel Accord parfait peut être encore représenté dans celuy de la Sixte sur la Mediante de chacune de ces Nottes, & dans celuy de la Sixte-quarte de la Dominante tonique seulement.", "english": "It is clear enough that all the different ways of preparing dissonances arise from the way the seventh is prepared. The only difficulty is recognizing, in the bass, the notes making up the chord of its fundamental note. This deserves our entire attention; otherwise we doubt everything and do not know what to rely on. Let us therefore firmly remember that the first dissonant chord heard must always be preceded by a consonant one. This consonant chord is simply the perfect chord of the tonic, its dominant, or its fourth note. That perfect chord may also be represented by the sixth chord on the mediant of each of these notes, and by the sixth–fourth chord on the tonic's dominant alone.", "sources": [ { "pdf_page": 264, "source_image": "source-pages/bnf-264.png", "printed_page": 232, "bbox_pixels": [ 425, 2035, 2200, 900 ], "crop_image": "assets/III.18-026.png" } ] }, { "id": "III.18-027", "type": "paragraph", "section": "III.18", "lesson": 62, "exercise": 62, "reading_order": 1613, "original": "Lorsque l’on ne compose qu’à deux ou à trois Parties, l’on ne fait entendre souvent que les Consonances d’un Accord où la Dissonance a lieu ; de sorte que si l’on n’a pas égard à la progression de la Basse, & si l’on ne connoît pas le Ton dans lequel on est, toutes nos Regles deviennent inutiles ; c’est pourquoy l’on ne peut trop s’attacher à bien comprendre ces Regles, que nous renfermons dans le seul Ton d’Ut ; parce que la connoissance de celui-cy suffit pour tous les autres, ne s’agissant après cela que de sçavoir les distinguer.", "english": "When we compose in only two or three parts, we often sound only the consonances of a chord in which a dissonance has a place. Thus, unless we heed the bass progression and know the key we are in, all our rules become useless. We therefore cannot take too much care to understand these rules, which we confine to the single key of C. Knowledge of this key suffices for all the others; thereafter we need only know how to distinguish them.", "sources": [ { "pdf_page": 264, "source_image": "source-pages/bnf-264.png", "printed_page": 232, "bbox_pixels": [ 425, 2935, 2200, 610 ], "crop_image": "assets/III.18-027.png" } ] }, { "id": "III.18-028", "type": "paragraph", "section": "III.18", "lesson": 62, "exercise": 62, "reading_order": 1614, "original": "Comme on ne doit commencer une Piece de Musique que par un Accord consonant, l’on voit que l’on ne peut employer le Dissonant qu’après le consonant ; mais souvent après ce dissonant, il en suit un autre ; car, comme nous avons dit, le consonant ne peut paroître après le dissonant, que la Notte sensible ne se fasse distinguer dans ce dernier ; sinon, l’on passe toûjours d’un dissonant à un autre, selon ce qui paroît dans nos Regles de la Septiéme. Or, cela est assez difficile à connoître dans des Pieces à deux ou à trois Parties, puisque ces Accords dissonans contiennent toûjours au moins deux Consonances, qui sont la Tierce & la Quinte, & par renversement la Sixte & la Quarte, sans parler de l’Octave qui peut s’y rencontrer ; de sorte que l’on passe souvent d’un Accord dissonant à un autre sans le connoître. Ne negligeons donc point ces premiers principes, si nous voulons sçavoir ce que nous faisons, puisque la plus grande satisfaction que l’on puisse avoir, doit consister dans une connoissance parfaite.", "english": "Since a piece of music must begin only with a consonant chord, a dissonant chord can be used only after a consonant one. Yet one dissonant chord is often followed by another. As we said, a consonant chord cannot follow a dissonant one unless the leading note makes itself distinguishable in the latter. Otherwise we keep passing from one dissonant chord to another, as our rules for the seventh show. This is rather difficult to recognize in pieces for two or three parts: these dissonant chords always contain at least two consonances, the third and fifth, or, through inversion, the sixth and fourth, besides the octave that may also occur. We therefore often pass from one dissonant chord to another without knowing it. Let us not neglect these first principles if we wish to know what we are doing, for our greatest satisfaction should lie in complete understanding.", "sources": [ { "pdf_page": 265, "source_image": "source-pages/bnf-265.png", "printed_page": 233, "bbox_pixels": [ 425, 390, 2200, 1190 ], "crop_image": "assets/III.18-028.png" } ] }, { "id": "III.19-001", "type": "heading", "section": "III.19", "lesson": 63, "exercise": 63, "reading_order": 1615, "original": "CHAPITRE DIX-NEUVIÉME.", "english": "CHAPTER NINETEEN.", "sources": [ { "pdf_page": 265, "source_image": "source-pages/bnf-265.png", "printed_page": 233, "bbox_pixels": [ 470, 1705, 2100, 110 ], "crop_image": "assets/III.19-001.png" } ], "correction_refs": [ "supplement-223", "supplement-225" ] }, { "id": "III.19-002", "type": "heading", "section": "III.19", "lesson": 63, "exercise": 63, "reading_order": 1616, "original": "Des occasions où l’on ne peut préparer les Dissonances.", "english": "On occasions when dissonances cannot be prepared.", "sources": [ { "pdf_page": 265, "source_image": "source-pages/bnf-265.png", "printed_page": 233, "bbox_pixels": [ 470, 1845, 2100, 110 ], "crop_image": "assets/III.19-002.png" } ] }, { "id": "III.19-003", "type": "paragraph", "section": "III.19", "lesson": 63, "exercise": 63, "reading_order": 1617, "original": "AU lieu de faire descendre la Basse-fondamentale de Tierce, de Quinte & de Septiéme, si nous la faisions monter de même, nous trouverions que la Septiéme ne peut plus y être préparée ; cependant nous nous sentons comme forcez de faire entendre cette Septiéme dans de pareilles progressions ; l’Octave en progression diatonique au Chap. XI. en fait foy, lorsque l’on va de la Notte tonique à la Dominante, & que de celle-cy l’on retourne immediatement sur cette Notte tonique. (Voyez le Second Livre ; Chap. XIII.) c’est le sentiment de tous les Maîtres, & d’ailleurs l’oreille n’en est point offensée.", "english": "If, instead of making the fundamental bass descend by a third, fifth, or seventh, we made it ascend by the same intervals, we should find that the seventh could no longer be prepared. Yet we feel almost compelled to sound that seventh in such progressions. The diatonic progression of the octave in Chapter XI bears witness to this when we go from the tonic to the dominant and return immediately from the latter to the tonic (see Book Two, Chapter XIII). All masters agree on this, and the ear is not offended by it.", "sources": [ { "pdf_page": 265, "source_image": "source-pages/bnf-265.png", "printed_page": 233, "bbox_pixels": [ 425, 2000, 2200, 760 ], "crop_image": "assets/III.19-003.png" } ] }, { "id": "III.19-004", "type": "paragraph", "section": "III.19", "lesson": 63, "exercise": 63, "reading_order": 1618, "original": "Si la Basse monte de Tierce pour descendre de Quinte immédiatement après, la Septiéme que l’on entend sur cette Notte montée, ne peut encore être preparée.", "english": "If the bass rises a third and immediately descends a fifth, the seventh sounded above the note reached by that ascent likewise cannot be prepared.", "sources": [ { "pdf_page": 265, "source_image": "source-pages/bnf-265.png", "printed_page": 233, "bbox_pixels": [ 425, 2760, 2200, 225 ], "crop_image": "assets/III.19-004.png" } ] }, { "id": "III.19-005", "type": "heading", "section": "III.19", "lesson": 63, "exercise": 63, "reading_order": 1619, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 265, "source_image": "source-pages/bnf-265.png", "printed_page": 233, "bbox_pixels": [ 470, 2980, 2100, 110 ], "crop_image": "assets/III.19-005.png" } ] }, { "id": "III.19-006", "type": "music", "section": "III.19", "lesson": 63, "exercise": 63, "reading_order": 1620, "original": "Montée de Quinte ou de Tierce — Septiéme non préparée", "english": "Ascent by a fifth or third — unprepared seventh", "sources": [ { "pdf_page": 265, "source_image": "source-pages/bnf-265.png", "printed_page": 233, "bbox_pixels": [ 905, 3030, 1395, 390 ], "crop_image": "assets/III.19-006.png" } ], "original_title": "Montée de Quinte ou de Tierce — Septiéme non préparée", "english_title": "Ascent by a fifth or third — unprepared seventh", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.19-006" ], "music_asset_refs": [ "III.19-006" ] }, { "id": "III.19-007", "type": "paragraph", "section": "III.19", "lesson": 63, "exercise": 63, "reading_order": 1621, "original": "L’Exemple A, nous représente une progression de Quinte en montant, puisqu’il commence par la Mediante, qui nous représente la Notte tonique ; mais l’Exemple B, nous prouve que la Septiéme ne peut être préparée, lorsque la Basse-fondamentale monte d’une Tierce, puisque la même Notte qui fait la Septiéme avec la seconde Notte de la Basse, ne peut faire consonance avec la premiere.", "english": "Example A represents a progression ascending a fifth, since it begins with the mediant, which represents the tonic. Example B, however, proves that the seventh cannot be prepared when the fundamental bass rises a third: the note forming the seventh with the second bass note cannot form a consonance with the first.", "sources": [ { "pdf_page": 265, "source_image": "source-pages/bnf-265.png", "printed_page": 233, "bbox_pixels": [ 425, 3430, 2200, 115 ], "crop_image": "assets/III.19-007.png" }, { "pdf_page": 266, "source_image": "source-pages/bnf-266.png", "printed_page": 234, "bbox_pixels": [ 650, 440, 2200, 365 ], "crop_image": "assets/III.19-008.png" } ] }, { "id": "III.19-009", "type": "paragraph", "section": "III.19", "lesson": 63, "exercise": 63, "reading_order": 1622, "original": "L’on pourroit donner une Tierce majeure à la seconde Notte de l’Exemple B, où par consequent le Ton changeroit ; & cela se pratique très-souvent, sur tout dans une Harmonie renversée, comme on le voit icy.", "english": "We could give the second note of Example B a major third, thereby changing key. This is very often done, especially in inverted harmony, as we see here.", "sources": [ { "pdf_page": 266, "source_image": "source-pages/bnf-266.png", "printed_page": 234, "bbox_pixels": [ 650, 805, 2200, 295 ], "crop_image": "assets/III.19-009.png" } ] }, { "id": "III.19-010", "type": "heading", "section": "III.19", "lesson": 63, "exercise": 63, "reading_order": 1623, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 266, "source_image": "source-pages/bnf-266.png", "printed_page": 234, "bbox_pixels": [ 470, 1110, 2100, 110 ], "crop_image": "assets/III.19-010.png" } ] }, { "id": "III.19-011", "type": "music", "section": "III.19", "lesson": 63, "exercise": 63, "reading_order": 1624, "original": "Harmonie renversée — Parties réciproques", "english": "Inverted harmony — interchangeable parts", "sources": [ { "pdf_page": 266, "source_image": "source-pages/bnf-266.png", "printed_page": 234, "bbox_pixels": [ 650, 1230, 2130, 1560 ], "crop_image": "assets/III.19-011.png" } ], "original_title": "Harmonie renversée — Parties réciproques", "english_title": "Inverted harmony — interchangeable parts", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.19-011" ], "music_asset_refs": [ "III.19-011" ] }, { "id": "III.19-012", "type": "paragraph", "section": "III.19", "lesson": 63, "exercise": 63, "reading_order": 1625, "original": "Chaque Partie peut se servir réciproquement de Dessus ou de Basse ; & l’on y voit comment la fausse-Quinte, le Tri-Ton & la Septiéme peuvent ne pas être préparées.", "english": "Each part may reciprocally serve as upper part or bass. We see here how the diminished fifth, tritone, and seventh may be left unprepared.", "sources": [ { "pdf_page": 266, "source_image": "source-pages/bnf-266.png", "printed_page": 234, "bbox_pixels": [ 650, 2810, 2200, 205 ], "crop_image": "assets/III.19-012.png" } ] }, { "id": "III.19-013", "type": "paragraph", "section": "III.19", "lesson": 63, "exercise": 63, "reading_order": 1626, "original": "A l’égard d’une progression de Septiéme en montant, ou de Seconde en descendant, dans laquelle la Septiéme ne peut être preparée, l’on peut voir ce que nous en disons au Second Livre, Chapitre XIII.", "english": "For an ascending seventh or descending second, in which the seventh cannot be prepared, see what we say in Book Two, Chapter XIII.", "sources": [ { "pdf_page": 266, "source_image": "source-pages/bnf-266.png", "printed_page": 234, "bbox_pixels": [ 650, 3015, 2200, 310 ], "crop_image": "assets/III.19-013.png" } ] }, { "id": "III.19-014", "type": "paragraph", "section": "III.19", "lesson": 63, "exercise": 63, "reading_order": 1627, "original": "Remarquez que ce n’est qu’après un Accord consonant que la Dissonance peut n’être pas preparée ; car après l’Accord dissonant, elle doit l’être absolument, selon les Regles précedentes.", "english": "Observe that a dissonance may be unprepared only after a consonant chord. After a dissonant chord it absolutely must be prepared, according to the preceding rules.", "sources": [ { "pdf_page": 266, "source_image": "source-pages/bnf-266.png", "printed_page": 234, "bbox_pixels": [ 650, 3330, 2200, 225 ], "crop_image": "assets/III.19-014.png" } ] }, { "id": "III.19-015", "type": "paragraph", "section": "III.19", "lesson": 63, "exercise": 63, "reading_order": 1628, "original": "Il faut prendre garde que nous ne pretendons point confondre la Notte sensible dans les differentes Dissonances préparées ou non preparées ; parce qu’il ne s’agit icy que des Dissonances mineures, la majeure qui provient de cette Notte sensible n’ayant aucune part dans ces dernieres Regles ; & c’est en sa faveur même, que la Dissonance mineure se fait entendre souvent sans être preparée, comme dans une progression de la Basse-fondamentale en montant de Tierce ou de Quinte, pour descendre ensuite de Quinte, la Cadence parfaite qui se forme de cette derniere progression en descendant, ne pouvant avoir lieu, sans que la Notte sensible n’ait été entenduë dans l’Accord de la premiere Notte qui descend de Quinte ; de sorte que nous avons de belles consequences à tirer de-là, dont nous ne parlerons qu’après avoir expliqué la maniere de passer d’un Ton à un autre.", "english": "Take care that we do not mean to include the leading note among these various prepared or unprepared dissonances. We are concerned here only with minor dissonances; the major dissonance arising from the leading note has no part in these latest rules. Indeed, it is for the sake of that major dissonance that the minor one often sounds without preparation—for example, when the fundamental bass rises a third or fifth and then descends a fifth. The perfect cadence formed by this final descending progression cannot occur unless the leading note has been heard in the chord of the first note of the descending fifth. We have valuable consequences to draw from this, but shall discuss them only after explaining how to pass from one key to another.", "sources": [ { "pdf_page": 267, "source_image": "source-pages/bnf-267.png", "printed_page": 235, "bbox_pixels": [ 425, 395, 2200, 1050 ], "crop_image": "assets/III.19-015.png" } ] }, { "id": "III.20-001", "type": "heading", "section": "III.20", "lesson": 64, "exercise": 64, "reading_order": 1629, "original": "CHAPITRE VINGTIÉME.", "english": "CHAPTER TWENTY.", "sources": [ { "pdf_page": 267, "source_image": "source-pages/bnf-267.png", "printed_page": 235, "bbox_pixels": [ 470, 1580, 2100, 110 ], "crop_image": "assets/III.20-001.png" } ], "correction_refs": [ "supplement-227", "supplement-228" ] }, { "id": "III.20-002", "type": "heading", "section": "III.20", "lesson": 64, "exercise": 64, "reading_order": 1630, "original": "Dénombrement exact des differentes Progressions de la Basse, selon les differentes Dissonances qu’on y employe.", "english": "An exact enumeration of the different bass progressions according to the different dissonances employed.", "sources": [ { "pdf_page": 267, "source_image": "source-pages/bnf-267.png", "printed_page": 235, "bbox_pixels": [ 470, 1740, 2100, 180 ], "crop_image": "assets/III.20-002.png" } ] }, { "id": "III.20-003", "type": "paragraph", "section": "III.20", "lesson": 64, "exercise": 64, "reading_order": 1631, "original": "C’Est toûjours de nôtre Basse-fondamentale & de nôtre Accord fondamental de la Septiéme, que nous devons tirer les Regles qui regardent les Dissonances ; aussi nous allons voir que le seul Accord de Septiéme regne dans tous les differens Accords dissonans que l’on peut employer. C’est la differente progression de la Basse, formée de celle des Sons compris dans cet Accord de septiéme, qui nous oblige à donner aux Accords un nom conforme aux Intervales, que les Parties superieures forment pour lors avec cette Basse.", "english": "We must always derive the rules concerning dissonances from our fundamental bass and fundamental seventh chord. We shall see that the seventh chord alone governs all the different dissonant chords we can employ. The different progression of the bass, drawn from the movements of the sounds contained in this seventh chord, obliges us to name each chord according to the intervals the upper parts then form with that bass.", "sources": [ { "pdf_page": 267, "source_image": "source-pages/bnf-267.png", "printed_page": 235, "bbox_pixels": [ 425, 2010, 2200, 680 ], "crop_image": "assets/III.20-003.png" } ] }, { "id": "III.20-004", "type": "paragraph", "section": "III.20", "lesson": 64, "exercise": 64, "reading_order": 1632, "original": "Nous n’amplifions icy nôtre premiere Regle de Septiéme, qu’en donnant l’Accord de la septiéme à chaque Notte d’un Ton, lorsque la Basse procede par des Intervales de Quinte en montant, ou de Quarte en descendant.", "english": "Here we merely extend our first rule for the seventh by giving a seventh chord to every note of a key when the bass proceeds by ascending fifths or descending fourths.", "sources": [ { "pdf_page": 267, "source_image": "source-pages/bnf-267.png", "printed_page": 235, "bbox_pixels": [ 425, 2690, 2200, 285 ], "crop_image": "assets/III.20-004.png" } ] }, { "id": "III.20-005", "type": "paragraph", "section": "III.20", "lesson": 64, "exercise": 64, "reading_order": 1633, "original": "L’on peut preparer la premiere Septiéme par telle Consonance que l’on veut, ou ne la point preparer, selon ce que nous venons de dire sur ce sujet, dans les Chap. précedens ; mais on est obligé icy de se conformer ensuite à la Regle, qui veut qu’elle soit toûjours preparée & sauvée de la Tierce.", "english": "We may prepare the first seventh by whatever consonance we choose, or leave it unprepared, in accordance with what we have just said in the preceding chapters. Afterwards, however, we must follow the rule requiring it always to be prepared and resolved by the third.", "sources": [ { "pdf_page": 267, "source_image": "source-pages/bnf-267.png", "printed_page": 235, "bbox_pixels": [ 425, 2975, 2200, 380 ], "crop_image": "assets/III.20-005.png" } ] }, { "id": "III.20-006", "type": "paragraph", "section": "III.20", "lesson": 64, "exercise": 64, "reading_order": 1634, "original": "Voyez l’Exemple suivant.", "english": "See the following example.", "sources": [ { "pdf_page": 267, "source_image": "source-pages/bnf-267.png", "printed_page": 235, "bbox_pixels": [ 1750, 3360, 880, 75 ], "crop_image": "assets/III.20-006.png" } ] }, { "id": "III.20-007", "type": "heading", "section": "III.20", "lesson": 64, "exercise": 64, "reading_order": 1635, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 268, "source_image": "source-pages/bnf-268.png", "printed_page": 236, "bbox_pixels": [ 470, 510, 2100, 110 ], "crop_image": "assets/III.20-007.png" } ] }, { "id": "III.20-008", "type": "music", "section": "III.20", "lesson": 64, "exercise": 64, "reading_order": 1636, "original": "Suite de Septiémes à quatre Parties", "english": "A succession of sevenths in four parts", "sources": [ { "pdf_page": 268, "source_image": "source-pages/bnf-268.png", "printed_page": 236, "bbox_pixels": [ 680, 630, 1880, 815 ], "crop_image": "assets/III.20-008.png" } ], "original_title": "Suite de Septiémes à quatre Parties", "english_title": "A succession of sevenths in four parts", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.20-008" ], "music_asset_refs": [ "III.20-008" ] }, { "id": "III.20-009", "type": "paragraph", "section": "III.20", "lesson": 64, "exercise": 64, "reading_order": 1637, "original": "Remarquez que toutes les Parties vont toûjours en descendant, & que ces Septiémes sont accompagnées alternativement de la Tierce & de la Quinte, ou de la Tierce & de l’Octave, ainsi, 1. 3. 5. 7. ou 1. 3. 7. 8.", "english": "Observe that all the parts continually descend. These sevenths are accompanied alternately by the third and fifth, or by the third and octave: thus, 1. 3. 5. 7., or 1. 3. 7. 8.", "sources": [ { "pdf_page": 268, "source_image": "source-pages/bnf-268.png", "printed_page": 236, "bbox_pixels": [ 425, 1480, 2200, 295 ], "crop_image": "assets/III.20-009.png" } ] }, { "id": "III.20-010", "type": "paragraph", "section": "III.20", "lesson": 64, "exercise": 64, "reading_order": 1638, "original": "Pour rendre cette Harmonie plus complette, il faudroit qu’il y eût cinq Parties, comme nous allons le voir.", "english": "To make this harmony more complete, five parts would be needed, as we shall see.", "sources": [ { "pdf_page": 268, "source_image": "source-pages/bnf-268.png", "printed_page": 236, "bbox_pixels": [ 425, 1775, 2200, 155 ], "crop_image": "assets/III.20-010.png" } ] }, { "id": "III.20-011", "type": "paragraph", "section": "III.20", "lesson": 64, "exercise": 64, "reading_order": 1639, "original": "L’on trouvera que quelques-unes de ces Septiémes ne sont pas dans leur proportion naturelle, comme celles d’Ut & de Fa que nous avions précisément défenduës dans nos premieres Regles ; mais cela ne doit plus embarrasser dans une pareille suite de Dissonances, elles sont causées par la Modulation, où il n’est pas permis d’ajoûter ni Dieze ni B-mol à aucune des Nottes. L’on trouvera dans la suite d’autres Intervales faux, qui proviennent de ceux-cy ; de sorte que le hazard les rendant tels, il faut toûjours les écrire comme s’ils étoient justes ; parce qu’on ne peut se dispenser de faire entrer ces sortes d’Intervales dans l’Harmonie, lorsqu’on ne veut point s’écarter du Ton par lequel on a commencé, l’oreille n’en étant aucunement blessée, par la préoccupation où elle est des Sons affectez à la Modulation.", "english": "Some of these sevenths will be found not to have their natural proportion, such as those on C and F, which we expressly forbade in our first rules. This need no longer trouble us in such a succession of dissonances. They arise from the modulation, in which no sharp or flat may be added to any note. Later we shall find other false intervals derived from these. Since circumstances make them so, we must always write them as though they were correct. We cannot avoid admitting these kinds of intervals into the harmony if we wish to remain in the key in which we began. The ear is not in the least offended, being preoccupied with the sounds assigned to that modulation.", "sources": [ { "pdf_page": 268, "source_image": "source-pages/bnf-268.png", "printed_page": 236, "bbox_pixels": [ 425, 1930, 2200, 895 ], "crop_image": "assets/III.20-011.png" } ] }, { "id": "III.20-012", "type": "paragraph", "section": "III.20", "lesson": 64, "exercise": 64, "reading_order": 1640, "original": "Si nous prenons pour Basse, la Partie de la Taille marquée d’un A, nous trouverons que la premiere Notte qui répond à celle où est la premiere Septiéme, portera un Accord de petite Sixte, & celle qui suit portant l’Accord de la Septiéme, on tirera de-là une nouvelle progression de la Basse, par de nouveaux Accords en apparence, comme on le verra dans l’Exemple suivant, où cette Partie sera marquée également d’un A.", "english": "If we take the tenor part, marked A, as the bass, the first note corresponding to the first seventh will bear a small-sixth chord. The following note bears a seventh chord. From this we obtain a new bass progression through chords which only seem new, as the next example will show; this part is again marked A there.", "sources": [ { "pdf_page": 268, "source_image": "source-pages/bnf-268.png", "printed_page": 236, "bbox_pixels": [ 425, 2825, 2200, 530 ], "crop_image": "assets/III.20-012.png" } ] }, { "id": "III.20-013", "type": "paragraph", "section": "III.20", "lesson": 64, "exercise": 64, "reading_order": 1641, "original": "Si nous prenons ensuite pour Basse la partie de la Haute-Contre marquée d’un B, nous trouverons que la Notte qui répond à celle où est la premiere Septiéme, portera un Accord de Seconde, & celle qui suit, portant un Accord de grande Sixte, l’on en tirera encore une nouvelle progression, &c. comme on le verra dans l’Exemple suivant, où cette Partie est marquée également d’un B. L’on peut remarquer que les Accords de Seconde & de Tri-Ton, sont composez des mêmes Intervales, excepté que dans l’un, la Quarte est juste, & que dans l’autre elle est superfluë ; c’est la raison pour laquelle on donne à ce dernier Accord le nom de Tri-Ton, parce que la Quarte superfluë est composée de trois Tons, & ce qui fait la difference de l’Accord de la grande Sixte à celuy de la fausse-Quinte, est ce qui cause aussi celle de ces deux derniers Accords.", "english": "Next take the haute-contre part, marked B, as the bass. Its note corresponding to the first seventh will bear a second chord, and the following note a great-sixth chord. This yields yet another progression, and so on, as the next example shows, where this part is again marked B. Observe that second and tritone chords contain the same intervals, except that the fourth is perfect in one and augmented in the other. The latter is therefore called a tritone chord, because the augmented fourth consists of three whole tones. The cause of the difference between the great-sixth and diminished-fifth chords also causes the difference between these last two chords.", "sources": [ { "pdf_page": 268, "source_image": "source-pages/bnf-268.png", "printed_page": 236, "bbox_pixels": [ 425, 3355, 2200, 210 ], "crop_image": "assets/III.20-013.png" }, { "pdf_page": 269, "source_image": "source-pages/bnf-269.png", "printed_page": 237, "bbox_pixels": [ 425, 385, 2200, 765 ], "crop_image": "assets/III.20-014.png" } ] }, { "id": "III.20-015", "type": "paragraph", "section": "III.20", "lesson": 64, "exercise": 64, "reading_order": 1642, "original": "L’Accord de la petite Sixte majeure ou mineure, qui n’est point distingué sous deux noms differens, participe encore de la même difference ; & le tout provient d’un Accord de Septiéme, où la Tierce de la Basse est majeure d’un côté, & mineure de l’autre ; quoique l’on ne distingue point cette difference par des noms differens, si ce n’est que nous approprions à la seule Dominante tonique, l’Accord dont la Tierce majeure forme la fausse-Quinte ou le Tri-Ton avec la Septiéme de cette même Dominante, & indifferemment aux autres Dominantes, l’Accord où la Tierce est mineure, & où la fausse-Quinte ni le Tri-Ton n’ont point lieu entre la Tierce & la Septiéme ; parce que ces dernieres doivent se suivre les unes les autres, jusqu’à ce que la Dominante tonique paroisse ; & cela dans leurs derivez, comme dans ces Dominantes mêmes.", "english": "The major or minor small-sixth chord, which is not distinguished by two different names, shares the same difference. Everything arises from a seventh chord whose bass has a major third in one case and a minor third in the other. We do not distinguish this difference by different names, except that we assign exclusively to the tonic dominant the chord whose major third forms a diminished fifth or tritone with that same dominant's seventh. To the other dominants we assign indiscriminately the chord whose third is minor, and in which neither diminished fifth nor tritone occurs between the third and seventh. These latter dominants must follow one another until the tonic dominant appears. This applies to their derivatives as well as to the dominants themselves.", "sources": [ { "pdf_page": 269, "source_image": "source-pages/bnf-269.png", "printed_page": 237, "bbox_pixels": [ 425, 1150, 2200, 950 ], "crop_image": "assets/III.20-015.png" } ] }, { "id": "III.20-016", "type": "paragraph", "section": "III.20", "lesson": 64, "exercise": 64, "reading_order": 1643, "original": "On peut voir dans l’Exemple suivant tous les Accords qui proviennent de la differente progression de la Basse, chaque Partie pouvant se servir réciproquement de Dessus ou de Basse, excepté la Fondamentale, & celle au-dessous, qui ne peuvent servir que de Basse.", "english": "The following example shows all the chords arising from the different bass progressions. Each part may reciprocally serve as upper part or bass, except the fundamental part and the part beneath it, which can serve only as basses.", "sources": [ { "pdf_page": 269, "source_image": "source-pages/bnf-269.png", "printed_page": 237, "bbox_pixels": [ 425, 2100, 2200, 375 ], "crop_image": "assets/III.20-016.png" } ] }, { "id": "III.20-017", "type": "paragraph", "section": "III.20", "lesson": 64, "exercise": 64, "reading_order": 1644, "original": "Tournez pour l’Exemple.", "english": "Turn the page for the example.", "sources": [ { "pdf_page": 269, "source_image": "source-pages/bnf-269.png", "printed_page": 237, "bbox_pixels": [ 1740, 2470, 900, 100 ], "crop_image": "assets/III.20-017.png" } ] }, { "id": "III.20-018", "type": "heading", "section": "III.20", "lesson": 64, "exercise": 64, "reading_order": 1645, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 270, "source_image": "source-pages/bnf-270.png", "printed_page": 238, "bbox_pixels": [ 470, 445, 2100, 110 ], "crop_image": "assets/III.20-018.png" } ] }, { "id": "III.20-019", "type": "music", "section": "III.20", "lesson": 64, "exercise": 64, "reading_order": 1646, "original": "Six Basses réciproques, fondamentale & supposition", "english": "Six interchangeable basses, fundamental bass, and supposition", "sources": [ { "pdf_page": 270, "source_image": "source-pages/bnf-270.png", "printed_page": 238, "bbox_pixels": [ 430, 520, 2160, 3030 ], "crop_image": "assets/III.20-019.png" } ], "original_title": "Six Basses réciproques, fondamentale & supposition", "english_title": "Six interchangeable basses, fundamental bass, and supposition", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.20-019" ], "music_asset_refs": [ "III.20-019" ] }, { "id": "III.20-020", "type": "paragraph", "section": "III.20", "lesson": 64, "exercise": 64, "reading_order": 1647, "original": "1°. Remarquez d’abord que la progression des quatre premieres Basses est la plus naturelle par rapport à la Fondamentale ; & que celle de la cinquiéme & de la sixiéme, est empruntée des premieres.", "english": "1. First observe that the progression of the first four basses is the most natural in relation to the fundamental bass. The progressions of the fifth and sixth basses are borrowed from the first four.", "sources": [ { "pdf_page": 271, "source_image": "source-pages/bnf-271.png", "printed_page": 239, "bbox_pixels": [ 425, 370, 2200, 225 ], "crop_image": "assets/III.20-020.png" } ] }, { "id": "III.20-021", "type": "paragraph", "section": "III.20", "lesson": 64, "exercise": 64, "reading_order": 1648, "original": "La progression de la cinquiéme Basse est tirée de celle de la premiere & de la quatriéme, toutes trois marquez ainsi, ∞.", "english": "The fifth bass takes its progression from the first and fourth; all three are marked ∞.", "sources": [ { "pdf_page": 271, "source_image": "source-pages/bnf-271.png", "printed_page": 239, "bbox_pixels": [ 425, 595, 2200, 160 ], "crop_image": "assets/III.20-021.png" } ] }, { "id": "III.20-022", "type": "paragraph", "section": "III.20", "lesson": 64, "exercise": 64, "reading_order": 1649, "original": "La progression de la sixiéme Basse est tirée de celle de la seconde & de la troisiéme, marquées d’une Croix, † ; ce qui se connoît en ce que chaque Mesure de cette cinquiéme & sixiéme Basse est composée d’une Notte de chacune de ces Basses, dont leur progression est tirée, le même Accord étant chiffré sur les Nottes qui sont sur le même degré dans ces differentes Basses ; & si nous n’avons pas chiffré d’un 7. toutes les Nottes de la cinquiéme & de la sixiéme Basse, qui doivent porter un Accord de Septiéme, c’est pour donner à connoître que l’on peut ne faire que l’Accord parfait sur ces mêmes Nottes, en retranchant la Septiéme, qui peut s’y rencontrer ; & par consequent en évitant de faire entendre l’Octave dans l’Accord des Nottes qui les précedent, parce que c’est cette Octave qui y prepare la Septiéme.", "english": "The sixth bass takes its progression from the second and third, marked with a cross, †. We recognize this because each measure of the fifth and sixth basses contains one note from each of the basses from which its progression is drawn. Notes on the same degree in these different basses bear the same chord figures. Where we have not placed a 7 on every note of the fifth and sixth basses that ought to bear a seventh chord, our purpose is to show that we may play only a perfect chord on those notes, omitting the seventh that could occur there. Consequently, we must avoid sounding the octave in the chord on the preceding notes, since that octave prepares the seventh.", "sources": [ { "pdf_page": 271, "source_image": "source-pages/bnf-271.png", "printed_page": 239, "bbox_pixels": [ 425, 755, 2200, 930 ], "crop_image": "assets/III.20-022.png" } ] }, { "id": "III.20-023", "type": "paragraph", "section": "III.20", "lesson": 64, "exercise": 64, "reading_order": 1650, "original": "2°. Dans la progression naturelle des quatre premieres Basses, on remarque que la premiere & la seconde, & que la troisiéme & la quatriéme sont disposées par Tierces, & que pendant que les deux dernieres descendent, les deux premieres restent sur le même degré, ainsi alternativement jusqu’à la fin ; car comme c’est le propre de la Dissonance mineure de descendre, l’on ne peut se dispenser de donner cette progression, au moins aux Parties qui la forment ; & dans une pareille suite d’Harmonie, il faut que la Consonance, qui se trouve une Tierce au-dessous, suive cette même progression, en se souvenant qu’une Sixte au-dessus, ou une Tierce au-dessous, c’est la même chose, comme", "english": "2. In the natural progression of the first four basses, we observe that the first and second, and likewise the third and fourth, are arranged in thirds. While the last two descend, the first two remain on the same degree; they continue alternating in this way to the end. Since a minor dissonance naturally descends, we cannot avoid giving this movement at least to the parts forming it. In such a succession of harmony, the consonance lying a third below must follow the same movement. Remember that a sixth above and a third below amount to the same thing, as here:", "sources": [ { "pdf_page": 271, "source_image": "source-pages/bnf-271.png", "printed_page": 239, "bbox_pixels": [ 425, 1685, 2200, 935 ], "crop_image": "assets/III.20-023.png" } ] }, { "id": "III.20-024", "type": "music", "section": "III.20", "lesson": 64, "exercise": 64, "reading_order": 1651, "original": "Tierce au-dessous ou Sixte au-dessus", "english": "A third below or a sixth above", "sources": [ { "pdf_page": 271, "source_image": "source-pages/bnf-271.png", "printed_page": 239, "bbox_pixels": [ 1460, 2450, 900, 265 ], "crop_image": "assets/III.20-024.png" } ], "original_title": "Tierce au-dessous ou Sixte au-dessus", "english_title": "A third below or a sixth above", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.20-024" ], "music_asset_refs": [ "III.20-024" ] }, { "id": "III.20-025", "type": "paragraph", "section": "III.20", "lesson": 64, "exercise": 64, "reading_order": 1652, "original": "Il est vrai que la progression de la Consonance n’est limitée icy que par rapport à celle de la Basse-fondamentale ; car la Consonance peut rester sur le même degré, pour former une Dissonance ; si la Basse précede,", "english": "It is true that the consonance's movement is restricted here only in relation to the fundamental bass. A consonance may remain on the same degree and become a dissonance if the bass moves first:", "sources": [ { "pdf_page": 271, "source_image": "source-pages/bnf-271.png", "printed_page": 239, "bbox_pixels": [ 425, 2690, 2200, 295 ], "crop_image": "assets/III.20-025.png" } ] }, { "id": "III.20-026", "type": "paragraph", "section": "III.20", "lesson": 64, "exercise": 64, "reading_order": 1653, "original": "Ainsi,", "english": "Thus:", "sources": [ { "pdf_page": 271, "source_image": "source-pages/bnf-271.png", "printed_page": 239, "bbox_pixels": [ 1270, 2940, 330, 80 ], "crop_image": "assets/III.20-026.png" } ] }, { "id": "III.20-027", "type": "paragraph", "section": "III.20", "lesson": 64, "exercise": 64, "reading_order": 1654, "original": "A, B, la Basse descend de Tierce au lieu de Quinte, & pour lors la Consonance C, qui se trouve une Tierce au-dessous de la Dissonance F, reste sur le même degré, pour former la Dissonance D.", "english": "A, B: the bass descends a third instead of a fifth. The consonance C, a third below the dissonance F, then remains on the same degree to form the dissonance D.", "sources": [ { "pdf_page": 271, "source_image": "source-pages/bnf-271.png", "printed_page": 239, "bbox_pixels": [ 425, 2990, 2200, 450 ], "crop_image": "assets/III.20-027.png" } ] }, { "id": "III.20-028", "type": "music", "section": "III.20", "lesson": 64, "exercise": 64, "reading_order": 1655, "original": "Consonance tenue qui devient Dissonance", "english": "A held consonance becoming a dissonance", "sources": [ { "pdf_page": 271, "source_image": "source-pages/bnf-271.png", "printed_page": 239, "bbox_pixels": [ 1490, 2900, 1030, 630 ], "crop_image": "assets/III.20-028.png" } ], "original_title": "Consonance tenue qui devient Dissonance", "english_title": "A held consonance becoming a dissonance", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.20-028" ], "music_asset_refs": [ "III.20-028" ] }, { "id": "III.20-029", "type": "paragraph", "section": "III.20", "lesson": 64, "exercise": 64, "reading_order": 1656, "original": "3°. Pour entendre l’effet de toutes ces Parties ensemble, il faut en retrancher la cinquiéme & la sixiéme Basse ; & lorsque l’on veut entendre celles-cy, il faut retrancher les quatre superieures, ou du-moins la premiere & la troisiéme, quoiqu’il s’y rencontre à tout moment des Unissons, ou des Octaves, qui ne font pas un bel effet.", "english": "3. To hear the effect of all these parts together, omit the fifth and sixth basses. When we wish to hear those two, omit the four upper parts, or at least the first and third, although unisons or octaves that do not make a pleasing effect will then occur constantly.", "sources": [ { "pdf_page": 272, "source_image": "source-pages/bnf-272.png", "printed_page": 240, "bbox_pixels": [ 590, 300, 2200, 445 ], "crop_image": "assets/III.20-029.png" } ] }, { "id": "III.20-030", "type": "paragraph", "section": "III.20", "lesson": 64, "exercise": 64, "reading_order": 1657, "original": "4°. Si l’on prend à part les quatre premieres Basses, l’on trouvera que les trois superieures contiennent tous les Sons, dont les Accords chiffrez sur la quatriéme sont composez ; pareillement si l’on prend l’une des autres pour Basse, en la transposant une Octave plus bas, pour qu’elle se trouve au-dessous des autres, ou bien en transposant celles-cy une Octave plus haut, l’on trouvera toûjours les Accords chiffrez sur l’une de ces Basses, contenus dans les autres. Si l’on veut prendre ensuite la cinquiéme Basse pour Basse, il ne faudra faire entendre au-dessus que la seconde, la troisiéme & la quatriéme, parce que la premiere a trop de rapport avec elle ; & si l’on prend la sixiéme pour Basse, il ne faudra faire entendre au-dessus que la premiere, la seconde & la quatriéme ; en changeant seulement une Notte, qui dans la premiere Mesure fait entendre deux Octaves consecutives.", "english": "4. Take the first four basses separately. The upper three contain all the sounds belonging to the chords figured on the fourth. Likewise, take any of the others as bass, transposing it an octave down to place it below the remaining parts, or transposing those parts an octave up. The chords figured on whichever part serves as bass will always be contained in the others. If we next use the fifth bass as bass, only the second, third, and fourth should sound above it, because the first resembles it too closely. If we use the sixth as bass, only the first, second, and fourth should sound above it. Change just one note that creates two consecutive octaves in the first measure.", "sources": [ { "pdf_page": 272, "source_image": "source-pages/bnf-272.png", "printed_page": 240, "bbox_pixels": [ 590, 745, 2200, 1060 ], "crop_image": "assets/III.20-030.png" } ] }, { "id": "III.20-031", "type": "paragraph", "section": "III.20", "lesson": 64, "exercise": 64, "reading_order": 1658, "original": "C’est ainsi que l’on peut s’instruire dans un seul Exemple de la differente Construction de tous les Accords dissonans, de la Progression des Dissonances & de la Difference de ces Accords, par rapport à la differente progression de la Basse ; le tout ne consistant, comme on le voit, que dans un Renversement.", "english": "Thus a single example teaches the different construction of all dissonant chords, the progression of dissonances, and the differences between these chords arising from different bass progressions. As we see, everything consists merely in inversion.", "sources": [ { "pdf_page": 272, "source_image": "source-pages/bnf-272.png", "printed_page": 240, "bbox_pixels": [ 590, 1805, 2200, 375 ], "crop_image": "assets/III.20-031.png" } ] }, { "id": "III.20-032", "type": "paragraph", "section": "III.20", "lesson": 64, "exercise": 64, "reading_order": 1659, "original": "5°. La cinquiéme & la sixiéme Basse font un bel effet, étant prises séparément ; & l’on peut même les faire syncoper,", "english": "5. The fifth and sixth basses have a pleasing effect when taken separately. We may even syncopate them:", "sources": [ { "pdf_page": 272, "source_image": "source-pages/bnf-272.png", "printed_page": 240, "bbox_pixels": [ 590, 2180, 2200, 175 ], "crop_image": "assets/III.20-032.png" } ] }, { "id": "III.20-033", "type": "paragraph", "section": "III.20", "lesson": 64, "exercise": 64, "reading_order": 1660, "original": "Ainsi,", "english": "Thus:", "sources": [ { "pdf_page": 272, "source_image": "source-pages/bnf-272.png", "printed_page": 240, "bbox_pixels": [ 810, 2460, 340, 95 ], "crop_image": "assets/III.20-033.png" } ] }, { "id": "III.20-034", "type": "music", "section": "III.20", "lesson": 64, "exercise": 64, "reading_order": 1661, "original": "Cinquiéme & sixiéme Basses syncopées", "english": "The fifth and sixth basses syncopated", "sources": [ { "pdf_page": 272, "source_image": "source-pages/bnf-272.png", "printed_page": 240, "bbox_pixels": [ 1100, 2340, 1630, 310 ], "crop_image": "assets/III.20-034.png" } ], "original_title": "Cinquiéme & sixiéme Basses syncopées", "english_title": "The fifth and sixth basses syncopated", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.20-034" ], "music_asset_refs": [ "III.20-034" ] }, { "id": "III.20-035", "type": "paragraph", "section": "III.20", "lesson": 64, "exercise": 64, "reading_order": 1662, "original": "Ou Par renversement.", "english": "Or by inversion.", "sources": [ { "pdf_page": 272, "source_image": "source-pages/bnf-272.png", "printed_page": 240, "bbox_pixels": [ 660, 2670, 510, 245 ], "crop_image": "assets/III.20-035.png" } ] }, { "id": "III.20-036", "type": "music", "section": "III.20", "lesson": 64, "exercise": 64, "reading_order": 1663, "original": "Renversement des deux Basses syncopées", "english": "Inversion of the two syncopated basses", "sources": [ { "pdf_page": 272, "source_image": "source-pages/bnf-272.png", "printed_page": 240, "bbox_pixels": [ 1100, 2700, 1630, 310 ], "crop_image": "assets/III.20-036.png" } ], "original_title": "Renversement des deux Basses syncopées", "english_title": "Inversion of the two syncopated basses", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.20-036" ], "music_asset_refs": [ "III.20-036" ] }, { "id": "III.20-037", "type": "paragraph", "section": "III.20", "lesson": 64, "exercise": 64, "reading_order": 1664, "original": "Il est assez difficile d’ajoûter deux autres Parties à celles-cy, parce que le renversement y introduit une certaine supposition, qui demande une grande connoissance de l’Harmonie ; de sorte qu’il ne faut les pratiquer à present que comme elles sont écrites, c’est-à-dire, à deux Parties seulement.", "english": "It is rather difficult to add two more parts to these, because inversion introduces a certain supposition that requires a thorough knowledge of harmony. For the present, therefore, practise them only as written: in two parts alone.", "sources": [ { "pdf_page": 272, "source_image": "source-pages/bnf-272.png", "printed_page": 240, "bbox_pixels": [ 590, 3050, 2200, 435 ], "crop_image": "assets/III.20-037.png" } ] }, { "id": "III.20-038", "type": "paragraph", "section": "III.20", "lesson": 64, "exercise": 64, "reading_order": 1665, "original": "Quand on fait servir une Partie de Basse, elle doit commencer & finir par la Notte tonique, & l’on doit faire ensorte que cette Notte tonique soit précedée de sa Dominante en finissant, n’y ayant à faire dans les autres Parties, qu’un tres-petit changement que l’on peut conformer à leur progression, lorsqu’on les entend au-dessus de la Basse-fondamentale.", "english": "When a part is used as bass, it must begin and end on the tonic. At the close, arrange for that tonic to be preceded by its dominant. The other parts require only a very slight alteration, which we can make agree with their progression as heard above the fundamental bass.", "sources": [ { "pdf_page": 273, "source_image": "source-pages/bnf-273.png", "printed_page": 241, "bbox_pixels": [ 425, 380, 2200, 445 ], "crop_image": "assets/III.20-038.png" } ] }, { "id": "III.21-001", "type": "heading", "section": "III.21", "lesson": 65, "exercise": 65, "reading_order": 1666, "original": "CHAPITRE VINGT-UNIÉME.", "english": "CHAPTER TWENTY-ONE.", "sources": [ { "pdf_page": 273, "source_image": "source-pages/bnf-273.png", "printed_page": 241, "bbox_pixels": [ 470, 975, 2100, 110 ], "crop_image": "assets/III.21-001.png" } ] }, { "id": "III.21-002", "type": "heading", "section": "III.21", "lesson": 65, "exercise": 65, "reading_order": 1667, "original": "De l’Accord de la Seconde.", "english": "On the second chord.", "sources": [ { "pdf_page": 273, "source_image": "source-pages/bnf-273.png", "printed_page": 241, "bbox_pixels": [ 470, 1130, 2100, 110 ], "crop_image": "assets/III.21-002.png" } ] }, { "id": "III.21-003", "type": "paragraph", "section": "III.21", "lesson": 65, "exercise": 65, "reading_order": 1668, "original": "LA Seconde est un Intervale renversé de celuy de la Septiéme, & pareillement l’Accord de la Seconde est renversé de celuy de la Septiéme.", "english": "The second is the inversion of the seventh interval. Likewise, the second chord is an inversion of the seventh chord.", "sources": [ { "pdf_page": 273, "source_image": "source-pages/bnf-273.png", "printed_page": 241, "bbox_pixels": [ 425, 1290, 2200, 220 ], "crop_image": "assets/III.21-003.png" } ] }, { "id": "III.21-004", "type": "heading", "section": "III.21", "lesson": 65, "exercise": 65, "reading_order": 1669, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 273, "source_image": "source-pages/bnf-273.png", "printed_page": 241, "bbox_pixels": [ 470, 1510, 2100, 110 ], "crop_image": "assets/III.21-004.png" } ] }, { "id": "III.21-005", "type": "music", "section": "III.21", "lesson": 65, "exercise": 65, "reading_order": 1670, "original": "Seconde, Septiéme & leurs Accords", "english": "The second, seventh, and their chords", "sources": [ { "pdf_page": 273, "source_image": "source-pages/bnf-273.png", "printed_page": 241, "bbox_pixels": [ 840, 1640, 1740, 770 ], "crop_image": "assets/III.21-005.png" } ], "original_title": "Seconde, Septiéme & leurs Accords", "english_title": "The second, seventh, and their chords", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.21-005" ], "music_asset_refs": [ "III.21-005" ] }, { "id": "III.21-006", "type": "paragraph", "section": "III.21", "lesson": 65, "exercise": 65, "reading_order": 1671, "original": "Ce renversement en cause un pareil, lorsqu’il s’agit de preparer & de sauver ces Dissonances.", "english": "This inversion brings about a corresponding reversal in the preparation and resolution of these dissonances.", "sources": [ { "pdf_page": 273, "source_image": "source-pages/bnf-273.png", "printed_page": 241, "bbox_pixels": [ 425, 2460, 2200, 155 ], "crop_image": "assets/III.21-006.png" } ] }, { "id": "III.21-007", "type": "paragraph", "section": "III.21", "lesson": 65, "exercise": 65, "reading_order": 1672, "original": "Si toutes les Dissonances mineures doivent être preparées & sauvées dans le Dessus ; la Seconde au contraire, qui fait entendre la Dissonance mineure dans la Basse, doit être preparée & sauvée dans cette Basse, selon la progression déterminée à la Dissonance mineure ; ainsi l’on doit faire entendre dans le second Temps de la Basse, la Notte sur laquelle on veut faire une Seconde dans le premier Temps de la Mesure suivante, & cette Notte doit descendre ensuite ; de sorte que tant que l’on fera proceder la Basse de même, l’on pourra donner à chaque Notte un Accord pareil à celuy qu’elles portent dans l’Exemple suivant, jusqu’à ce que la Dissonance majeure paroisse, après laquelle suit un Accord consonant.", "english": "Whereas all minor dissonances must be prepared and resolved in the upper part, the second, by contrast, places the minor dissonance in the bass. It must therefore be prepared and resolved in that bass, according to the movement prescribed for a minor dissonance. Thus, on the bass's second beat, sound the note above which you intend to make a second on the first beat of the following measure. That note must then descend. As long as we continue moving the bass in this way, we can give each note a chord like those in the following example, until the major dissonance appears, after which a consonant chord follows.", "sources": [ { "pdf_page": 273, "source_image": "source-pages/bnf-273.png", "printed_page": 241, "bbox_pixels": [ 425, 2615, 2200, 805 ], "crop_image": "assets/III.21-007.png" } ] }, { "id": "III.21-008", "type": "paragraph", "section": "III.21", "lesson": 65, "exercise": 65, "reading_order": 1673, "original": "Il faut bien prendre garde que dans une progression d’Harmonie pareille à celle de cet Exemple, la Dissonance majeure peut y paroître sans que pour cela l’on soit obligé d’y faire attention, lorsque le Chant de la Basse poursuit par les mêmes degrez, passant sur la Mediante, sans y faire entendre la conclusion, & reservant cette conclusion pour la Notte tonique, qui ne paroît qu’une ou plusieurs Mesures après, soit en effet, soit dans ses dérivez, comme on peut s’en appercevoir dans l’Exemple suivant. La Dissonance majeure qui ne suit point, en ce cas sa progression naturelle, est pour lors regardée comme mineure, ce qui se souffre seulement par rapport à la Modulation, où l’on veut suspendre la conclusion pour quelque temps, quoique ce soit toûjours mieux fait de s’arrêter sur l’Accord parfait de la Notte tonique, ou sur celuy de la Sixte de la Mediante après la Notte sensible.", "english": "Take particular care: in a harmonic progression like this example, the major dissonance may appear without requiring our attention if the bass melody continues through the same degrees, passes onto the mediant without making a close there, and reserves that close for the tonic, which appears only one or more measures later, either in actual form or in its derivatives. This can be observed in the following example. In this case the major dissonance, not following its natural movement, is treated as minor. This is tolerated only because of the modulation, in which we wish to delay the close for a time. Nevertheless, it is always better, after the leading note, to come to rest on the tonic's perfect chord or the mediant's sixth chord.", "sources": [ { "pdf_page": 273, "source_image": "source-pages/bnf-273.png", "printed_page": 241, "bbox_pixels": [ 425, 3420, 2200, 120 ], "crop_image": "assets/III.21-008.png" }, { "pdf_page": 274, "source_image": "source-pages/bnf-274.png", "printed_page": 242, "bbox_pixels": [ 425, 390, 2200, 995 ], "crop_image": "assets/III.21-009.png" } ] }, { "id": "III.21-010", "type": "paragraph", "section": "III.21", "lesson": 65, "exercise": 65, "reading_order": 1674, "original": "Exemple de la Septiéme préparée & sauvée dans le Dessus.", "english": "Example of the seventh prepared and resolved in the upper part.", "sources": [ { "pdf_page": 274, "source_image": "source-pages/bnf-274.png", "printed_page": 242, "bbox_pixels": [ 445, 1500, 1050, 155 ], "crop_image": "assets/III.21-010.png" } ] }, { "id": "III.21-011", "type": "music", "section": "III.21", "lesson": 65, "exercise": 65, "reading_order": 1675, "original": "Septiéme préparée & sauvée dans le Dessus", "english": "The seventh prepared and resolved in the upper part", "sources": [ { "pdf_page": 274, "source_image": "source-pages/bnf-274.png", "printed_page": 242, "bbox_pixels": [ 445, 1430, 1055, 1310 ], "crop_image": "assets/III.21-011.png" } ], "original_title": "Septiéme préparée & sauvée dans le Dessus", "english_title": "The seventh prepared and resolved in the upper part", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.21-011" ], "music_asset_refs": [ "III.21-011" ] }, { "id": "III.21-012", "type": "paragraph", "section": "III.21", "lesson": 65, "exercise": 65, "reading_order": 1676, "original": "Exemple de la Seconde préparée & sauvée dans la Basse.", "english": "Example of the second prepared and resolved in the bass.", "sources": [ { "pdf_page": 274, "source_image": "source-pages/bnf-274.png", "printed_page": 242, "bbox_pixels": [ 1520, 1500, 1070, 155 ], "crop_image": "assets/III.21-012.png" } ] }, { "id": "III.21-013", "type": "music", "section": "III.21", "lesson": 65, "exercise": 65, "reading_order": 1677, "original": "Seconde préparée & sauvée dans la Basse", "english": "The second prepared and resolved in the bass", "sources": [ { "pdf_page": 274, "source_image": "source-pages/bnf-274.png", "printed_page": 242, "bbox_pixels": [ 1520, 1430, 1070, 1310 ], "crop_image": "assets/III.21-013.png" } ], "original_title": "Seconde préparée & sauvée dans la Basse", "english_title": "The second prepared and resolved in the bass", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.21-013" ], "music_asset_refs": [ "III.21-013" ] }, { "id": "III.21-014", "type": "paragraph", "section": "III.21", "lesson": 65, "exercise": 65, "reading_order": 1678, "original": "Vous voyez que la Seconde est préparée & sauvée dans la Basse, de même que la Septiéme l’est dans le Dessus A, B, & par la Basse-fondamentale, que les Accords sont composez des mêmes Sons de part & d’autre.", "english": "You see that the second is prepared and resolved in the bass just as the seventh is in the upper part at A and B. The fundamental bass shows that the chords on both sides consist of the same sounds.", "sources": [ { "pdf_page": 274, "source_image": "source-pages/bnf-274.png", "printed_page": 242, "bbox_pixels": [ 425, 2780, 2200, 310 ], "crop_image": "assets/III.21-014.png" } ] }, { "id": "III.21-015", "type": "paragraph", "section": "III.21", "lesson": 65, "exercise": 65, "reading_order": 1679, "original": "Pour sçavoir à present le choix que l’on doit faire des Accords compris dans l’un & l’autre Exemples, où la Basse procede presque également, puisqu’elle descend diatoniquement de chaque côté, en faisant entendre deux fois la même Notte sur le même degré ; Vous remarquerez que d’un côté, ces deux Nottes sont renfermées dans la même Mesure ; & que de l’autre, elles sont séparées par la Barre qui partage les Mesures ; ainsi lorsque vôtre Basse sera pareille à l’une de celles-cy, vous pourrez toûjours y faire entendre des Accords pareils à ceux qui y sont compris ; & soyez certain que vous ne vous tromperez jamais en suivant cette Regle.", "english": "To know which chords to choose from these two examples, whose bass progressions are almost alike—both descend diatonically and sound each note twice on the same degree—observe that on one side the two notes fall within the same measure, whereas on the other they are separated by a barline. Whenever your bass resembles either of these, you can use chords like the ones shown there. Be assured that following this rule will never mislead you.", "sources": [ { "pdf_page": 274, "source_image": "source-pages/bnf-274.png", "printed_page": 242, "bbox_pixels": [ 425, 3090, 2200, 460 ], "crop_image": "assets/III.21-015.png" }, { "pdf_page": 275, "source_image": "source-pages/bnf-275.png", "printed_page": 243, "bbox_pixels": [ 425, 380, 2200, 300 ], "crop_image": "assets/III.21-016.png" } ] }, { "id": "III.21-017", "type": "paragraph", "section": "III.21", "lesson": 65, "exercise": 65, "reading_order": 1680, "original": "Si dans l’Exemple du Chap. précedent, il se trouve des Basses, dont la progression n’est pas conforme à celles-cy dans les Accords qu’elles y portent, c’est parce qu’elles y representent seulement des Dessus ; mais autrement, ne vous écartez pas de nôtre Regle, si vous voulez bien faire.", "english": "If some basses in the preceding chapter's example do not conform to these progressions in the chords they bear, it is because they represent upper parts only. Otherwise, do not depart from our rule if you wish to proceed correctly.", "sources": [ { "pdf_page": 275, "source_image": "source-pages/bnf-275.png", "printed_page": 243, "bbox_pixels": [ 425, 680, 2200, 365 ], "crop_image": "assets/III.21-017.png" } ] }, { "id": "III.21-018", "type": "paragraph", "section": "III.21", "lesson": 65, "exercise": 65, "reading_order": 1681, "original": "La Seconde veut être absolument preparée par la Tierce, quoiqu’elle puisse l’être dans le Dessus de toutes les Consonances ; car pour ce qui est de la Basse, elle doit toûjours syncoper en ce cas.", "english": "The second absolutely requires preparation by the third, although it may be prepared in the upper part by any consonance; as for the bass, it must always be syncopated in this case.", "sources": [ { "pdf_page": 275, "source_image": "source-pages/bnf-275.png", "printed_page": 243, "bbox_pixels": [ 425, 1045, 2200, 225 ], "crop_image": "assets/III.21-018.png" } ] }, { "id": "III.21-019", "type": "paragraph", "section": "III.21", "lesson": 65, "exercise": 65, "reading_order": 1682, "original": "Remarquez à present que la differente progression de la Basse, fait que les Dissonances se trouvent préparées & sauvées de quelque Consonance que ce soit ; & pour ne pas vous y tromper, rapportez toûjours une Basse-fondamentale au-dessous de vôtre composition, où vous verrez que la Dissonance mineure, qui fait toûjours la Septiéme contre cette Basse n’y est jamais préparée que par l’Octave, la Quinte ou la Tierce, & qu’elle n’y est jamais sauvée que de la Tierce ; sinon, vôtre composition ne sera ni juste, ni reguliere.", "english": "Observe now that different bass progressions allow dissonances to be prepared and resolved by any consonance. To avoid error, always place a fundamental bass beneath your composition. There you will see that the minor dissonance, which always makes a seventh against this bass, is never prepared by anything but the octave, fifth, or third, and never resolved by anything but the third. Otherwise your composition will be neither correct nor regular.", "sources": [ { "pdf_page": 275, "source_image": "source-pages/bnf-275.png", "printed_page": 243, "bbox_pixels": [ 425, 1270, 2200, 590 ], "crop_image": "assets/III.21-019.png" } ] }, { "id": "III.21-020", "type": "paragraph", "section": "III.21", "lesson": 65, "exercise": 65, "reading_order": 1683, "original": "Nous repetons encore que la premiere Dissonance précédée d’un Accord consonant, pourra bien être préparée par l’Octave, par la Quinte, ou par la Tierce de la Notte fondamentale ; il est en même temps nécessaire que celles qui suivront consecutivement la premiere soient préparées par la Tierce de cette Notte, plûtôt que par aucune autre Consonance ; parce que la suite d’Harmonie qui en provient, est la plus naturelle. Neanmoins la diversité nous engage quelquefois à préparer la Septiéme par la Quinte, ou par l’Octave de la Notte fondamentale, quoique cette Septiéme se trouve au milieu, ou après plusieurs autres ; remarquez bien que cela ne se fait que pour diversifier le Chant ou l’Harmonie, qu’ainsi l’on ne doit le mettre en pratique que rarement, ou du moins avec jugement ; & ce que nous disons de la Septiéme, doit s’entendre de toute autre Dissonance mineure, en la rapportant à son fondement, où cette Septiéme regne toûjours.", "english": "We repeat that the first dissonance, preceded by a consonant chord, may indeed be prepared by the octave, fifth, or third of the fundamental note. At the same time, those immediately succeeding the first must be prepared by the third of that note rather than by any other consonance, because the resulting harmonic succession is the most natural. Nevertheless, variety sometimes prompts us to prepare a seventh by the fifth or octave of the fundamental note, even when that seventh occurs in the middle of, or after, several others. Note carefully that this is done only to vary the melody or harmony. It should therefore be practised rarely, or at least judiciously. What we say of the seventh applies to every other minor dissonance when referred to its foundation, where the seventh always governs.", "sources": [ { "pdf_page": 275, "source_image": "source-pages/bnf-275.png", "printed_page": 243, "bbox_pixels": [ 425, 1860, 2200, 1110 ], "crop_image": "assets/III.21-020.png" } ] }, { "id": "III.21-021", "type": "paragraph", "section": "III.21", "lesson": 65, "exercise": 65, "reading_order": 1684, "original": "Si la Septiéme encore ne doit jamais être sauvée que par la Tierce de la Notte-fondamentale, ce n’est pas à dire qu’elle ne puisse l’être aussi par la Quinte, & même par l’Octave ; mais ce sont des Licences, dont on ne doit faire usage que lorsque l’on possede parfaitement le reste ; ainsi nous n’en parlerons pas encore.", "english": "Although we say that the seventh must never be resolved except by the third of the fundamental note, this does not mean that it cannot also be resolved by the fifth, or even the octave. These are licences, however, to be used only after one has thoroughly mastered everything else; we shall therefore not discuss them yet.", "sources": [ { "pdf_page": 275, "source_image": "source-pages/bnf-275.png", "printed_page": 243, "bbox_pixels": [ 425, 2970, 2200, 395 ], "crop_image": "assets/III.21-021.png" } ] }, { "id": "III.22-001", "type": "heading", "section": "III.22", "lesson": 66, "exercise": 66, "reading_order": 1685, "original": "CHAPITRE VINGT-DEUXIÉME.", "english": "CHAPTER TWENTY-TWO.", "sources": [ { "pdf_page": 276, "source_image": "source-pages/bnf-276.png", "printed_page": 244, "bbox_pixels": [ 470, 490, 2100, 110 ], "crop_image": "assets/III.22-001.png" } ], "correction_refs": [ "supplement-229" ] }, { "id": "III.22-002", "type": "heading", "section": "III.22", "lesson": 66, "exercise": 66, "reading_order": 1686, "original": "Des Tons & des Modes en general.", "english": "On keys and modes in general.", "sources": [ { "pdf_page": 276, "source_image": "source-pages/bnf-276.png", "printed_page": 244, "bbox_pixels": [ 470, 615, 2100, 110 ], "crop_image": "assets/III.22-002.png" } ] }, { "id": "III.22-003", "type": "paragraph", "section": "III.22", "lesson": 66, "exercise": 66, "reading_order": 1687, "original": "QUand on sera bien assuré de ce que nous avons dit des Tons & des Modes au Chap. VIII. il ne restera plus qu’à sçavoir ce qui suit.", "english": "Once we have firmly understood what was said about keys and modes in Chapter VIII, only the following remains to be learned.", "sources": [ { "pdf_page": 276, "source_image": "source-pages/bnf-276.png", "printed_page": 244, "bbox_pixels": [ 425, 745, 2200, 215 ], "crop_image": "assets/III.22-003.png" } ] }, { "id": "III.22-004", "type": "heading", "section": "III.22", "lesson": 66, "exercise": 66, "reading_order": 1688, "original": "ARTICLE PREMIER.", "english": "ARTICLE ONE.", "sources": [ { "pdf_page": 276, "source_image": "source-pages/bnf-276.png", "printed_page": 244, "bbox_pixels": [ 470, 960, 2100, 110 ], "crop_image": "assets/III.22-004.png" } ] }, { "id": "III.22-005", "type": "heading", "section": "III.22", "lesson": 66, "exercise": 66, "reading_order": 1689, "original": "Des Tons majeurs.", "english": "On major keys.", "sources": [ { "pdf_page": 276, "source_image": "source-pages/bnf-276.png", "printed_page": 244, "bbox_pixels": [ 470, 1080, 2100, 110 ], "crop_image": "assets/III.22-005.png" } ] }, { "id": "III.22-006", "type": "paragraph", "section": "III.22", "lesson": 66, "exercise": 66, "reading_order": 1690, "original": "Comme l’on peut prendre telle Notte que l’on veut pour Tonique, pourvû que l’on conforme la progression de son Octave à celle d’Ut, supposé que le Ton soit majeur, on se sert des Diezes & des B-mols pour augmenter ou diminuer d’un semi-Ton les Intervales, qui pourroient empêcher cette conformité. Or, il ne s’agit que de sçavoir la quantité de ces Diezes ou de ces B-mols, que l’on met ordinairement après la Clef, pour nous marquer que toutes les Nottes qui se trouvent sur le même degré de ces Diezes & de ces B-mols, doivent être augmentées ou diminuées d’un semi-Ton ; Par exemple, si nous prenons la Notte Ré pour Tonique, & que nous voulions en conformer le Ton à celuy d’Ut, nous remarquons que la Notte Fa fait la Tierce mineure de ce Ré ; ce qui ne se conforme pas à la Tierce d’Ut qui est majeure ; ainsi en ajoûtant un Dieze à ce Fa, l’on rend la Tierce de Ré majeure, de même que Mi fait la Tierce majeure d’Ut, &c. pareillement la Quarte de Fa est Si ♭ ; donc il faut ajoûter un ♭ à la Notte Si dans le Ton de Fa, pour le conformer à celuy d’Ut.", "english": "We may take any note we wish as tonic, provided that, if the key is major, we make its octave progression conform to that of C. We use sharps and flats to enlarge or diminish by a semitone the intervals that would otherwise prevent this correspondence. We therefore need only know how many sharps or flats to place, ordinarily after the clef, to indicate that all notes on the same degrees as those signs must be raised or lowered a semitone. For example, take D as tonic and make its key conform to C. F forms a minor third above D, unlike the major third above C. Adding a sharp to F therefore makes D's third major, just as E forms the major third above C, and so forth. Likewise, the fourth above F is B♭; thus, in the key of F we must add a flat to B to make it conform to C.", "sources": [ { "pdf_page": 276, "source_image": "source-pages/bnf-276.png", "printed_page": 244, "bbox_pixels": [ 425, 1200, 2200, 1260 ], "crop_image": "assets/III.22-006.png" } ] }, { "id": "III.22-007", "type": "paragraph", "section": "III.22", "lesson": 66, "exercise": 66, "reading_order": 1691, "original": "Exemple de tous les Tons majeurs transposez, dont la Modulation de l’Octave est conforme à celle de l’Octave d’Ut.", "english": "Example of all transposed major keys, whose octave modulation corresponds to that of C's octave.", "sources": [ { "pdf_page": 276, "source_image": "source-pages/bnf-276.png", "printed_page": 244, "bbox_pixels": [ 440, 2480, 2180, 180 ], "crop_image": "assets/III.22-007.png" } ] }, { "id": "III.22-008", "type": "music", "section": "III.22", "lesson": 66, "exercise": 66, "reading_order": 1692, "original": "Tons majeurs — par des Diezes", "english": "Major keys — with sharps", "sources": [ { "pdf_page": 276, "source_image": "source-pages/bnf-276.png", "printed_page": 244, "bbox_pixels": [ 440, 2730, 2150, 400 ], "crop_image": "assets/III.22-008.png" } ], "original_title": "Tons majeurs — par des Diezes", "english_title": "Major keys — with sharps", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.22-008" ], "music_asset_refs": [ "III.22-008" ] }, { "id": "III.22-009", "type": "music", "section": "III.22", "lesson": 66, "exercise": 66, "reading_order": 1693, "original": "Tons majeurs — par des B-mols", "english": "Major keys — with flats", "sources": [ { "pdf_page": 276, "source_image": "source-pages/bnf-276.png", "printed_page": 244, "bbox_pixels": [ 440, 3140, 2150, 380 ], "crop_image": "assets/III.22-009.png" } ], "original_title": "Tons majeurs — par des B-mols", "english_title": "Major keys — with flats", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.22-009" ], "music_asset_refs": [ "III.22-009" ] }, { "id": "III.22-010", "type": "paragraph", "section": "III.22", "lesson": 66, "exercise": 66, "reading_order": 1694, "original": "Voilà onze Tons majeurs, qui avec celuy d’Ut en font douze, n’y ayant que douze Nottes Chromatiques dans tout le Système de l’Octave. Voyez le Premier Livre, Chap. V.", "english": "Here are eleven major keys, making twelve with C, since there are only twelve chromatic notes in the entire octave system. See Book One, Chapter V.", "sources": [ { "pdf_page": 277, "source_image": "source-pages/bnf-277.png", "printed_page": 245, "bbox_pixels": [ 225, 395, 2200, 225 ], "crop_image": "assets/III.22-010.png" } ] }, { "id": "III.22-011", "type": "paragraph", "section": "III.22", "lesson": 66, "exercise": 66, "reading_order": 1695, "original": "L’on doit sçavoir que l’ordre de la position des Diezes se décline ainsi, Fa, Ut, Sol, Ré, La, Mi, Si, &c. ce qui nous donne à connoître que lorsqu’il n’y en a qu’un, ce ne peut être que celuy de Fa, s’il y en a deux, ce sont ceux de Fa & d’Ut, trois, Fa, Ut & Sol ; &c. en comptant toûjours de cinq en cinq en montant depuis le premier Dieze, qui est celuy de Fa, jusqu’au dernier.", "english": "The order in which sharps are placed is F, C, G, D, A, E, B, and so forth. Thus, if there is only one, it must be F; with two, they are F and C; with three, F, C, and G; and so on. Always count upward by fives from the first sharp, F, to the last.", "sources": [ { "pdf_page": 277, "source_image": "source-pages/bnf-277.png", "printed_page": 245, "bbox_pixels": [ 225, 620, 2200, 460 ], "crop_image": "assets/III.22-011.png" } ] }, { "id": "III.22-012", "type": "paragraph", "section": "III.22", "lesson": 66, "exercise": 66, "reading_order": 1696, "original": "Si l’on veut sçavoir combien il faut de Diezes pour désigner un certain Ton majeur, l’on remarquera que c’est la Notte sensible du Ton qui en détermine la quantité, parce que le dernier Dieze se met toûjours sur elle ; ainsi le Ton majeur de Ré demande deux Diezes devant la Clef, parce que la Notte sensible de Ré est Ut Dieze, ne pouvant mettre un Dieze sur la ligne d’Ut, qu’on n’en mette un autre sur la ligne de Fa, où se trouve toûjours le premier Dieze ; par consequent le Ton majeur de Mi demande quatre Diezes, puisque Ré Dieze en est la Notte sensible, ainsi des autres. Cela se distingue encore en comptant de cinq en cinq depuis le Ton majeur, qui ne porte qu’un Dieze ; & sçachant que c’est celuy de Sol, on dit, Sol, Ré, La, Mi, Si, &c. 1, 2, 3, 4, 5 Diezes.", "english": "To find how many sharps designate a particular major key, observe that the leading note determines their number, because the last sharp is always placed on it. D major therefore requires two sharps before the clef: its leading note is C♯, and we cannot put a sharp on the C line without also putting one on F, where the first sharp always stands. E major consequently requires four sharps, since D♯ is its leading note; likewise for the others. We may also find this by counting by fives from the major key with one sharp. Knowing that this is G, we say G, D, A, E, B, and so forth: 1, 2, 3, 4, 5 sharps.", "sources": [ { "pdf_page": 277, "source_image": "source-pages/bnf-277.png", "printed_page": 245, "bbox_pixels": [ 225, 1080, 2200, 925 ], "crop_image": "assets/III.22-012.png" } ] }, { "id": "III.22-013", "type": "paragraph", "section": "III.22", "lesson": 66, "exercise": 66, "reading_order": 1697, "original": "L’ordre de la position des B-mols se décline de quatre en quatre en montant, & en commençant par celuy de Si ; ainsi, Si, Mi, La, Ré, Sol, &c. c’est la quatriéme Notte qui en détermine la quantité dans les Tons majeurs ; Par exemple, la quarte de Fa est Si B-mol ; donc il faut mettre un B-mol sur la ligne de Si dans le Ton majeur de Fa, ainsi des autres, en remarquant que les Tons majeurs qui se marquent avec des B-mols commencent par celuy de Fa ; de sorte qu’en comptant de quatre en quatre, comme on a compté de cinq en cinq pour les Diezes, l’on trouvera ce que l’on cherche.", "english": "Flats are placed by counting upward by fours, beginning with B: thus B, E, A, D, G, and so on. In major keys the fourth note determines their number. For example, the fourth above F is B♭, so a flat must be placed on the B line in F major; likewise for the others. Remember that the major keys written with flats begin with F. By counting by fours, as we counted by fives for sharps, we shall find what we seek.", "sources": [ { "pdf_page": 277, "source_image": "source-pages/bnf-277.png", "printed_page": 245, "bbox_pixels": [ 225, 2005, 2200, 685 ], "crop_image": "assets/III.22-013.png" } ] }, { "id": "III.22-014", "type": "heading", "section": "III.22", "lesson": 66, "exercise": 66, "reading_order": 1698, "original": "ARTICLE SECOND.", "english": "ARTICLE TWO.", "sources": [ { "pdf_page": 277, "source_image": "source-pages/bnf-277.png", "printed_page": 245, "bbox_pixels": [ 470, 2750, 2100, 110 ], "crop_image": "assets/III.22-014.png" } ] }, { "id": "III.22-015", "type": "heading", "section": "III.22", "lesson": 66, "exercise": 66, "reading_order": 1699, "original": "Des Tons mineurs.", "english": "On minor keys.", "sources": [ { "pdf_page": 277, "source_image": "source-pages/bnf-277.png", "printed_page": 245, "bbox_pixels": [ 470, 2900, 2100, 110 ], "crop_image": "assets/III.22-015.png" } ] }, { "id": "III.22-016", "type": "paragraph", "section": "III.22", "lesson": 66, "exercise": 66, "reading_order": 1700, "original": "L’on prend ordinairement l’Octave de la Notte Ré pour model de tous les Tons mineurs.", "english": "The octave of D is ordinarily taken as the model for all minor keys.", "sources": [ { "pdf_page": 277, "source_image": "source-pages/bnf-277.png", "printed_page": 245, "bbox_pixels": [ 225, 3040, 2200, 165 ], "crop_image": "assets/III.22-016.png" } ] }, { "id": "III.22-017", "type": "paragraph", "section": "III.22", "lesson": 66, "exercise": 66, "reading_order": 1701, "original": "Voyez l’Exemple suivant.", "english": "See the following example.", "sources": [ { "pdf_page": 277, "source_image": "source-pages/bnf-277.png", "printed_page": 245, "bbox_pixels": [ 1530, 3210, 1040, 95 ], "crop_image": "assets/III.22-017.png" } ] }, { "id": "III.22-018", "type": "heading", "section": "III.22", "lesson": 66, "exercise": 66, "reading_order": 1702, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 278, "source_image": "source-pages/bnf-278.png", "printed_page": 246, "bbox_pixels": [ 470, 510, 2100, 110 ], "crop_image": "assets/III.22-018.png" } ] }, { "id": "III.22-019", "type": "image", "section": "III.22", "lesson": 66, "exercise": 66, "reading_order": 1703, "original": "Ré — Octave ; Ut ♯ — Notte sensible ; Si ♭ — Sixiéme Notte ; La — Dominante tonique ; Sol — Quatriéme Notte ; Fa — Mediante ; Mi — Seconde Notte ; Ré — Notte tonique.", "english": "D — Octave; C♯ — Leading note; B♭ — Sixth note; A — Tonic dominant; G — Fourth note; F — Mediant; E — Second note; D — Tonic.", "sources": [ { "pdf_page": 278, "source_image": "source-pages/bnf-278.png", "printed_page": 246, "bbox_pixels": [ 440, 635, 2140, 645 ], "crop_image": "assets/III.22-019.png" } ], "original_title": "Octave modèle de Ré — noms des degrés", "english_title": "D as the model octave — names of the degrees", "asset_refs": [ "III.22-019" ] }, { "id": "III.22-020", "type": "paragraph", "section": "III.22", "lesson": 66, "exercise": 66, "reading_order": 1704, "original": "La progression du Ton mineur n’est differente du majeur en montant, que dans la Tierce qui est mineure d’un côté, & majeure de l’autre ; mais en descendant il faut rendre le B-mol à la Notte Si, & ôter le Dieze de la Notte sensible Ut.", "english": "In ascent, the minor-key progression differs from the major only in the third, minor in one and major in the other. In descent, however, the flat must be restored to B and the sharp removed from the leading note C.", "sources": [ { "pdf_page": 278, "source_image": "source-pages/bnf-278.png", "printed_page": 246, "bbox_pixels": [ 425, 1320, 2200, 325 ], "crop_image": "assets/III.22-020.png" } ] }, { "id": "III.22-021", "type": "heading", "section": "III.22", "lesson": 66, "exercise": 66, "reading_order": 1705, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 278, "source_image": "source-pages/bnf-278.png", "printed_page": 246, "bbox_pixels": [ 470, 1700, 2100, 110 ], "crop_image": "assets/III.22-021.png" } ] }, { "id": "III.22-022", "type": "music", "section": "III.22", "lesson": 66, "exercise": 66, "reading_order": 1706, "original": "Progression de l’Octave de Ré mineur", "english": "The octave progression in D minor", "sources": [ { "pdf_page": 278, "source_image": "source-pages/bnf-278.png", "printed_page": 246, "bbox_pixels": [ 440, 1830, 2150, 310 ], "crop_image": "assets/III.22-022.png" } ], "original_title": "Progression de l’Octave de Ré mineur", "english_title": "The octave progression in D minor", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.22-022" ], "music_asset_refs": [ "III.22-022" ] }, { "id": "III.22-023", "type": "paragraph", "section": "III.22", "lesson": 66, "exercise": 66, "reading_order": 1707, "original": "On ne peut jamais se tromper, en suivant ces progressions dans tous les Tons mineurs.", "english": "We can never go wrong by following these progressions in every minor key.", "sources": [ { "pdf_page": 278, "source_image": "source-pages/bnf-278.png", "printed_page": 246, "bbox_pixels": [ 425, 2170, 2200, 145 ], "crop_image": "assets/III.22-023.png" } ] }, { "id": "III.22-024", "type": "paragraph", "section": "III.22", "lesson": 66, "exercise": 66, "reading_order": 1708, "original": "Exemple de tous les Tons mineurs transposez, dont la Modulation de l’Octave est conforme à l’Octave précedente de Ré.", "english": "Example of all transposed minor keys, whose octave modulation corresponds to the preceding octave of D.", "sources": [ { "pdf_page": 278, "source_image": "source-pages/bnf-278.png", "printed_page": 246, "bbox_pixels": [ 440, 2370, 2150, 180 ], "crop_image": "assets/III.22-024.png" } ] }, { "id": "III.22-025", "type": "music", "section": "III.22", "lesson": 66, "exercise": 66, "reading_order": 1709, "original": "Ton mineur de La", "english": "The key of A minor", "sources": [ { "pdf_page": 278, "source_image": "source-pages/bnf-278.png", "printed_page": 246, "bbox_pixels": [ 440, 2630, 310, 360 ], "crop_image": "assets/III.22-025.png" } ], "original_title": "Ton mineur de La", "english_title": "The key of A minor", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.22-025" ], "music_asset_refs": [ "III.22-025" ] }, { "id": "III.22-026", "type": "music", "section": "III.22", "lesson": 66, "exercise": 66, "reading_order": 1710, "original": "Tons mineurs — par Diezes", "english": "Minor keys — with sharps", "sources": [ { "pdf_page": 278, "source_image": "source-pages/bnf-278.png", "printed_page": 246, "bbox_pixels": [ 750, 2560, 1840, 450 ], "crop_image": "assets/III.22-026.png" } ], "original_title": "Tons mineurs — par Diezes", "english_title": "Minor keys — with sharps", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.22-026" ], "music_asset_refs": [ "III.22-026" ] }, { "id": "III.22-027", "type": "paragraph", "section": "III.22", "lesson": 66, "exercise": 66, "reading_order": 1711, "original": "Ces deux Tons ne sont qu’un même.", "english": "These two keys are one and the same.", "sources": [ { "pdf_page": 278, "source_image": "source-pages/bnf-278.png", "printed_page": 246, "bbox_pixels": [ 2140, 2965, 410, 175 ], "crop_image": "assets/III.22-027.png" } ] }, { "id": "III.22-028", "type": "music", "section": "III.22", "lesson": 66, "exercise": 66, "reading_order": 1712, "original": "Tons mineurs — par B-mols", "english": "Minor keys — with flats", "sources": [ { "pdf_page": 278, "source_image": "source-pages/bnf-278.png", "printed_page": 246, "bbox_pixels": [ 980, 3110, 1610, 470 ], "crop_image": "assets/III.22-028.png" } ], "original_title": "Tons mineurs — par B-mols", "english_title": "Minor keys — with flats", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.22-028" ], "music_asset_refs": [ "III.22-028" ] }, { "id": "III.22-029", "type": "paragraph", "section": "III.22", "lesson": 66, "exercise": 66, "reading_order": 1713, "original": "Voicy également douze Tons mineurs, en comptant celuy de Ré, qui avec celuy de La se marquent sans Dieze ni B-mol.", "english": "Here, likewise, are twelve minor keys, counting D, which, together with A, is written without a sharp or flat.", "sources": [ { "pdf_page": 279, "source_image": "source-pages/bnf-279.png", "printed_page": 247, "bbox_pixels": [ 425, 380, 2200, 165 ], "crop_image": "assets/III.22-029.png" } ] }, { "id": "III.22-030", "type": "paragraph", "section": "III.22", "lesson": 66, "exercise": 66, "reading_order": 1714, "original": "Le premier Ton qui ait un Dieze devant la Clef est celuy de Mi. Pour connoître la quantité des Diezes que chaque Ton mineur demande, il faut compter les Tons de cinq en cinq depuis Mi, ainsi, Mi, Si, Fa ♯, Ut ♯, &c. 1, 2, 3, 4 Diezes. Donc le Ton mineur de Si qui est le second doit avoir deux Diezes, ainsi des autres ; c’est encore la Seconde Notte du Ton qui détermine cette quantité, parce qu’elle porte le dernier Dieze.", "english": "The first key with a sharp before the clef is E. To determine how many sharps each minor key requires, count the keys by fives from E: E, B, F♯, C♯, and so forth, with 1, 2, 3, 4 sharps. B minor, being second, must therefore have two sharps; likewise for the others. The second note of the key also determines this number, because it receives the last sharp.", "sources": [ { "pdf_page": 279, "source_image": "source-pages/bnf-279.png", "printed_page": 247, "bbox_pixels": [ 425, 545, 2200, 590 ], "crop_image": "assets/III.22-030.png" } ] }, { "id": "III.22-031", "type": "paragraph", "section": "III.22", "lesson": 66, "exercise": 66, "reading_order": 1715, "original": "Le premier Ton mineur qui ait un B-mol devant la Clef est celuy de Sol ; ainsi en comptant de quatre en quatre Sol, Ut, Fa, Si ♭, Mi ♭, 1, 2, 3, 4, 5 B-mols ; l’on sçaura la quantité des B-mols affectez à chacun de ces Tons ; la Tierce mineure qui porte le dernier B-mol, en détermine aussi la quantité.", "english": "The first minor key with a flat before the clef is G. Counting by fours—G, C, F, B♭, E♭, with 1, 2, 3, 4, 5 flats—tells us how many flats belong to each key. The minor third, which bears the last flat, also determines their number.", "sources": [ { "pdf_page": 279, "source_image": "source-pages/bnf-279.png", "printed_page": 247, "bbox_pixels": [ 425, 1135, 2200, 435 ], "crop_image": "assets/III.22-031.png" } ] }, { "id": "III.22-032", "type": "paragraph", "section": "III.22", "lesson": 66, "exercise": 66, "reading_order": 1716, "original": "Il faut bien avoir present à l’esprit ces differentes quantitez de Diezes & de B-mols que chaque Ton majeur ou mineur demande, non seulement pour sçavoir les mettre devant les Clefs, mais encore pour sçavoir les mettre à propos à côté des Nottes, ou les ôter, lorsque le Ton peut changer dans la suite d’une Piece ; car ce-cy ne sert pas seulement à composer dans un Ton, plûtôt que dans un autre, mais encore à distinguer les Tons dans lesquels on passe, & à les faire distinguer aux concertans.", "english": "We must keep clearly in mind the different numbers of sharps and flats required by each major or minor key. This is necessary not only to place them before the clefs, but also to know when to add them beside notes, or remove them, when the key changes during a piece. The information serves not merely to compose in one key rather than another, but also to recognize the keys into which we pass and make them recognizable to the performers.", "sources": [ { "pdf_page": 279, "source_image": "source-pages/bnf-279.png", "printed_page": 247, "bbox_pixels": [ 425, 1570, 2200, 590 ], "crop_image": "assets/III.22-032.png" } ] }, { "id": "III.22-033", "type": "paragraph", "section": "III.22", "lesson": 66, "exercise": 66, "reading_order": 1717, "original": "Remarquez qu’en nommant Ut la Notte tonique de tous les Tons majeurs, la progression de son Octave sera toûjours conforme à celle d’Ut ; & qu’en nommant Ré la Notte tonique de tous les Tons mineurs, la progression de son Octave sera toûjours conforme à celle de Ré, tant en montant, qu’en descendant. Les Intervales & les Accords que l’on doit employer dans un Ton majeur quelconque, ne changeant jamais, non plus que dans les Tons mineurs. Souvenez-vous du changement qu’il faut observer dans quelque Partie que ce soit, lorsqu’elle monte, ou lorsqu’elle descend.", "english": "Observe that, by calling the tonic of every major key ‘ut’ as a transposed note-name, its octave progression will always correspond to C's; and by calling the tonic of every minor key ‘ré,’ its octave progression will always correspond to D's, both ascending and descending. The intervals and chords to be used in any major key never change, nor do those in minor keys. Remember the change that must be observed in any part according to whether it ascends or descends.", "sources": [ { "pdf_page": 279, "source_image": "source-pages/bnf-279.png", "printed_page": 247, "bbox_pixels": [ 425, 2160, 2200, 680 ], "crop_image": "assets/III.22-033.png" } ] }, { "id": "III.22-034", "type": "paragraph", "section": "III.22", "lesson": 66, "exercise": 66, "reading_order": 1718, "original": "L’on trouvera dans le quatriéme Livre, Chap. VI les Octaves de tous les Tons, tant en montant qu’en descendant, avec leurs Diezes & leurs B-mols.", "english": "Book Four, Chapter VI gives the octaves of all keys, ascending and descending, with their sharps and flats.", "sources": [ { "pdf_page": 279, "source_image": "source-pages/bnf-279.png", "printed_page": 247, "bbox_pixels": [ 425, 2840, 2200, 230 ], "crop_image": "assets/III.22-034.png" } ] }, { "id": "III.23-001", "type": "heading", "section": "III.23", "lesson": 67, "exercise": 67, "reading_order": 1719, "original": "CHAPITRE VINGT-TROISIÉME.", "english": "CHAPTER TWENTY-THREE.", "sources": [ { "pdf_page": 280, "source_image": "source-pages/bnf-280.png", "printed_page": 248, "bbox_pixels": [ 470, 445, 2100, 110 ], "crop_image": "assets/III.23-001.png" } ] }, { "id": "III.23-002", "type": "heading", "section": "III.23", "lesson": 67, "exercise": 67, "reading_order": 1720, "original": "De la maniere de passer d’un Ton à un autre, ce qui s’appelle encore Moduler.", "english": "On passing from one key to another, which is also called modulating.", "sources": [ { "pdf_page": 280, "source_image": "source-pages/bnf-280.png", "printed_page": 248, "bbox_pixels": [ 470, 580, 2100, 175 ], "crop_image": "assets/III.23-002.png" } ] }, { "id": "III.23-003", "type": "paragraph", "section": "III.23", "lesson": 67, "exercise": 67, "reading_order": 1721, "original": "1°. TOute Notte qui porte l’Accord parfait, doit être regardée comme Notte tonique ; ainsi l’on peut dire que dans nos premiers Exemples de l’Accord parfait, autant de Nottes, autant de Tons differens. Ces Exemples doivent aussi nous servir de modele dans la suite de ce Chapitre ; car l’on ne peut passer naturellement d’une Notte tonique à une autre, que par un Intervale consonant ; de sorte qu’après avoir commencé la Piece par un certain Ton, l’on peut passer à un autre qui soit une Tierce, une Quarte, une Quinte, ou une Sixte au-dessus ou au-dessous ; si-bien que la Notte tonique par laquelle on a commencé, peut devenir Mediante, Dominante, quatriéme ou sixiéme Notte de celle du Ton dans lequel on passe, & ainsi d’un Ton à un autre, par enchaînement.", "english": "1. Every note bearing a perfect chord must be regarded as a tonic. Thus we may say that in our first examples of the perfect chord, each note represents a different key. Those examples must also serve as models for the rest of this chapter, since we can move naturally from one tonic to another only by a consonant interval. After beginning a piece in a certain key, we may therefore pass to another a third, fourth, fifth, or sixth above or below it. The original tonic may thus become the mediant, dominant, fourth, or sixth note of the key we enter, and we may proceed from key to key by such connections.", "sources": [ { "pdf_page": 280, "source_image": "source-pages/bnf-280.png", "printed_page": 248, "bbox_pixels": [ 425, 820, 2200, 895 ], "crop_image": "assets/III.23-003.png" } ] }, { "id": "III.23-004", "type": "paragraph", "section": "III.23", "lesson": 67, "exercise": 67, "reading_order": 1722, "original": "2°. Outre ce que nous venons de dire, la Notte tonique d’un Ton majeur peut devenir encore quelquefois septiéme, & même seconde Notte, mais jamais sensible ; & la Notte tonique d’un Ton mineur, ne peut devenir que seconde Notte.", "english": "2. In addition to the foregoing, the tonic of a major key may sometimes become the seventh or even the second note, but never the leading note. The tonic of a minor key may become only the second note.", "sources": [ { "pdf_page": 280, "source_image": "source-pages/bnf-280.png", "printed_page": 248, "bbox_pixels": [ 425, 1715, 2200, 305 ], "crop_image": "assets/III.23-004.png" } ] }, { "id": "III.23-005", "type": "paragraph", "section": "III.23", "lesson": 67, "exercise": 67, "reading_order": 1723, "original": "Remarquez icy que la Septiéme dont nous venons de parler, est celle qui se trouve un Ton au-dessous de l’Octave, & non pas celle qui est un semi-Ton au-dessous, appellée Notte sensible, & qui est naturelle à tous les Tons.", "english": "The seventh just mentioned is the note a whole tone below the octave, not the note a semitone below it called the leading note, which is natural to every key.", "sources": [ { "pdf_page": 280, "source_image": "source-pages/bnf-280.png", "printed_page": 248, "bbox_pixels": [ 425, 2020, 2200, 300 ], "crop_image": "assets/III.23-005.png" } ] }, { "id": "III.23-006", "type": "paragraph", "section": "III.23", "lesson": 67, "exercise": 67, "reading_order": 1724, "original": "3°. Lorsque dans le milieu d’une Piece l’on veut rendre Notte tonique la Dominante d’un Ton majeur, le Ton de cette Dominante doit être naturellement majeur, quoique l’on puisse le rendre quelquefois mineur, mais avec jugement ; & le Ton de la Dominante d’un Ton mineur, ne peut être que mineur.", "english": "3. When, in the middle of a piece, we wish to make the dominant of a major key into a tonic, that dominant's key should naturally be major. We may sometimes make it minor, but must use judgment. The key of a minor key's dominant, however, can only be minor.", "sources": [ { "pdf_page": 280, "source_image": "source-pages/bnf-280.png", "printed_page": 248, "bbox_pixels": [ 425, 2320, 2200, 370 ], "crop_image": "assets/III.23-006.png" } ] }, { "id": "III.23-007", "type": "paragraph", "section": "III.23", "lesson": 67, "exercise": 67, "reading_order": 1725, "original": "L’on peut bien transgresser ces Regles, lorsque l’on est capable de juger de ce que l’on fait ; mais on doit toûjours craindre de s’égarer ; & les plus habils ne sont pas exempts de cette crainte.", "english": "We may transgress these rules when capable of judging what we are doing, but must always fear going astray. Even the most skilful are not free of this concern.", "sources": [ { "pdf_page": 280, "source_image": "source-pages/bnf-280.png", "printed_page": 248, "bbox_pixels": [ 425, 2690, 2200, 225 ], "crop_image": "assets/III.23-007.png" } ] }, { "id": "III.23-008", "type": "paragraph", "section": "III.23", "lesson": 67, "exercise": 67, "reading_order": 1726, "original": "4°. Par quelque Ton que l’on commence, il est bon de moduler dans ce Ton pendant trois ou quatre Mesures au moins, pouvant exceder ce nombre de Mesures autant que le genie & le bon goût le dictent.", "english": "4. Whatever key begins the piece, it is good to remain modulating within it for at least three or four measures. We may exceed that number as much as invention and good taste suggest.", "sources": [ { "pdf_page": 280, "source_image": "source-pages/bnf-280.png", "printed_page": 248, "bbox_pixels": [ 425, 2915, 2200, 300 ], "crop_image": "assets/III.23-008.png" } ] }, { "id": "III.23-009", "type": "paragraph", "section": "III.23", "lesson": 67, "exercise": 67, "reading_order": 1727, "original": "5°. Il vaut mieux passer dans le Ton de la Dominante de celuy par lequel on a commencé, que de passer dans un autre, & pour lors la premiere Notte tonique devient quatriéme Notte, ce qui peut se pratiquer par le moyen d’une Cadence irreguliere.", "english": "5. It is better to pass to the dominant key of the original key than to another. The original tonic then becomes the fourth note. An irregular cadence can accomplish this.", "sources": [ { "pdf_page": 280, "source_image": "source-pages/bnf-280.png", "printed_page": 248, "bbox_pixels": [ 425, 3215, 2200, 320 ], "crop_image": "assets/III.23-009.png" } ] }, { "id": "III.23-010", "type": "paragraph", "section": "III.23", "lesson": 67, "exercise": 67, "reading_order": 1728, "original": "6°. D’abord que l’on change de Ton, il faut en connoître la Notte principale, qui est la Tonique ; cette Notte ne pouvant se representer à nôtre idée que comme un Ut ou un Ré, elle détermine sur le champ la suite & le progrès de toutes celles qui sont renfermées dans son Octave, & nous donne à connoître les Accords qui doivent y être employez. Ce n’est plus que par le moyen des Diezes & des B-mols que l’on proportionne les Intervales de ce Ton à ceux que renferment les Tons d’Ut & de Ré ; si je passe du Ton d’Ut à celuy de Sol majeure, je dois ajoûter un Dieze à la Notte Fa toutes les fois qu’elle se rencontre dans une Partie quelconque, pour en conformer l’Intervale à celuy de la Notte Si qui est la sensible dans le Ton d’Ut, de même que Fa Dieze l’est dans le Ton de Sol. Si au contraire je rends mineur ce Ton de Sol, je ne dois ajoûter un Dieze à la Notte Fa, que lorsqu’elle monte, & je dois de plus ajoûter un B-mol à la Notte Mi lorsqu’elle descend ; celle cy qui est la sixiéme Notte du Ton de Sol, devant se conformer à la sixiéme Notte du Ton de Ré, qui prend le B-mol en descendant ; pareillement je dois ajoûter un B-mol à la Notte Si, pour qu’elle fasse la Tierce mineure de Sol conformément à la Tierce de Ré, ainsi des autres.", "english": "6. As soon as we change key, we must know its principal note, the tonic. Conceiving that note as ‘ut’ or ‘ré’—the tonic names of our major and minor models—immediately determines the sequence and progression of all notes within its octave and tells us which chords to employ. Sharps and flats now serve to proportion the intervals of this key to those in the model keys of C and D. If I pass from C to G major, I must sharpen F whenever it occurs in any part, making its interval correspond to that of B, the leading note in C, just as F♯ is the leading note in G. If, instead, I make G minor, I must sharpen F only when it ascends, and also flatten E when it descends. E is G's sixth note and must correspond to the sixth note in D, which takes a flat in descent. Likewise, I must flatten B to make it G's minor third, corresponding to D's third; similarly for the others.", "sources": [ { "pdf_page": 281, "source_image": "source-pages/bnf-281.png", "printed_page": 249, "bbox_pixels": [ 425, 390, 2200, 1430 ], "crop_image": "assets/III.23-010.png" } ] }, { "id": "III.23-011", "type": "paragraph", "section": "III.23", "lesson": 67, "exercise": 67, "reading_order": 1729, "original": "7°. L’oreille ne reçoit pas agréablement un Ton qu’elle entend souvent, il n’y a que celuy par lequel on a commencé qu’elle puisse souffrir de temps en temps ; mais à l’égard des autres, il n’est pas bon de rentrer incontinent dans celuy que l’on vient de quitter ; Par exemple, si j’ai commencé par le Ton d’Ut, je puis y rentrer après avoir passé dans un autre ; mais je ne ferois pas bien de rentrer ensuite dans un autre Ton après l’avoir quitté, pour reprendre celuy d’Ut, ou pour en reprendre un autre ; il vaut donc mieux passer dans un nouveau Ton, & ainsi de l’un à l’autre avec discretion, en rentrant insensiblement dans ceux qui approchent le plus de celuy par lequel on a commencé, pour pouvoir y finir, de maniere qu’il ne semble pas qu’on l’ait quitté ; aussi faut-il Moduler dans ce Ton principal un peu plus long-temps vers la fin qu’au commencement, lorsqu’on a passé par plusieurs autres Tons.", "english": "7. The ear does not welcome a key heard too frequently. Only the original key can be tolerated from time to time. As for the others, it is not good to return immediately to one just left. For example, having begun in C, I may return to it after visiting another key. But it would not be good then to return to that other key after leaving it to resume C or to enter a third key. It is therefore better to pass to a new key, and proceed judiciously from one to another, gradually returning to keys most closely related to the original one. This allows us to finish in the original key as though we had never left it. Having passed through several other keys, we must therefore modulate within the principal key a little longer at the end than at the beginning.", "sources": [ { "pdf_page": 281, "source_image": "source-pages/bnf-281.png", "printed_page": 249, "bbox_pixels": [ 425, 1820, 2200, 1040 ], "crop_image": "assets/III.23-011.png" } ] }, { "id": "III.23-012", "type": "paragraph", "section": "III.23", "lesson": 67, "exercise": 67, "reading_order": 1730, "original": "8°. Il vaut mieux faire passer le Ton majeur dans celuy de la sixiéme Notte, que dans celuy de sa Mediante, au lieu qu’il vaut mieux faire passer le Ton mineur dans celuy de la Mediante, que dans celuy de sa sixiéme Notte ; mais le moins bon n’est pas défendu pour cela ; & souvenez-vous que la Mediante & la sixiéme Notte d’un Ton majeur sont reputées majeures, de même qu’elles sont reputées mineures dans un Ton mineur.", "english": "8. It is better to pass from a major key to the key of its sixth note than to that of its mediant. From a minor key, however, it is better to pass to the key of its mediant than to that of its sixth note. The less good choice is not thereby forbidden. Remember that the mediant and sixth degree of a major key are reckoned major, just as they are reckoned minor in a minor key.", "sources": [ { "pdf_page": 281, "source_image": "source-pages/bnf-281.png", "printed_page": 249, "bbox_pixels": [ 425, 2860, 2200, 515 ], "crop_image": "assets/III.23-012.png" } ] }, { "id": "III.23-013", "type": "paragraph", "section": "III.23", "lesson": 67, "exercise": 67, "reading_order": 1731, "original": "9°. Pour connoître si le Ton dans lequel on passe doit être majeur ou mineur, il faut observer que la Notte tonique qui suit celle que l’on quitte, sa Tierce & sa Quinte puissent se former des mêmes Nottes comprises dans l’Octave de celle qui a précedé immediatement, & même encore (excepté que la longueur d’une Piece ne nous oblige à nous écarter un peu) il faut que les Accords parfaits des differentes Nottes toniques, dont on peut se servir dans la suite d’une Piece, puissent être formez des Nottes comprises dans l’étendue de l’Octave du Ton par lequel on a commencé, sans alterer ces Nottes par aucuns nouveaux Diezes ni B-mols ; Par exemple, si je commence par le Ton d’Ut, l’on voit que les Nottes Mi, Fa, Sol, La, & quelquefois Ré, leurs Tierces & leurs Quintes se forment des mêmes Nottes qui entrent dans la Modulation de ce Ton d’Ut ; ainsi l’on passe indifferemment d’un Ton majeur à un mineur, & d’un mineur à un majeur, selon que les Tierces se rencontrent conformes à l’ordre diatonique du Ton par lequel on a commencé, ou du moins de celuy que l’on quitte. Si après le Ton majeur d’Ut je passe à celuy de La, ce dernier sera mineur, puisque la Notte Ut en fait la Tierce mineur, ainsi des autres. Pour suivre cette Regle dans les Tons mineurs, il ne faut avoir égard à la Modulation de leur Octave qu’en descendant, où la Notte sensible quitte son Dieze & devient naturelle ; c’est pour cette raison que l’on peut en faire autant dans les Tons majeurs, en ajoûtant un B-mol à la Notte sensible ; car lorsque nous avons dit que la Notte tonique pouvoit devenir Seconde, ce n’est qu’autant qu’il doit se trouver toûjours l’Intervale d’un Ton entre la Notte tonique & sa Seconde, ayant déja fait mention de cette derniere Modulation dans l’Article second.", "english": "9. To determine whether the new key should be major or minor, observe that its tonic, third, and fifth must be formed from the notes contained in the octave of the tonic just left. Furthermore, unless the length of a piece obliges us to stray somewhat, the perfect chords of the various tonics used throughout the piece must be formed from notes within the octave of the initial key, without altering those notes by new sharps or flats. For example, if I begin in C, E, F, G, A, and sometimes D, together with their thirds and fifths, are formed from the notes belonging to the modulation of C. We thus pass freely from a major key to a minor one, or from a minor to a major, according as the thirds conform to the diatonic order of the starting key, or at least of the key being left. If I pass from C major to A, the latter will be minor, because C forms its minor third; likewise elsewhere. To apply this rule in minor keys, consider their octave modulation only in descent, when the leading note loses its sharp and becomes natural. For this reason we can do likewise in major keys by adding a flat to the leading note. When we said that a tonic could become a second degree, it was only on condition that a whole tone always separate the tonic from its second. This latter modulation was already mentioned in the second article.", "sources": [ { "pdf_page": 281, "source_image": "source-pages/bnf-281.png", "printed_page": 249, "bbox_pixels": [ 425, 3375, 2200, 180 ], "crop_image": "assets/III.23-013.png" }, { "pdf_page": 282, "source_image": "source-pages/bnf-282.png", "printed_page": 250, "bbox_pixels": [ 425, 365, 2200, 1875 ], "crop_image": "assets/III.23-014.png" } ] }, { "id": "III.23-015", "type": "paragraph", "section": "III.23", "lesson": 67, "exercise": 67, "reading_order": 1732, "original": "10°. Il faut faire ensorte de passer insensiblement d’un Ton à un autre, de sorte que l’oreille ne s’en apperçoive presque pas ; en quoi l’on réüssira, si l’on suit l’ordre que nous venons de prescrire.", "english": "10. Try to pass imperceptibly from one key to another, so that the ear scarcely notices the change. Following the order just prescribed will achieve this.", "sources": [ { "pdf_page": 282, "source_image": "source-pages/bnf-282.png", "printed_page": 250, "bbox_pixels": [ 425, 2240, 2200, 220 ], "crop_image": "assets/III.23-015.png" } ] }, { "id": "III.23-016", "type": "paragraph", "section": "III.23", "lesson": 67, "exercise": 67, "reading_order": 1733, "original": "11°. En passant d’un Ton à un autre, il faut que la derniere Notte du Ton que l’on quitte porte toûjours un Accord consonant ; de sorte que cette derniere Notte ne pourra être que la Tonique, sa Mediante, ou sa Dominante, ou quelquefois même sa sixiéme Notte qui peut porter l’Accord de Sixte ; quoiqu’il ne faille s’attacher d’abord qu’à passer d’une Notte tonique à sa Dominante, & cette Dominante devenant Notte tonique, l’on prend après elle les routes prescrites dans l’Exemple suivant, en Modulant pendant quelques Mesures dans le Ton de chacune de ces Nottes, sur lesquelles nous faisons passer la Basse.", "english": "11. In passing from one key to another, the last note of the key being left must always carry a consonant chord. That note can therefore only be the tonic, its mediant, or its dominant, or sometimes its sixth note bearing a sixth chord. At first, however, concentrate only on moving from a tonic to its dominant. Once this dominant becomes a tonic, follow the routes prescribed in the next example, modulating for a few measures in the key of each note through which we lead the bass.", "sources": [ { "pdf_page": 282, "source_image": "source-pages/bnf-282.png", "printed_page": 250, "bbox_pixels": [ 425, 2460, 2200, 770 ], "crop_image": "assets/III.23-016.png" } ] }, { "id": "III.23-017", "type": "heading", "section": "III.23", "lesson": 67, "exercise": 67, "reading_order": 1734, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 282, "source_image": "source-pages/bnf-282.png", "printed_page": 250, "bbox_pixels": [ 470, 3220, 2100, 110 ], "crop_image": "assets/III.23-017.png" } ] }, { "id": "III.23-018", "type": "music", "section": "III.23", "lesson": 67, "exercise": 67, "reading_order": 1735, "original": "Routes de Modulation — première ou seconde Mesure", "english": "Routes of modulation — first or second measure", "sources": [ { "pdf_page": 282, "source_image": "source-pages/bnf-282.png", "printed_page": 250, "bbox_pixels": [ 435, 3260, 2150, 380 ], "crop_image": "assets/III.23-018.png" } ], "original_title": "Routes de Modulation — première ou seconde Mesure", "english_title": "Routes of modulation — first or second measure", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.23-018" ], "music_asset_refs": [ "III.23-018" ] }, { "id": "III.23-019", "type": "paragraph", "section": "III.23", "lesson": 67, "exercise": 67, "reading_order": 1736, "original": "L’on peut faire commencer la Basse par la premiere ou par la seconde Mesure, en se ressouvenant qu’il ne faut pas s’arrêter si long-temps dans le Ton de la Notte qui suit celle par où l’on commence que dans celuy de cette Notte qui commence, & encore moins dans les autres, ne passant quelquefois que sur une, deux, trois ou quatre Nottes de l’un de ces derniers Tons, pour passer à un autre, ce qui dépend plus du goût que des Regles.", "english": "The bass may begin with the first or second measure. Remember not to stay as long in the key of the note following the initial note as in that initial note's key, and to spend still less time in the others. Sometimes we pass through only one, two, three, or four notes of one of these later keys before moving to another. This depends more on taste than on rules.", "sources": [ { "pdf_page": 283, "source_image": "source-pages/bnf-283.png", "printed_page": 251, "bbox_pixels": [ 425, 370, 2200, 515 ], "crop_image": "assets/III.23-019.png" } ] }, { "id": "III.24-001", "type": "heading", "section": "III.24", "lesson": 68, "exercise": 68, "reading_order": 1737, "original": "CHAPITRE VINGT-QUATRIÉME.", "english": "CHAPTER TWENTY-FOUR.", "sources": [ { "pdf_page": 283, "source_image": "source-pages/bnf-283.png", "printed_page": 251, "bbox_pixels": [ 470, 1030, 2100, 110 ], "crop_image": "assets/III.24-001.png" } ], "correction_refs": [ "supplement-230" ] }, { "id": "III.24-002", "type": "heading", "section": "III.24", "lesson": 68, "exercise": 68, "reading_order": 1738, "original": "Suite des Regles contenuës dans le Chapitre précedent.", "english": "Continuation of the Rules Contained in the Preceding Chapter.", "sources": [ { "pdf_page": 283, "source_image": "source-pages/bnf-283.png", "printed_page": 251, "bbox_pixels": [ 470, 1170, 2100, 110 ], "crop_image": "assets/III.24-002.png" } ] }, { "id": "III.24-003", "type": "paragraph", "section": "III.24", "lesson": 68, "exercise": 68, "reading_order": 1739, "original": "C’Est d’abord par le moyen des Cadences que l’on apprend à changer de Ton ; ces Cadences introduisent un certain repos dans la suite d’une Piece, après lequel on passe dans le Ton que l’on veut, en faisant entendre une autre Cadence dans ce dernier Ton, ainsi par enchaînement ; car l’on est libre de passer à tel Accord que l’on veut après le Parfait qui termine toutes les Cadences.", "english": "It is first through cadences that one learns to change key. These cadences introduce a certain repose in the course of a piece, after which one passes into whatever key one wishes, sounding another cadence in that last key, and so continuing the chain; for one is free to pass to any chord one wishes after the perfect chord that ends every cadence.", "sources": [ { "pdf_page": 283, "source_image": "source-pages/bnf-283.png", "printed_page": 251, "bbox_pixels": [ 425, 1330, 2200, 455 ], "crop_image": "assets/III.24-003.png" } ] }, { "id": "III.24-004", "type": "paragraph", "section": "III.24", "lesson": 68, "exercise": 68, "reading_order": 1740, "original": "L’on fait repeter quelquefois la Notte tonique sur laquelle on a fait une Cadence, en donnant à cette Notte repetée un Accord convenable au Ton dans lequel on veut entrer.", "english": "Sometimes the tonic note on which a cadence has been made is repeated, and this repeated note is given a chord appropriate to the key one wishes to enter.", "sources": [ { "pdf_page": 283, "source_image": "source-pages/bnf-283.png", "printed_page": 251, "bbox_pixels": [ 425, 1785, 2200, 225 ], "crop_image": "assets/III.24-004.png" } ] }, { "id": "III.24-005", "type": "paragraph", "section": "III.24", "lesson": 68, "exercise": 68, "reading_order": 1741, "original": "En donnant un Accord de septiéme ou de sixte-quarte à cette Notte repetée, on la rend Dominante, A.", "english": "Giving this repeated note a seventh chord or a sixth–fourth chord makes it a dominant, A.", "sources": [ { "pdf_page": 283, "source_image": "source-pages/bnf-283.png", "printed_page": 251, "bbox_pixels": [ 425, 2010, 2200, 155 ], "crop_image": "assets/III.24-005.png" } ] }, { "id": "III.24-006", "type": "paragraph", "section": "III.24", "lesson": 68, "exercise": 68, "reading_order": 1742, "original": "En luy donnant l’Accord du tri-ton ou de la grande Sixte, on la rend quatriéme Notte, B.", "english": "Giving it the tritone chord or the great-sixth chord makes it a fourth note, B.", "sources": [ { "pdf_page": 283, "source_image": "source-pages/bnf-283.png", "printed_page": 251, "bbox_pixels": [ 425, 2165, 2200, 150 ], "crop_image": "assets/III.24-006.png" } ] }, { "id": "III.24-007", "type": "paragraph", "section": "III.24", "lesson": 68, "exercise": 68, "reading_order": 1743, "original": "En luy donnant l’Accord de la sixte, on la rend Mediante, C, ou sixiéme Notte en montant sur la Notte sensible, D.", "english": "Giving it a sixth chord makes it a mediant, C, or a sixth note when it ascends to the leading note, D.", "sources": [ { "pdf_page": 283, "source_image": "source-pages/bnf-283.png", "printed_page": 251, "bbox_pixels": [ 425, 2315, 2200, 150 ], "crop_image": "assets/III.24-007.png" } ] }, { "id": "III.24-008", "type": "paragraph", "section": "III.24", "lesson": 68, "exercise": 68, "reading_order": 1744, "original": "En luy donnant l’Accord de la petite Sixte, on la rend sixiéme Notte en descendant sur la Dominante tonique, F, & quelquefois seconde Notte, G.", "english": "Giving it the small-sixth chord makes it a sixth note when it descends to the tonic dominant, F, and sometimes a second note, G.", "sources": [ { "pdf_page": 283, "source_image": "source-pages/bnf-283.png", "printed_page": 251, "bbox_pixels": [ 425, 2465, 2200, 225 ], "crop_image": "assets/III.24-008.png" } ] }, { "id": "III.24-009", "type": "paragraph", "section": "III.24", "lesson": 68, "exercise": 68, "reading_order": 1745, "original": "L’on peut encore faire monter d’un semi-Ton cette Notte tonique, au lieu de la repeter, en donnant l’Accord de la fausse-Quinte à cette Notte montée, qui devient pour lors la sensible, H.", "english": "One may also raise this tonic note by a semitone instead of repeating it, giving a diminished-fifth chord to the raised note, which then becomes the leading note, H.", "sources": [ { "pdf_page": 283, "source_image": "source-pages/bnf-283.png", "printed_page": 251, "bbox_pixels": [ 425, 2690, 2200, 225 ], "crop_image": "assets/III.24-009.png" } ] }, { "id": "III.24-010", "type": "paragraph", "section": "III.24", "lesson": 68, "exercise": 68, "reading_order": 1746, "original": "Lorsque la Notte tonique porte la Tierce majeure, elle peut devenir Dominante sans rien changer, J.", "english": "When the tonic note bears the major third, it can become a dominant without any change, J.", "sources": [ { "pdf_page": 283, "source_image": "source-pages/bnf-283.png", "printed_page": 251, "bbox_pixels": [ 425, 2915, 2200, 170 ], "crop_image": "assets/III.24-010.png" } ] }, { "id": "III.24-011", "type": "paragraph", "section": "III.24", "lesson": 68, "exercise": 68, "reading_order": 1747, "original": "Tournez pour l’Exemple suivant.", "english": "Turn the page for the following example.", "sources": [ { "pdf_page": 283, "source_image": "source-pages/bnf-283.png", "printed_page": 251, "bbox_pixels": [ 1610, 3105, 1030, 100 ], "crop_image": "assets/III.24-011.png" } ] }, { "id": "III.24-012", "type": "heading", "section": "III.24", "lesson": 68, "exercise": 68, "reading_order": 1748, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 284, "source_image": "source-pages/bnf-284.png", "printed_page": 252, "bbox_pixels": [ 470, 475, 2100, 110 ], "crop_image": "assets/III.24-012.png" } ] }, { "id": "III.24-013", "type": "music", "section": "III.24", "lesson": 68, "exercise": 68, "reading_order": 1749, "original": "Cadences & changements de Ton — première ligne", "english": "Cadences and changes of key — first line", "sources": [ { "pdf_page": 284, "source_image": "source-pages/bnf-284.png", "printed_page": 252, "bbox_pixels": [ 620, 625, 2115, 425 ], "crop_image": "assets/III.24-013.png" } ], "original_title": "Cadences & changements de Ton — première ligne", "english_title": "Cadences and changes of key — first line", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.24-013" ], "music_asset_refs": [ "III.24-013" ] }, { "id": "III.24-014", "type": "music", "section": "III.24", "lesson": 68, "exercise": 68, "reading_order": 1750, "original": "Cadences & changements de Ton — deuxième ligne", "english": "Cadences and changes of key — second line", "sources": [ { "pdf_page": 284, "source_image": "source-pages/bnf-284.png", "printed_page": 252, "bbox_pixels": [ 620, 1050, 2115, 440 ], "crop_image": "assets/III.24-014.png" } ], "original_title": "Cadences & changements de Ton — deuxième ligne", "english_title": "Cadences and changes of key — second line", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.24-014" ], "music_asset_refs": [ "III.24-014" ] }, { "id": "III.24-015", "type": "music", "section": "III.24", "lesson": 68, "exercise": 68, "reading_order": 1751, "original": "Cadences & changements de Ton — troisième ligne", "english": "Cadences and changes of key — third line", "sources": [ { "pdf_page": 284, "source_image": "source-pages/bnf-284.png", "printed_page": 252, "bbox_pixels": [ 620, 1500, 2115, 470 ], "crop_image": "assets/III.24-015.png" } ], "original_title": "Cadences & changements de Ton — troisième ligne", "english_title": "Cadences and changes of key — third line", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.24-015" ], "music_asset_refs": [ "III.24-015" ] }, { "id": "III.24-016", "type": "music", "section": "III.24", "lesson": 68, "exercise": 68, "reading_order": 1752, "original": "Cadences & changements de Ton — quatrième ligne", "english": "Cadences and changes of key — fourth line", "sources": [ { "pdf_page": 284, "source_image": "source-pages/bnf-284.png", "printed_page": 252, "bbox_pixels": [ 620, 2000, 2115, 400 ], "crop_image": "assets/III.24-016.png" } ], "original_title": "Cadences & changements de Ton — quatrième ligne", "english_title": "Cadences and changes of key — fourth line", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.24-016" ], "music_asset_refs": [ "III.24-016" ] }, { "id": "III.24-017", "type": "paragraph", "section": "III.24", "lesson": 68, "exercise": 68, "reading_order": 1753, "original": "L’on peut donner simplement l’Accord parfait à toutes les Nottes chiffrée ainsi, (6/5,) au-dessus desquelles il y a un B, parce que la Cadence irreguliere qui fait entendre une Mediante, peut devenir sixiéme Notte, de même qu’une sixiéme Notte peut devenir Mediante, comme on a pû le remarquer en partie, dans l’Exemple précedent, à l’endroit marqué d’un T.", "english": "One may simply give the perfect chord to all the notes figured thus, (6/5), above which there is a B, because the irregular cadence that sounds a mediant can become a sixth note, just as a sixth note can become a mediant, as could be observed in part in the preceding example, at the place marked T.", "sources": [ { "pdf_page": 284, "source_image": "source-pages/bnf-284.png", "printed_page": 252, "bbox_pixels": [ 630, 2420, 2200, 475 ], "crop_image": "assets/III.24-017.png" } ] }, { "id": "III.24-018", "type": "heading", "section": "III.24", "lesson": 68, "exercise": 68, "reading_order": 1754, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 284, "source_image": "source-pages/bnf-284.png", "printed_page": 252, "bbox_pixels": [ 470, 2935, 2100, 110 ], "crop_image": "assets/III.24-018.png" } ] }, { "id": "III.24-019", "type": "music", "section": "III.24", "lesson": 68, "exercise": 68, "reading_order": 1755, "original": "La comme sixiéme ou Mediante — S & T", "english": "A as sixth note or mediant — S and T", "sources": [ { "pdf_page": 284, "source_image": "source-pages/bnf-284.png", "printed_page": 252, "bbox_pixels": [ 785, 3110, 1965, 310 ], "crop_image": "assets/III.24-019.png" } ], "original_title": "La comme sixiéme ou Mediante — S & T", "english_title": "A as sixth note or mediant — S and T", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.24-019" ], "music_asset_refs": [ "III.24-019" ] }, { "id": "III.24-020", "type": "paragraph", "section": "III.24", "lesson": 68, "exercise": 68, "reading_order": 1756, "original": "La Notte La, qui est sixiéme d’Ut, devient Mediante du Ton de Fa, S.", "english": "The note A, which is the sixth of C, becomes the mediant of the key of F, S.", "sources": [ { "pdf_page": 284, "source_image": "source-pages/bnf-284.png", "printed_page": 252, "bbox_pixels": [ 630, 3460, 2200, 95 ], "crop_image": "assets/III.24-020.png" } ] }, { "id": "III.24-021", "type": "paragraph", "section": "III.24", "lesson": 68, "exercise": 68, "reading_order": 1757, "original": "La Notte La, qui est Mediante de Fa, devient sixiéme d’Ut T, sans que l’Accord change de part ni d’autre ; cette Notte qui peut être indifferemment Mediante ou sixiéme Notte, se trouvant toûjours entre deux Tons qui sont éloignez l’un de l’autre d’une Quinte, & qu’elle partage en deux Tierces, comme entre Fa & Ut, où La tient le milieu.", "english": "The note A, which is the mediant of F, becomes the sixth of C, T, without the chord changing on either side. This note, which can be either a mediant or a sixth note, always lies between two keys a fifth apart and divides that fifth into two thirds, as between F and C, with A in the middle.", "sources": [ { "pdf_page": 285, "source_image": "source-pages/bnf-285.png", "printed_page": 253, "bbox_pixels": [ 425, 370, 2200, 385 ], "crop_image": "assets/III.24-021.png" } ] }, { "id": "III.24-022", "type": "paragraph", "section": "III.24", "lesson": 68, "exercise": 68, "reading_order": 1758, "original": "L’on peut encore changer de Ton par le moyen des 7, 7 & 6, 2, 4♯, 6/5, & 5 barré ; de sorte qu’ayant fait passer une ou plusieurs Nottes d’une Basse sous ces sortes d’Accords, il n’y a qu’à y faire rencontrer un Intervale de Tri-Ton ou de fausse-Quinte, pour déterminer le Ton dans lequel on voudra entrer, en remarquant que ce Tri-Ton ou cette fausse-Quinte doivent être formez de la Tierce majeure & de la Septiéme d’une Dominante tonique.", "english": "One may also change key by means of 7, 7 and 6, 2, 4♯, 6/5, and barred 5. Thus, after making one or more bass notes proceed under chords of these kinds, one need only introduce an interval of a tritone or diminished fifth into them to determine the key one wishes to enter, observing that this tritone or diminished fifth must be formed by the major third and seventh of a tonic dominant.", "sources": [ { "pdf_page": 285, "source_image": "source-pages/bnf-285.png", "printed_page": 253, "bbox_pixels": [ 425, 755, 2200, 530 ], "crop_image": "assets/III.24-022.png" } ] }, { "id": "III.24-023", "type": "heading", "section": "III.24", "lesson": 68, "exercise": 68, "reading_order": 1759, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 285, "source_image": "source-pages/bnf-285.png", "printed_page": 253, "bbox_pixels": [ 470, 1280, 2100, 110 ], "crop_image": "assets/III.24-023.png" } ] }, { "id": "III.24-024", "type": "music", "section": "III.24", "lesson": 68, "exercise": 68, "reading_order": 1760, "original": "Modulation par les Accords dissonans — trois systèmes", "english": "Modulation through dissonant chords — three systems", "sources": [ { "pdf_page": 285, "source_image": "source-pages/bnf-285.png", "printed_page": 253, "bbox_pixels": [ 425, 1290, 2175, 2270 ], "crop_image": "assets/III.24-024.png" } ], "original_title": "Modulation par les Accords dissonans — trois systèmes", "english_title": "Modulation through dissonant chords — three systems", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.24-024" ], "music_asset_refs": [ "III.24-024" ] }, { "id": "III.24-025", "type": "paragraph", "section": "III.24", "lesson": 68, "exercise": 68, "reading_order": 1761, "original": "Remarquez qu’il faut que la Dissonance par laquelle on entre dans un autre Ton, soit toûjours préparée par une Consonance de l’Accord où finit le Ton que l’on quitte.", "english": "Observe that the dissonance through which one enters another key must always be prepared by a consonance of the chord on which the key being left ends.", "sources": [ { "pdf_page": 286, "source_image": "source-pages/bnf-286.png", "printed_page": 254, "bbox_pixels": [ 425, 375, 2200, 250 ], "crop_image": "assets/III.24-025.png" } ] }, { "id": "III.24-026", "type": "paragraph", "section": "III.24", "lesson": 68, "exercise": 68, "reading_order": 1762, "original": "Cecy doit vous servir à composer une Basse, conformément aux Accords que vous voulez y employer ; mais nous allons tourner la chose d’une autre maniere, en laissant la liberté de composer une Basse à son gré, dont la progression nous fera connoître les Accords qu’elle doit porter.", "english": "This should help you compose a bass in accordance with the chords you wish to employ in it. But we shall now approach the matter in another way, leaving you free to compose a bass as you please, whose progression will tell us which chords it must bear.", "sources": [ { "pdf_page": 286, "source_image": "source-pages/bnf-286.png", "printed_page": 254, "bbox_pixels": [ 425, 625, 2200, 380 ], "crop_image": "assets/III.24-026.png" } ] }, { "id": "III.25-001", "type": "heading", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1763, "original": "CHAPITRE VINGT-CINQUIEME.", "english": "CHAPTER TWENTY-FIVE.", "sources": [ { "pdf_page": 286, "source_image": "source-pages/bnf-286.png", "printed_page": 254, "bbox_pixels": [ 598, 1129, 1873, 110 ], "crop_image": "assets/III.25-001.png" } ], "correction_refs": [ "supplement-232", "supplement-233", "supplement-234", "supplement-235", "supplement-236", "supplement-237" ] }, { "id": "III.25-002", "type": "heading", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1764, "original": "Comment on peut connoître les Accords qu’il faut donner aux Nottes d’une Basse dans une progression quelconque.", "english": "How to Recognize the Chords to Be Given to the Notes of a Bass in Any Progression.", "sources": [ { "pdf_page": 286, "source_image": "source-pages/bnf-286.png", "printed_page": 254, "bbox_pixels": [ 462, 1273, 2139, 196 ], "crop_image": "assets/III.25-002.png" } ] }, { "id": "III.25-003", "type": "heading", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1765, "original": "ARTICLE PREMIER.", "english": "ARTICLE ONE.", "sources": [ { "pdf_page": 286, "source_image": "source-pages/bnf-286.png", "printed_page": 254, "bbox_pixels": [ 916, 1518, 1238, 99 ], "crop_image": "assets/III.25-003.png" } ] }, { "id": "III.25-004", "type": "paragraph", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1766, "original": "Premierement, il faut s’attacher à toutes les Cadences & à tout ce qui a rapport à une conclusion de Chant, les Commençans ne pouvant gueres se dispenser d’en faire entrer à tout moment dans leur Basse, sur tout lorsqu’ils veulent changer de Ton, ce qui n’est pas difficile à remarquer, parce que ces conclusions se font toûjours sur le premier Temps d’une Mesure ; & si peu que l’on ait le goût formé, on les sent d’abord ; de sorte que ces Nottes qui se trouvent dans le premier Temps d’une Mesure sur lesquelles le Chant se repose en quelque façon, doivent porter toûjours l’Accord parfait, ce qui les fait regarder comme Nottes toniques.", "english": "First, one must attend to all cadences and everything relating to a melodic conclusion. Beginners can hardly avoid introducing these continually into their bass, especially when they wish to change key. This is not difficult to recognize, because these conclusions always fall on the first beat of a measure; with even a little cultivation of taste, one senses them at once. Thus the notes on the first beat of a measure on which the melody in some way comes to rest must always bear the perfect chord, which causes them to be regarded as tonic notes.", "sources": [ { "pdf_page": 286, "source_image": "source-pages/bnf-286.png", "printed_page": 254, "bbox_pixels": [ 469, 1660, 2131, 755 ], "crop_image": "assets/III.25-004.png" } ] }, { "id": "III.25-005", "type": "paragraph", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1767, "original": "2°. Si après une Notte tonique la Basse procede par des Intervales Consonans, l’on peut donner un Accord parfait à chaque Notte de cette Basse, jusqu’à celle qui est suivie d’un Intervale diatonique, à l’exception de la Notte qui se trouve une Tierce au-dessus ou au-dessous d’une autre qui porte l’Accord parfait, cette premiere Notte pouvant porter, en ce cas, l’Accord de Sixte, aussi-bien & même plûtôt que le parfait ; ou au contraire, si l’on reconnoît que la Notte premiere doive porter l’Accord parfait, pour lors celle qui se trouve ensuite une Tierce au-dessus ou au-dessous, doit porter l’Accord de Sixte, pourvû qu’après cette derniere Notte, il n’en suive pas une autre en progression consonante ; parce que cette progression demande naturellement l’Accord parfait ou celuy de la Septiéme sur chaque Notte, ce qui s’éclaircira par la suite.", "english": "2. If, after a tonic note, the bass moves by consonant intervals, one may give a perfect chord to each bass note up to the one followed by a diatonic interval. An exception is a note lying a third above or below another that bears the perfect chord: the former may then bear a sixth chord just as well, and even preferably, rather than the perfect chord. Conversely, if the first note is recognized as requiring a perfect chord, the following note a third above or below must bear a sixth chord, provided that this last note is not followed by another in consonant progression. Such a progression naturally calls for a perfect chord or seventh chord on each note, as will become clearer later.", "sources": [ { "pdf_page": 286, "source_image": "source-pages/bnf-286.png", "printed_page": 254, "bbox_pixels": [ 479, 2410, 2120, 983 ], "crop_image": "assets/III.25-005.png" } ] }, { "id": "III.25-006", "type": "paragraph", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1768, "original": "Au reste, la Notte, qui dans le cas que nous venons de dire, peut porter l’Accord de Sixte, est toûjours ou Mediante ou sixième Notte, bien que l’on puisse donner simplement l’Accord parfait à chacune de ces Nottes, lorsque l’on craint de se tromper.", "english": "Moreover, the note that may bear a sixth chord in the case just described is always either a mediant or a sixth note, although one may simply give each of these notes a perfect chord when afraid of making a mistake.", "sources": [ { "pdf_page": 286, "source_image": "source-pages/bnf-286.png", "printed_page": 254, "bbox_pixels": [ 488, 3386, 2111, 163 ], "crop_image": "assets/III.25-006.png" }, { "pdf_page": 287, "source_image": "source-pages/bnf-287.png", "printed_page": 255, "bbox_pixels": [ 449, 385, 2126, 163 ], "crop_image": "assets/III.25-007.png" } ] }, { "id": "III.25-008", "type": "heading", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1769, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 287, "source_image": "source-pages/bnf-287.png", "printed_page": 255, "bbox_pixels": [ 1148, 602, 731, 92 ], "crop_image": "assets/III.25-008.png" } ] }, { "id": "III.25-009", "type": "music", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1770, "original": "A. B. C. D. E. G. H. J. Sixième Notte. Seconde Notte.", "english": "A. B. C. D. E. G. H. J. Sixth note. Second note.", "sources": [ { "pdf_page": 287, "source_image": "source-pages/bnf-287.png", "printed_page": 255, "bbox_pixels": [ 462, 740, 2105, 791 ], "crop_image": "assets/III.25-009.png" } ], "original_title": "Accords déterminés par la progression de la Basse.", "english_title": "Chords determined by the bass progression.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.25-009" ], "music_asset_refs": [ "III.25-009" ] }, { "id": "III.25-010", "type": "paragraph", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1771, "original": "Etant dans le Ton d’Ut, nous voyons que la Notte qui est une Tierce au-dessus de cet Ut & au-dessous de la Dominante qui suit, doit porter l’Accord de Sixte. A.", "english": "Being in the key of C, we see that the note a third above this C and below the dominant that follows must bear the sixth chord, A.", "sources": [ { "pdf_page": 287, "source_image": "source-pages/bnf-287.png", "printed_page": 255, "bbox_pixels": [ 460, 1569, 2118, 230 ], "crop_image": "assets/III.25-010.png" } ] }, { "id": "III.25-011", "type": "paragraph", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1772, "original": "B. La Notte qui est une Tierce au-dessus de la Dominante, ou une Sixte au-dessous, ce qui est la même chose, pourroit porter l’Accord de Sixte ; mais l’on sçait déja que celuy de la fausse-Quinte luy convient mieux, parce que cette Notte est la sensible du Ton d’Ut, que l’on n’a pas encore quitté, & qui subsiste toûjours jusqu’à C. D’ailleurs la difference de l’Accord de Sixte à celuy de la fausse-Quinte ne consiste que dans la fausse-Quinte ajoûtée à cet Accord de sixte ; de même que la difference d’un Accord parfait à celuy de la septiéme ne consiste que dans la Septiéme ajoûtée à cet Accord parfait, ayant pû l’ajoûter à la Dominante qui précede immediatement cette Notte, qui porte l’Accord de fausse-Quinte ; ce qui est conforme à ce que nous avons dit au Chap. XI.", "english": "B. The note a third above the dominant, or a sixth below it, which amounts to the same thing, could bear a sixth chord. But we already know that the diminished-fifth chord suits it better, because this is the leading note of C, the key not yet left and still continuing as far as C. Moreover, the difference between the sixth chord and the diminished-fifth chord consists only in adding the diminished fifth to that sixth chord, just as the difference between a perfect chord and a seventh chord consists only in adding the seventh to the perfect chord. One could have added that seventh to the dominant immediately preceding the note that bears the diminished-fifth chord. This agrees with what we said in Chapter XI.", "sources": [ { "pdf_page": 287, "source_image": "source-pages/bnf-287.png", "printed_page": 255, "bbox_pixels": [ 454, 1795, 2128, 894 ], "crop_image": "assets/III.25-011.png" } ] }, { "id": "III.25-012", "type": "paragraph", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1773, "original": "Nous trouvons quatre Nottes qui montent consécutivement de Tierce depuis la Notte tonique, dont la Mediante porte l’Accord de sixte, & dont la Dominante porte celuy de Sixte-quarte, C, plûtôt que le parfait ; parce que le B-mol qui paroît sur la Notte Si, détermine un autre Ton, qui se reconnoît dans la progression de la Basse, par l’Intervale de fausse-Quinte que forme cette Notte Si B-mol avec celle de Mi qui la suit ; Donc ce Mi qui fait le Son grave de la fausse-Quinte devient Notte sensible, & par consequent l’Accord de la Notte Si B-mol doit se conformer au Ton que la Notte sensible nous prépare ; puisque ce Si B-mol n’est pas compris dans le Ton d’Ut, que l’on quitte pour lors, & la Dominante de cet Ut conforme en mêmetemps son Accord à celuy qui doit suivre ; de sorte que sans sortir du Ton d’Ut, elle porte l’Accord de sixte-quarte, qui compose celuy du Tri-Ton de la Notte Si B-mol ; car si cette Dominante eût porté l’Accord parfait, il auroit fallu absolument que la Tierce en eût été mineure, pour éviter ce qu’on appelle, une fausse Relation ; cette fausse Relation consistant à ne faire entendre jamais de suite dans deux Parties differentes, deux Nottes, dont le nom ne change que par rapport à un Dieze ou à un B-mol qu’on y ajoûte, c’est-à-dire, qu’ayant fait entendre dans une Partie la Notte Si qui fait la Tierce majeure de Sol, je ne puis faire entendre dans une autre Partie la même Notte Si avec un Dieze, ou avec un B-mol ; nous en parlerons plus amplement ailleurs. Lorsque nous donnons donc l’Accord de sixte-quarte à la Notte C, ce n’est que pour conformer davantage l’Harmonie de cet Accord à celle de l’Accord qui doit suivre ; car on auroit pû donner l’Accord parfait de Tierce mineure à cette même Notte C, l’on auroit pû même luy donner un Accord de petite Sixte & un de fausse-Quinte à la Notte qui l’a précedé immédiatement ; parce qu’il se trouve un Intervale de fausse-Quinte entre ce Mi & Si B-mol qui suit ; de sorte que dès qu’un pareil Intervale paroît dans la Basse, il détermine absolument le Ton, le Son grave de cette fausse-Quinte étant toûjours (comme nous l’avons dit) la Notte sensible : & ce que nous disons de la fausse-Quinte, doit s’entendre aussi du Tri-Ton, dont le Son aigu est pour lors Notte sensible. Cependant si la Basse procedoit de Quarte en montant, ou de Quinte en descendant, après un pareil Intervale de fausse-Quinte ou de Tri-Ton, il pourroit bien ne se trouver plus-là de Notte sensible, en ce que chacune de ces Nottes de la Basse pourroit être regardée pour lors comme des Dominantes, qui vont chercher la Dominante tonique, dont celles qui forment un Intervale de fausse-Quinte ou de Tri-Ton sont suivis immediatement, comme on le voit aux Nottes G. H. J. mais cela ne peut avoir lieu qu’entre la seconde & la sixième Notte des Tons mineurs, qui forment entre-elles ces Intervales de fausse-Quinte, ou de Quarte Dieze.", "english": "We find four notes ascending successively by thirds from the tonic. The mediant bears the sixth chord, and the dominant bears the sixth–fourth chord, C, rather than the perfect chord, because the flat appearing on B determines another key. This key is recognized in the bass progression through the diminished fifth formed by B-flat and the E following it. This E, being the lower sound of the diminished fifth, therefore becomes the leading note. Consequently the chord on B-flat must conform to the key prepared by the leading note, since this B-flat is not included in C, the key now being left. The dominant of C likewise adapts its chord to the one that is to follow. Thus, without leaving C, it bears the sixth–fourth chord, which makes up the tritone chord on B-flat. Had this dominant borne the perfect chord, its third would necessarily have had to be minor to avoid what is called a false relation. This means never sounding in succession, in two different parts, two notes whose names differ only by a sharp or flat added to them. That is, after sounding B in one part as the major third of G, I cannot sound that same B with a sharp or flat in another part. We shall discuss this more fully elsewhere. Thus we give the sixth–fourth chord to the note at C only to bring its harmony into closer agreement with the following chord. A perfect chord with a minor third could have been given to that same note at C; indeed, it could have received a small-sixth chord, and the note immediately before it a diminished-fifth chord, because there is a diminished fifth between this E and the following B-flat. As soon as such an interval appears in the bass, it determines the key absolutely, the lower sound of that diminished fifth always being, as we have said, the leading note. What we say of the diminished fifth also applies to the tritone, whose upper sound is then the leading note. Nevertheless, if the bass proceeds up a fourth or down a fifth after such a diminished fifth or tritone, there might no longer be a leading note there. Each of these bass notes could then be regarded as a dominant seeking the tonic dominant, which immediately follows those forming a diminished fifth or tritone, as seen at G, H, J. But this can happen only between the second and sixth notes of minor keys, which form these diminished-fifth or sharp-fourth intervals with one another.", "sources": [ { "pdf_page": 287, "source_image": "source-pages/bnf-287.png", "printed_page": 255, "bbox_pixels": [ 456, 2692, 2124, 830 ], "crop_image": "assets/III.25-012.png" }, { "pdf_page": 288, "source_image": "source-pages/bnf-288.png", "printed_page": 256, "bbox_pixels": [ 469, 374, 2128, 2455 ], "crop_image": "assets/III.25-013.png" } ] }, { "id": "III.25-014", "type": "paragraph", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1774, "original": "Selon nôtre Regle précedente, la Notte D, devroit porter l’Accord de sixte ; mais comme la Sixte ne pourroit y être que mineure, conformément au Ton de la Notte qui précede & qui suit. Nous remarquons que le Si quitte son B-mol immédiatement après ; & comme il faut se conformer toûjours à ce qui suit, plûtôt qu’à ce qui précede, il vaut mieux donner l’Accord parfait à cette Notte D, pour éviter la fausse Relation avec ce qui suit, en se conformant en même-temps à nôtre Regle de la progression consonante de la Basse.", "english": "According to our preceding rule, the note at D should bear a sixth chord. But its sixth could only be minor, in conformity with the key of the preceding and following notes. We observe that B loses its flat immediately afterward; and because one must always conform to what follows rather than what precedes, it is better to give the note at D a perfect chord, avoiding a false relation with what follows while also observing our rule for consonant bass progression.", "sources": [ { "pdf_page": 288, "source_image": "source-pages/bnf-288.png", "printed_page": 256, "bbox_pixels": [ 462, 2827, 2124, 602 ], "crop_image": "assets/III.25-014.png" } ] }, { "id": "III.25-015", "type": "paragraph", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1775, "original": "La Notte F, porte l’Accord de la fausse-Quinte, pour les raisons que nous venons d’alleguer, puisque l’Intervale de fausse-Quinte se trouve entre-elle & la Notte qui la précede. Souvenez-vous bien que dans un changement de Ton, il faut conformer l’Harmonie de nos Accords au Ton qui suit, préférablement à celuy que l’on quitte, sur tout lorsqu’une Notte peut porter deux Accords, dont le choix nous est indifferent en ce cas.", "english": "The note at F bears the diminished-fifth chord for the reasons just given, since a diminished fifth lies between it and the preceding note. Remember well that in changing key, we must adapt the harmony of our chords to the following key rather than to the one being left, especially when a note can bear two chords between which the choice would otherwise be immaterial in this case.", "sources": [ { "pdf_page": 288, "source_image": "source-pages/bnf-288.png", "printed_page": 256, "bbox_pixels": [ 520, 3425, 2062, 103 ], "crop_image": "assets/III.25-015.png" }, { "pdf_page": 289, "source_image": "source-pages/bnf-289.png", "printed_page": 257, "bbox_pixels": [ 445, 374, 2124, 443 ], "crop_image": "assets/III.25-016.png" } ] }, { "id": "III.25-017", "type": "heading", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1776, "original": "ARTICLE SECOND.", "english": "ARTICLE TWO.", "sources": [ { "pdf_page": 289, "source_image": "source-pages/bnf-289.png", "printed_page": 257, "bbox_pixels": [ 912, 808, 1155, 90 ], "crop_image": "assets/III.25-017.png" } ] }, { "id": "III.25-018", "type": "heading", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1777, "original": "Des Cadences imparfaites.", "english": "On Imperfect Cadences.", "sources": [ { "pdf_page": 289, "source_image": "source-pages/bnf-289.png", "printed_page": 257, "bbox_pixels": [ 1034, 890, 875, 88 ], "crop_image": "assets/III.25-018.png" } ] }, { "id": "III.25-019", "type": "paragraph", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1778, "original": "Outre la progression naturelle à la Basse dans les Cadences parfaites, il s’en trouve qui y ont du rapport, & que l’on appelle Cadences imparfaites. (Voyez le Second Liv. Chap. VIII.)", "english": "Besides the bass progression natural to perfect cadences, there are others related to it, called imperfect cadences. (See Book II, Chapter VIII.)", "sources": [ { "pdf_page": 289, "source_image": "source-pages/bnf-289.png", "printed_page": 257, "bbox_pixels": [ 441, 980, 2126, 228 ], "crop_image": "assets/III.25-019.png" } ] }, { "id": "III.25-020", "type": "paragraph", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1779, "original": "Nous disons que les Cadences imparfaites ont du rapport à la parfaite, non dans la progression de la Basse, mais dans la conformité de l’Harmonie ; & pour le connoître, il n’y a qu’à disposer ensemble tous les Sons qui composent la Cadence parfaite, & prendre à part la progression de chaque Partie, dont on pourra former celle de la Basse, les Accords n’y étant differens que dans leur differente disposition.", "english": "We say that imperfect cadences are related to the perfect cadence, not in their bass progression but in the correspondence of their harmony. To recognize this, simply arrange together all the sounds making up the perfect cadence and consider separately the progression of each part. Any of these can form the bass progression, the chords differing only in their different arrangements.", "sources": [ { "pdf_page": 289, "source_image": "source-pages/bnf-289.png", "printed_page": 257, "bbox_pixels": [ 443, 1200, 2126, 458 ], "crop_image": "assets/III.25-020.png" } ] }, { "id": "III.25-021", "type": "heading", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1780, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 289, "source_image": "source-pages/bnf-289.png", "printed_page": 257, "bbox_pixels": [ 1107, 1647, 737, 92 ], "crop_image": "assets/III.25-021.png" } ] }, { "id": "III.25-022", "type": "music", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1781, "original": "Disson. mineure. C. Disson. majeure. A. Basse fond.", "english": "Minor dissonance. C. Major dissonance. A. Fundamental bass.", "sources": [ { "pdf_page": 289, "source_image": "source-pages/bnf-289.png", "printed_page": 257, "bbox_pixels": [ 441, 1726, 813, 1739 ], "crop_image": "assets/III.25-022.png" } ], "original_title": "Cadence parfaite et progressions des Cadences imparfaites.", "english_title": "Perfect cadence and imperfect-cadence progressions.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.25-022" ], "music_asset_refs": [ "III.25-022" ] }, { "id": "III.25-023", "type": "paragraph", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1782, "original": "Lorsque l’on veut entendre toutes ces Parties ensemble, il faut en retrancher les parties A. & C. qui ont trop de conformité avec la plus haute, la Notte qui y sauve la Dissonance mineure n’aimant pas sa replique dans cette occasion, mais on peut entendre ces Parties A. & C. en retranchant la plus haute, ne les ayant mises ensemble que pour en faire distinguer les differentes progressions, où l’on voit que les Parties qui font dissonance ont leur progression fixe, & que les autres peuvent monter ou descendre ; car la Notte de la Basse-fondamentale, qui se trouve dans les trois plus basses Parties, peut rester sur le même degré, ou descendre de Tierce, de même qu’elle descend naturellement de Quinte, en remarquant que l’on retranche ordinairement la Septiéme de son Accord, lorsqu’elle descend de Tierce A, parce qu’il s’y entend une espece de deux Octaves consécutives ; quoique cela puisse se souffrir absolument parlant, sur tout à quatre Parties.", "english": "When one wishes to hear all these parts together, parts A and C must be omitted, since they resemble the highest part too closely; the note resolving the minor dissonance there does not welcome its octave equivalent on this occasion. But A and C may be heard if the highest part is omitted. They have been placed together only to distinguish their different progressions. We see that the dissonant parts have a fixed progression, while the others may ascend or descend. The fundamental-bass note, found in the three lowest parts, can remain on the same degree or descend a third, just as it naturally descends a fifth. Observe that the seventh is ordinarily omitted from its chord when it descends a third, A, because something like two consecutive octaves is heard there; although, strictly speaking, this can be tolerated, especially in four parts.", "sources": [ { "pdf_page": 289, "source_image": "source-pages/bnf-289.png", "printed_page": 257, "bbox_pixels": [ 1268, 1750, 1303, 1718 ], "crop_image": "assets/III.25-023.png" } ] }, { "id": "III.25-024", "type": "paragraph", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1783, "original": "L’on trouve la progression de toutes ces Parties, déterminée dans l’Exemple de l’Octave, Chap. XI. avec les mêmes Accords qu’elles portent icy ; pour s’en assurer encore mieux, il n’y a qu’à faire servir de Basse, telle Partie que l’on voudra, en évitant de mettre au-dessus des autres, les deux Parties les plus basses, le reste faisant ensemble un bon effet de quelque façon qu’il soit disposé ; & les Accords chiffrez dans une Partie, se trouvent contenus dans les autres.", "english": "The progression of all these parts is specified in the octave example in Chapter XI, with the same chords they bear here. To verify this more fully, use whichever part you please as bass, avoiding placing the two lowest parts above the others. The remainder produces a good effect together however arranged, and the chords figured in one part are contained in the others.", "sources": [ { "pdf_page": 290, "source_image": "source-pages/bnf-290.png", "printed_page": 258, "bbox_pixels": [ 430, 389, 2122, 604 ], "crop_image": "assets/III.25-024.png" } ] }, { "id": "III.25-025", "type": "paragraph", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1784, "original": "L’on a pû s’appercevoir de ces sortes de Cadences imparfaites dans la plûpart des Exemples précédens ; mais les Nottes qui les terminent ne se trouvent pas toûjours dans le premier Temps de la Mesure, parce qu’elles ont lieu dans une progression diatonique, qui ne peut déterminer une conclusion parfaite.", "english": "These kinds of imperfect cadence may have been noticed in most of the preceding examples. But their ending notes do not always fall on the first beat of a measure, since they occur in a diatonic progression, which cannot determine a perfect conclusion.", "sources": [ { "pdf_page": 290, "source_image": "source-pages/bnf-290.png", "printed_page": 258, "bbox_pixels": [ 434, 995, 2122, 376 ], "crop_image": "assets/III.25-025.png" } ] }, { "id": "III.25-026", "type": "heading", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1785, "original": "ARTICLE TROISIEME.", "english": "ARTICLE THREE.", "sources": [ { "pdf_page": 290, "source_image": "source-pages/bnf-290.png", "printed_page": 258, "bbox_pixels": [ 838, 1440, 1346, 103 ], "crop_image": "assets/III.25-026.png" } ] }, { "id": "III.25-027", "type": "heading", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1786, "original": "Comment on peut distinguer le Ton dans lequel les Progressions de Cadences imparfaites ont lieu.", "english": "How to Distinguish the Key in Which Imperfect-Cadence Progressions Occur.", "sources": [ { "pdf_page": 290, "source_image": "source-pages/bnf-290.png", "printed_page": 258, "bbox_pixels": [ 439, 1572, 2131, 187 ], "crop_image": "assets/III.25-027.png" } ] }, { "id": "III.25-028", "type": "paragraph", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1787, "original": "Il est certain qu’une Progression diatonique nous conduit à plusieurs Tons differens ; mais pour distinguer le Ton où cette progression nous conduit, il y a plusieurs choses à remarquer.", "english": "A diatonic progression certainly leads us to several different keys; but to distinguish the key toward which it leads, several things must be observed.", "sources": [ { "pdf_page": 290, "source_image": "source-pages/bnf-290.png", "printed_page": 258, "bbox_pixels": [ 447, 1812, 2124, 221 ], "crop_image": "assets/III.25-028.png" } ] }, { "id": "III.25-029", "type": "paragraph", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1788, "original": "1°. La Notte sensible doit nous déterminer d’abord ; & voicy comment on peut la distinguer dans la Basse.", "english": "1. The leading note must guide our decision first. Here is how to distinguish it in the bass.", "sources": [ { "pdf_page": 290, "source_image": "source-pages/bnf-290.png", "printed_page": 258, "bbox_pixels": [ 449, 2032, 2122, 150 ], "crop_image": "assets/III.25-029.png" } ] }, { "id": "III.25-030", "type": "paragraph", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1789, "original": "Connoissant le Ton par lequel on commence, on en connoît en même-Temps la Notte sensible, & l’on sçait que ce Ton ne peut rouler que sur de certaines Nottes comprises dans l’étenduë de son Octave, conformément au Ton majeur d’Ut, ou au Ton mineur de Ré. Si l’une de ces Nottes est alterée d’un Dieze ou d’un B-mol, il est certain que le Ton change.", "english": "Knowing the opening key also tells us its leading note. We know that this key can move only among certain notes within its octave, conforming to C major or D minor. If any of these notes is altered by a sharp or flat, the key certainly changes.", "sources": [ { "pdf_page": 290, "source_image": "source-pages/bnf-290.png", "printed_page": 258, "bbox_pixels": [ 451, 2182, 2122, 449 ], "crop_image": "assets/III.25-030.png" } ] }, { "id": "III.25-031", "type": "paragraph", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1790, "original": "Le premier nouveau Dieze que l’on trouve, marque certainement une Notte sensible ; & si l’on en trouve deux ou trois de suite, c’est toûjours le dernier qui doit être pris pour Notte sensible : Donc le Dieze mis à côté de la Notte Fa, rend cette Notte sensible, & même dénotte en même-temps le Ton de Sol. Si avec ce Dieze de Fa, j’en trouve un à côté de Sol ; Fa Dieze n’est plus Notte sensible, c’est Sol Dieze qui me dénotte en même-temps le Ton de La ; ainsi en comptant selon l’ordre de la position des Diezes Fa, Ut, Sol, Ré, La, &c. on ne peut se tromper ; & quelques B-mols qui se trouvent mêlez parmi ces Diezes, l’on n’y doit faire aucune attention ; mais s’il ne se trouve point de Dieze, pour lors le B-mol nous marque un nouveau Ton ; & la Notte sensible doit être toûjours prise sur la Notte à laquelle il faudroit donner un autre B-mol, supposé qu’il fallut en ajoûter un ; Par exemple, s’il y a un B-mol à côté de la Notte Si, & qu’il ne se trouve point de Dieze, la Notte Mi, qui est celle où l’on pourroit ajoûter le nouveau B-mol, sera la sensible ; pareillement si la Notte Mi porte un B-mol, la Notte La sera la sensible ; ainsi en comptant selon l’ordre des B-mols, Si, Mi, La, Ré, &c. celle de ces Nottes qui n’a point de B-mol & qui suit immediatement celle qui en a un, est toûjours la sensible, en se souvenant de ce que nous avons dit à l’Article Premier, que les Intervales de fausse-Quinte ou de Tri-Ton nous en faisoient encore appercevoir dans la progression de la Basse ; car la Notte qui pourroit porter le B-mol ajoûté, fait justement le Tri-Ton au-dessus, ou la fausse-Quinte au-dessous de celle qui a le dernier B-mol. Pour ne point se tromper en ceci, il ne faut jamais se servir du B quarre.", "english": "The first new sharp encountered certainly marks a leading note; if two or three are found in succession, the last must always be taken as the leading note. Thus a sharp beside F makes that note the leading note and simultaneously indicates G as the key. If, along with the sharp on F, I find one beside G, F-sharp is no longer the leading note: G-sharp is, and it simultaneously indicates A as the key. By counting according to the order in which sharps are placed—F, C, G, D, A, and so on—one cannot go wrong. Whatever flats are mingled among these sharps should be disregarded. But if there is no sharp, a flat then indicates a new key, and the leading note must always be taken as the note that would receive another flat if one had to be added. For example, if B has a flat and there is no sharp, E—the note to which the new flat could be added—will be the leading note. Likewise, if E has a flat, A will be the leading note. Thus, counting in the order of flats, B, E, A, D, and so on, the unflattened note immediately following the flattened one is always the leading note. Remember also what we said in Article One: diminished-fifth or tritone intervals reveal it in the bass progression as well. The note that could receive the added flat lies precisely a tritone above, or a diminished fifth below, the note with the last flat. To avoid mistakes in this, one must never use the natural sign.", "sources": [ { "pdf_page": 290, "source_image": "source-pages/bnf-290.png", "printed_page": 258, "bbox_pixels": [ 456, 2634, 2118, 901 ], "crop_image": "assets/III.25-031.png" }, { "pdf_page": 291, "source_image": "source-pages/bnf-291.png", "printed_page": 259, "bbox_pixels": [ 398, 365, 2137, 1047 ], "crop_image": "assets/III.25-032.png" } ] }, { "id": "III.25-033", "type": "paragraph", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1791, "original": "2°. Comme la Basse ne va pas toûjours sur la Notte sensible, & que le Ton peut changer, sans que l’on puisse s’en appercevoir par cet endroit, pouvant se trouver même très-souvent dans la Basse, un Intervale de fausse-Quinte ou de Tri-Ton, qui seroit formé de la seconde Notte d’un Ton mineur à la sixième Notte, ou plûtôt de celle-cy à l’autre, pourvû qu’il n’y ait point de Dieze, car celui-cy nous détermine toûjours ; Il faut remarquer d’abord si le Ton que ces Intervales, ou quelqu’autres Signes peuvent nous marquer, a le rapport qu’il doit avoir avec celuy que l’on quitte ; & si après le repos qui est déterminé, en quelque façon, dans une progression diatonique, il ne suit pas une Notte qui ait plus de rapport à un Ton qu’à un autre, sur tout, lorsqu’après la derniere Notte en progression diatonique, il en suit une autre en progression consonante, qui conduit souvent à quelques Cadences finales, où pour lors le Ton est déterminé.", "english": "2. The bass does not always go to the leading note, and the key may change without our perceiving it in that way. Indeed, a diminished fifth or tritone may very often occur in the bass between the second and sixth notes of a minor key, or rather from the latter to the former, provided there is no sharp, for a sharp always decides the matter. We must first observe whether the key indicated by these intervals or other signs has the proper relationship to the key being left; and whether, after the repose established to some degree by a diatonic progression, a note follows that relates more closely to one key than another. This is especially so when the last diatonic note is followed by a note in consonant progression, which often leads to final cadences where the key is then determined.", "sources": [ { "pdf_page": 291, "source_image": "source-pages/bnf-291.png", "printed_page": 259, "bbox_pixels": [ 402, 1413, 2133, 1131 ], "crop_image": "assets/III.25-033.png" } ] }, { "id": "III.25-034", "type": "heading", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1792, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 292, "source_image": "source-pages/bnf-292.png", "printed_page": 260, "bbox_pixels": [ 1099, 471, 793, 97 ], "crop_image": "assets/III.25-034.png" } ] }, { "id": "III.25-035", "type": "music", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1793, "original": "Notte sensible de La. Notte sensible de Ré. Ton de La. Notte sensi. de Sol. Notte sen. de Si ♭. Notte sensible de Fa. Notte sensible de Ré. Notte sensi. de Sol. Notte sensible de Fa. Notte sensi. d’Ut. Ton de Fa. Notte sensi. d’Ut. A. B. C. D. F. G. H. J. L. M.", "english": "Leading note of A. Leading note of D. Key of A. Leading note of G. Leading note of B♭. Leading note of F. Leading note of D. Leading note of G. Leading note of F. Leading note of C. Key of F. Leading note of C. A. B. C. D. F. G. H. J. L. M.", "sources": [ { "pdf_page": 292, "source_image": "source-pages/bnf-292.png", "printed_page": 260, "bbox_pixels": [ 428, 611, 2120, 1965 ], "crop_image": "assets/III.25-035.png" } ], "original_title": "Changements de Ton déterminés par les Nottes sensibles.", "english_title": "Changes of key determined by leading notes.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.25-035" ], "music_asset_refs": [ "III.25-035" ] }, { "id": "III.25-036", "type": "paragraph", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1794, "original": "Après la premiere Notte sensible qui est facile à remarquer, l’on voit que depuis la Notte A, il y a une progression diatonique interrompuë à la Notte B, où il faut suivre la Regle des Septiémes ; & cette interruption qui nous conduit à une Cadence sur la Notte Ut, nous oblige de conformer à son Ton les Nottes en progression diatonique depuis la Dominante de La, après laquelle il ne paroît rien qui puisse nous entretenir dans ce Ton de La ; ce qui fait que nous avons donné l’Accord de Sixte-quarte à la Dominante répetée, pour unir davantage son Harmonie à celles des Accords qui doivent suivre : Qui plus est, le Sol qui devient naturel à B, nous donne à connoître qu’il n’est plus Notte sensible ; & ne trouvant ni Dieze ni B-mol jusqu’à la Cadence d’Ut, nous voyons clairement que le Ton d’Ut se declare depuis la Notte A ; parce qu’il faut avoir toûjours égard au Ton qui suit, plûtôt qu’à celuy où l’on est, sur tout lorsqu’il est indifferent de conformer les Accords à ce Ton suivant, ne se trouvant aucun Dieze, ni B-mol, ni aucune progression consonante, ni aucun repos qui puissent nous déterminer à prendre une autre route.", "english": "After the first leading note, which is easy to recognize, a diatonic progression begins at A and is interrupted at B, where the rule of sevenths must be followed. This interruption leads us to a cadence on C and obliges us to conform the diatonic notes, beginning with the dominant of A, to C’s key. After that dominant nothing appears that could keep us in A. For this reason we have given the repeated dominant the sixth–fourth chord, to unite its harmony more closely with that of the following chords. Furthermore, G becoming natural at B tells us that it is no longer the leading note. Finding neither sharp nor flat as far as the cadence on C, we see clearly that C is declared from A onward. We must always regard the following key rather than the present one, especially when there is no obstacle to adapting the chords to that following key, no sharp, flat, consonant progression, or repose directing us elsewhere.", "sources": [ { "pdf_page": 292, "source_image": "source-pages/bnf-292.png", "printed_page": 260, "bbox_pixels": [ 439, 2632, 2116, 903 ], "crop_image": "assets/III.25-036.png" }, { "pdf_page": 293, "source_image": "source-pages/bnf-293.png", "printed_page": 261, "bbox_pixels": [ 402, 391, 2122, 445 ], "crop_image": "assets/III.25-037.png" } ] }, { "id": "III.25-038", "type": "paragraph", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1795, "original": "Le Dieze de Sol n’ayant plus lieu, celuy d’Ut qui vient après, nous dénotte un nouveau Ton ; & le repos qui se fait à la Notte C, après laquelle suit un Intervale consonant qui demande la Septiéme sur cette Notte C, nous détermine à rentrer dans le Ton de La, puisque c’est à cette Notte La que finit la progression de Quarte en montant.", "english": "With G-sharp no longer in force, the C-sharp that follows indicates a new key. The repose at C, followed by a consonant interval that requires a seventh on that note at C, determines our return to A, since the ascending-fourth progression ends on A.", "sources": [ { "pdf_page": 293, "source_image": "source-pages/bnf-293.png", "printed_page": 261, "bbox_pixels": [ 402, 836, 2122, 451 ], "crop_image": "assets/III.25-038.png" } ] }, { "id": "III.25-039", "type": "paragraph", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1796, "original": "Le Dieze de Fa nous dénotte un nouveau Ton, puisqu’il ne s’y en trouve point d’autre après luy.", "english": "F-sharp indicates a new key, since no other sharp follows it.", "sources": [ { "pdf_page": 293, "source_image": "source-pages/bnf-293.png", "printed_page": 261, "bbox_pixels": [ 467, 1284, 2057, 163 ], "crop_image": "assets/III.25-039.png" } ] }, { "id": "III.25-040", "type": "paragraph", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1797, "original": "Le B-mol F, nous oblige de donner une Tierce mineure à la Notte qui le précede, pour une plus grande conformité d’Harmonie ; & les B-mols se trouvant sur les Nottes Si & Mi, nous jugeons que la Notte La, doit être sensible ; ensuite la Notte Mi, quittant son B-mol, devient elle-même sensible, puisque le B-mol reste encore sur la Notte Si, d’autant qu’il ne s’y trouve aucun Dieze.", "english": "The flat at F obliges us to give the preceding note a minor third for greater agreement of harmony. With flats on B and E, we judge that A must be the leading note. Then E loses its flat and itself becomes the leading note, since the flat remains on B and no sharp is present.", "sources": [ { "pdf_page": 293, "source_image": "source-pages/bnf-293.png", "printed_page": 261, "bbox_pixels": [ 402, 1445, 2122, 445 ], "crop_image": "assets/III.25-040.png" } ] }, { "id": "III.25-041", "type": "paragraph", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1798, "original": "L’Intervale de fausse-Quinte qui se trouve entre les Nottes D, peut nous faire reconnoître une Notte sensible en cet endroit, puisque celle que l’on prendroit en ce cas pour telle, monte d’un semi-Ton à J ; (progression naturelle à la Notte sensible) mais les Intervales consonans qui se pratiquent depuis la Notte L, où le Ton de Fa se termine, nous obligeant de donner à ces Nottes suivantes des Accords parfaits ou de Septiéme, selon les differens Intervales de la Basse, nous portent en même-temps à nous déclarer pour le Ton qui nous est déterminé par la Notte sensible qui suit ; ce n’est pas à dire que selon les Regles d’une progression par Tierces, on n’eût pû faire ainsi,", "english": "The diminished fifth between the notes at D may reveal a leading note there, since the note that would be taken as such rises a semitone at J, the leading note’s natural progression. But the consonant intervals used from L, where the key of F ends, oblige us to give the following notes perfect chords or seventh chords according to the different bass intervals. At the same time they lead us to choose the key determined by the following leading note. This does not mean that, according to the rules for movement by thirds, one could not have proceeded thus:", "sources": [ { "pdf_page": 293, "source_image": "source-pages/bnf-293.png", "printed_page": 261, "bbox_pixels": [ 400, 1888, 2126, 765 ], "crop_image": "assets/III.25-041.png" } ] }, { "id": "III.25-042", "type": "music", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1799, "original": "faire ainsi. D. L. J.", "english": "Proceed thus. D. L. J.", "sources": [ { "pdf_page": 293, "source_image": "source-pages/bnf-293.png", "printed_page": 261, "bbox_pixels": [ 746, 2657, 1774, 269 ], "crop_image": "assets/III.25-042.png" } ], "original_title": "Autre continuation du Ton de Fa.", "english_title": "Another continuation in the key of F.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.25-042" ], "music_asset_refs": [ "III.25-042" ] }, { "id": "III.25-043", "type": "paragraph", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1800, "original": "& pour lors on continueroit le Ton de Fa jusqu’à la Notte Ré, qui est suivie de la Notte sensible ; cela est arbitraire, lorsque le bon goût nous conduit ; ce bon goût qui se plaît dans la diversité, nous déterminant toûjours à abandonner un Ton qui a été entendu trop long-temps, quand cela se peut.", "english": "And then one would continue in F as far as D, which is followed by the leading note. This is a matter of choice when good taste guides us. Such taste, delighting in variety, always prompts us, when possible, to abandon a key heard for too long.", "sources": [ { "pdf_page": 293, "source_image": "source-pages/bnf-293.png", "printed_page": 261, "bbox_pixels": [ 406, 2930, 2122, 363 ], "crop_image": "assets/III.25-043.png" } ] }, { "id": "III.25-044", "type": "paragraph", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1801, "original": "La fausse-Quinte qui se fait sur la Notte sensible de Ré, n’est point sauvée immédiatement sur l’Accord qui la suit ; mais l’on peut remarquer qu’elle forme encore la Sixte de la Notte G, sans que le fond de l’Accord change, & qu’elle va se sauver d’abord après, en descendant sur la Sixte Dieze de la Notte voisine, où la progression diatonique nous oblige de conformer nôtre Harmonie au Ton que la Notte sensible suivante nous prescrit.", "english": "The diminished fifth made above the leading note of D is not immediately resolved in the next chord. But it also forms the sixth above the note at G without any change in the chord’s foundation, and resolves directly afterward by descending to the sharp sixth of the neighboring note. There the diatonic progression obliges us to conform our harmony to the key prescribed by the following leading note.", "sources": [ { "pdf_page": 293, "source_image": "source-pages/bnf-293.png", "printed_page": 261, "bbox_pixels": [ 408, 3294, 2118, 232 ], "crop_image": "assets/III.25-044.png" }, { "pdf_page": 294, "source_image": "source-pages/bnf-294.png", "printed_page": 262, "bbox_pixels": [ 439, 383, 2128, 312 ], "crop_image": "assets/III.25-045.png" } ] }, { "id": "III.25-046", "type": "paragraph", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1802, "original": "Comme nous n’avons point encore parlé de l’Accord de la Seconde superfluë que porte la Notte G, l’on peut ne pas y faire attention à présent.", "english": "As we have not yet discussed the augmented-second chord borne by the note at G, one may disregard it for the present.", "sources": [ { "pdf_page": 294, "source_image": "source-pages/bnf-294.png", "printed_page": 262, "bbox_pixels": [ 443, 699, 2120, 230 ], "crop_image": "assets/III.25-046.png" } ] }, { "id": "III.25-047", "type": "paragraph", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1803, "original": "La Notte H, devient sensible, tant par rapport à la progression d’un semi-Ton entre-elle & la Notte qui la suit dans l’autre Mesure, que parce que l’Accord de fausse-Quinte qu’elle porte pour lors, est le même que celuy de la Septiéme que doit porter la Notte qui la suit immediatement ; puisque cette Notte suivante monte de Quarte, outre qu’il ne paroît plus de Diezes, & que le B-mol reste sur Si ; donc Mi est Notte sensible. Ensuite les B-mols & les Diezes s’évanouïssant, il n’y a point d’autre Notte sensible que Si, où pour lors le Ton d’Ut est déterminé, étant obligé de donner aux Nottes de son Ton les Accords qui leurs sont prescrits ; ainsi jusqu’à la conclusion, quoique la progression de Quarte en montant M, nous oblige de donner un Accord de Septiéme à la Notte Ut, & d’en donner un parfait à la Notte Fa, puisque cette Notte est encore suivie d’un Intervale consonant ; de sorte que l’Accord parfait qui rend toûjours Tonique la Notte où il se fait, nous donne encore la Notte Fa pour telle ; mais le B-mol de Si qui doit regner dans ce Ton, disparoissant à l’instant, & ne se trouvant plus de Diezes ni de B-mols, la Notte Si redevient Notte sensible, n’ayant interrompu le Ton d’Ut pour un moment, qu’à cause de la diversité ; parce que cela a pû se faire, conformément à la progression consonante de la Basse.", "english": "The note at H becomes the leading note both because of the semitone progression between it and the note following in the next measure, and because the diminished-fifth chord it then bears is the same as the seventh chord required by the note immediately following it, since that following note rises a fourth. Moreover, no sharps remain and B stays flat; thus E is the leading note. Then, as flats and sharps disappear, B is the only leading note, and C is established as the key. The notes of that key must receive their prescribed chords, and so it continues to the conclusion, although the ascending fourth at M obliges us to give C a seventh chord and F a perfect chord, since F is itself followed by another consonant interval. The perfect chord, which always makes its bass note a tonic, thus makes F a tonic again. But the B-flat that should prevail in that key disappears at once. With neither sharps nor flats remaining, B again becomes the leading note. C has been interrupted only for a moment, for variety, since the consonant bass progression allowed this.", "sources": [ { "pdf_page": 294, "source_image": "source-pages/bnf-294.png", "printed_page": 262, "bbox_pixels": [ 439, 927, 2126, 1569 ], "crop_image": "assets/III.25-047.png" } ] }, { "id": "III.25-048", "type": "paragraph", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1804, "original": "Pour finir sur ce sujet, nous dirons que les Progressions consonantes doivent absolument nous déterminer, & que les Diatoniques doivent se rapporter aux consonantes qui les suivent, plûtôt qu’à celles qui les précedent. Si la Notte sensible ne peut se distinguer, il se trouve une certaine suite d’Accords dans une progression diatonique depuis le dernier Accord consonant, que la derniere Notte en progression consonante aura dû porter, que nous ne devons point abandonner, selon qu’elle nous est prescrite dans l’Octave du Chap. XI. Si la Basse monte d’un semi-Ton, ce qui peut faire prendre la premiere Notte de cette progression pour sensible, il faut voir s’il ne suit pas quelques Diezes, ou s’il n’y a pas quelques Nottes qui quittent leurs B-mols, parce que la Notte sensible est plûtôt déterminée par-là, que par une progression en montant d’un semi-Ton, qui peut se faire dans les Tons majeurs d’une Mediante à la quatrième Notte, & dans les Tons mineurs d’une seconde Notte à la Mediante, ou d’une Dominante à la sixième Notte, cette sixième Notte descendant neanmoins incontinent après ; ainsi dans ces sortes d’occasions, il se trouve une progression consonante, un Dieze ou un B-mol, ou une certaine suite d’Accords qui doivent absolument nous déterminer.", "english": "To conclude this subject, consonant progressions must decide our choice absolutely, and diatonic progressions must relate to the consonant ones following them rather than those preceding them. If the leading note cannot be distinguished, there is a certain sequence of chords in diatonic progression from the last consonant chord that the final note in consonant progression must have borne. We must not depart from this sequence as prescribed in the octave of Chapter XI. If the bass rises a semitone, which might cause the first note to be taken as a leading note, see whether any sharps follow or any notes lose their flats. These signs determine the leading note more surely than a rising semitone, which may occur in major keys from the mediant to the fourth note, and in minor keys from the second note to the mediant or from the dominant to the sixth note, this sixth note nevertheless descending immediately afterward. In such cases, therefore, a consonant progression, a sharp or flat, or a particular succession of chords must decide our choice absolutely.", "sources": [ { "pdf_page": 294, "source_image": "source-pages/bnf-294.png", "printed_page": 262, "bbox_pixels": [ 434, 2496, 2131, 1053 ], "crop_image": "assets/III.25-048.png" }, { "pdf_page": 295, "source_image": "source-pages/bnf-295.png", "printed_page": 263, "bbox_pixels": [ 415, 413, 2146, 381 ], "crop_image": "assets/III.25-049.png" } ] }, { "id": "III.25-050", "type": "paragraph", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1805, "original": "Si-tôt qu’après une Progression diatonique, il en suit une Consonante, la Notte qui finit la progression diatonique & qui commence la consonante, doit porter l’Accord parfait, ou celuy de Sixte ; si elle doit porter l’Accord parfait, sa Notte sensible l’aura précédée en montant d’un semi-Ton, ou bien ce sera la Dominante qui aura été précédée en montant d’un Ton ; si c’est la Mediante, elle sera précédée dans le Ton mineur en montant d’un semi-Ton, & dans le majeur en montant d’un Ton ; si au contraire ces Nottes sont précédées en descendant, la Tonique le sera toûjours d’un Ton, la Dominante ne le sera que d’un semi-Ton dans les Tons mineurs, & d’un Ton dans les majeurs. Or, il est impossible que cette differente progression dans differens Tons, ne vous fasse connoître quelque chose, vû que l’on sçait déja le rapport que doit avoir un Ton avec celuy que l’on quitte, la difference du majeur au mineur se puisant dans la Tierce & la Quinte, qui doivent être formées des Nottes comprises dans le Ton que l’on quitte. Il est presqu’impossible d’ailleurs qu’il ne paroisse une Notte sensible avant ou après, & que la progression consonante qui suit ne nous conduisent à une certaine conclusion, qui ne puisse nous déterminer ; car il faut bien remarquer que toutes les conclusions sont déterminées dans les progressions de Quarte ou de Quinte ; excepté qu’après l’une de ces progressions, il n’en suive une diatonique de deux ou de trois Nottes, soit en montant soit en descendant, sur la derniere desquelles le Chant se repose par rapport à une nouvelle progression consonante, ou disjointe qui recommence.", "english": "As soon as a diatonic progression is followed by a consonant one, the note ending the former and beginning the latter must bear the perfect chord or the sixth chord. If it must bear the perfect chord, its leading note will have preceded it by an ascending semitone; or else it will be the dominant, approached by an ascending whole tone. If it is the mediant, it will be approached by an ascending semitone in a minor key and an ascending whole tone in a major key. If, instead, these notes are approached from above, the tonic is always approached by a descending whole tone, the dominant by a descending semitone in minor keys and a whole tone in major keys. These different progressions in different keys cannot fail to tell you something, since you already know the relationship required between a key and the one being left. The difference between major and minor is drawn from the third and fifth, which must be formed from notes belonging to the key being left. Furthermore, it is almost impossible that no leading note should appear before or after, or that the following consonant progression should fail to lead us to some conclusion that can decide the matter. Observe carefully that all conclusions are determined by fourth or fifth progressions, unless such a progression is followed by a diatonic progression of two or three notes, ascending or descending, whose final note provides a melodic repose in relation to a new consonant or disjunct progression beginning again.", "sources": [ { "pdf_page": 295, "source_image": "source-pages/bnf-295.png", "printed_page": 263, "bbox_pixels": [ 421, 793, 2143, 1797 ], "crop_image": "assets/III.25-050.png" } ] }, { "id": "III.25-051", "type": "heading", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1806, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 295, "source_image": "source-pages/bnf-295.png", "printed_page": 263, "bbox_pixels": [ 1129, 2644, 748, 101 ], "crop_image": "assets/III.25-051.png" } ] }, { "id": "III.25-052", "type": "music", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1807, "original": "A. B. C. D. F. G. H.", "english": "A. B. C. D. F. G. H.", "sources": [ { "pdf_page": 295, "source_image": "source-pages/bnf-295.png", "printed_page": 263, "bbox_pixels": [ 439, 2793, 2128, 664 ], "crop_image": "assets/III.25-052.png" } ], "original_title": "Repos après une progression diatonique.", "english_title": "Repose after a diatonic progression.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.25-052" ], "music_asset_refs": [ "III.25-052" ] }, { "id": "III.25-053", "type": "paragraph", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1808, "original": "Quoique la Basse descende de Quinte à A, je ne dois point faire une Septiéme sur la premiere Notte, parce que la seconde Notte ne doit porter ni le parfait ni celuy de la Septiéme, puisque je suis déterminé par la progression diatonique qui suit, où le Chant se repose.", "english": "Although the bass descends a fifth at A, I must not put a seventh on the first note, because the second must bear neither the perfect chord nor the seventh chord. The following diatonic progression, where the melody comes to rest, determines my choice.", "sources": [ { "pdf_page": 295, "source_image": "source-pages/bnf-295.png", "printed_page": 263, "bbox_pixels": [ 522, 3479, 2042, 101 ], "crop_image": "assets/III.25-053.png" }, { "pdf_page": 296, "source_image": "source-pages/bnf-296.png", "printed_page": 264, "bbox_pixels": [ 475, 372, 2109, 295 ], "crop_image": "assets/III.25-054.png" } ] }, { "id": "III.25-055", "type": "paragraph", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1809, "original": "Le Chant qui se repose sur la troisième Notte après B, m’oblige de conformer à son Ton la Notte B ; donc celle qui la précede ne doit porter que l’Accord déterminé par ce Ton, & non pas celuy que demande la progression consonante, parce que la Notte B, ne doit pas porter l’Accord parfait, ni celuy de Septiéme.", "english": "The melody resting on the third note after B obliges me to conform the note at B to its key. Therefore the preceding note must bear only the chord determined by that key, not the one called for by consonant progression, because the note at B must bear neither the perfect chord nor the seventh chord.", "sources": [ { "pdf_page": 296, "source_image": "source-pages/bnf-296.png", "printed_page": 264, "bbox_pixels": [ 477, 671, 2107, 376 ], "crop_image": "assets/III.25-055.png" } ] }, { "id": "III.25-056", "type": "paragraph", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1810, "original": "Je conforme l’Accord de la seconde Notte C, au Ton de la Notte qui suit, où le Chant se repose ; & je donne un Accord de Septiéme à cette Notte C, avant celuy de la petite Sixte qui luy convient ; parce que cette Septiéme se trouve préparée dans l’Accord précédent, & qu’elle se sauve agréablement sur la Sixte de cette même Notte ; nous en parlerons encore au Chap. suivant.", "english": "I adapt the chord of the second note at C to the key of the following note, where the melody rests. I give this note at C a seventh chord before the small-sixth chord that belongs to it, because the seventh is prepared in the preceding chord and resolves agreeably onto the sixth of this same note. We shall discuss this again in the next chapter.", "sources": [ { "pdf_page": 296, "source_image": "source-pages/bnf-296.png", "printed_page": 264, "bbox_pixels": [ 467, 1043, 2120, 451 ], "crop_image": "assets/III.25-056.png" } ] }, { "id": "III.25-057", "type": "paragraph", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1811, "original": "J’observe la Regle prescrite aux Nottes qui procédent par Tierces à D, & à F ; & pour s’assurer encore davantage du choix que l’on doit faire des Accords en ce cas, remarquez que les Nottes qui frappent dans le premier Temps doivent porter l’Accord parfait, plûtôt que celles qui frappent dans le dernier, ausquelles l’Accord de Sixte convient pour lors ; bien que l’on puisse donner l’Accord parfait à chacune de ces Nottes, comme nous l’avons fait à G.", "english": "At D and F I observe the rule prescribed for notes moving by thirds. To be still more certain of the chord choice in this case, observe that notes struck on the first beat should bear the perfect chord rather than those struck on the last beat, to which the sixth chord then belongs; although each of these notes may be given a perfect chord, as we have done at G.", "sources": [ { "pdf_page": 296, "source_image": "source-pages/bnf-296.png", "printed_page": 264, "bbox_pixels": [ 464, 1496, 2122, 518 ], "crop_image": "assets/III.25-057.png" } ] }, { "id": "III.25-058", "type": "paragraph", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1812, "original": "La conclusion que l’Intervale consonant me fait sentir à la fin, m’oblige de conformer à ce Ton les Accords de toutes les Nottes précédentes en progression diatonique, depuis H.", "english": "The conclusion suggested by the consonant interval at the end obliges me to conform the chords of all the preceding diatonic notes, from H onward, to that key.", "sources": [ { "pdf_page": 296, "source_image": "source-pages/bnf-296.png", "printed_page": 264, "bbox_pixels": [ 467, 2014, 2120, 228 ], "crop_image": "assets/III.25-058.png" } ] }, { "id": "III.25-059", "type": "heading", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1813, "original": "ARTICLE QUATRIEME.", "english": "ARTICLE FOUR.", "sources": [ { "pdf_page": 296, "source_image": "source-pages/bnf-296.png", "printed_page": 264, "bbox_pixels": [ 834, 2300, 1402, 99 ], "crop_image": "assets/III.25-059.png" } ] }, { "id": "III.25-060", "type": "heading", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1814, "original": "Comment on peut distinguer dans une progression diatonique si le Chant va se reposer sur la Notte tonique, ou sur la Dominante.", "english": "How to Distinguish Whether a Diatonic Melody Will Come to Rest on the Tonic or the Dominant.", "sources": [ { "pdf_page": 296, "source_image": "source-pages/bnf-296.png", "printed_page": 264, "bbox_pixels": [ 535, 2440, 1999, 271 ], "crop_image": "assets/III.25-060.png" } ] }, { "id": "III.25-061", "type": "paragraph", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1815, "original": "Pour distinguer dans une progression diatonique si le Chant va se reposer sur une Notte tonique ou sur une Dominante, il n’y a qu’à se mettre dans l’esprit, que pour aller d’une Notte tonique à sa Dominante, la Basse monte de Quinte ou descend de Quarte ; & que pour aller d’une Dominante à la Notte tonique la Basse monte de Quarte ou descend de Quinte. Or, si la progression diatonique excede cette étenduë, la Notte sensible paroîtra pour lors dans la Basse ou non ; si elle paroît, elle déclare en même-temps la Notte tonique ; sinon, vous êtes certain que le Chant va se reposer sur la Dominante.", "english": "To distinguish whether a diatonic melody is about to rest on a tonic or a dominant, keep in mind that to move from a tonic to its dominant, the bass ascends a fifth or descends a fourth; from a dominant to the tonic, it ascends a fourth or descends a fifth. If the diatonic progression exceeds this range, the leading note will either appear in the bass or not. If it appears, it simultaneously declares the tonic; if not, you may be certain that the melody will rest on the dominant.", "sources": [ { "pdf_page": 296, "source_image": "source-pages/bnf-296.png", "printed_page": 264, "bbox_pixels": [ 467, 2758, 2120, 677 ], "crop_image": "assets/III.25-061.png" } ] }, { "id": "III.25-062", "type": "heading", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1816, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 297, "source_image": "source-pages/bnf-297.png", "printed_page": 265, "bbox_pixels": [ 1185, 460, 772, 103 ], "crop_image": "assets/III.25-062.png" } ] }, { "id": "III.25-063", "type": "music", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1817, "original": "Progressions qui conduisent à la Dominante, où la Notte sensible ne paroît point. Progressions qui conduisent à la Notte tonique, où paroît la Notte sensible. A. B.", "english": "Progressions leading to the dominant, in which the leading note does not appear. Progressions leading to the tonic, in which the leading note appears. A. B.", "sources": [ { "pdf_page": 297, "source_image": "source-pages/bnf-297.png", "printed_page": 265, "bbox_pixels": [ 436, 617, 2126, 378 ], "crop_image": "assets/III.25-063.png" } ], "original_title": "Progressions vers la Dominante ou la Notte tonique.", "english_title": "Progressions toward the dominant or tonic.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.25-063" ], "music_asset_refs": [ "III.25-063" ] }, { "id": "III.25-064", "type": "paragraph", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1818, "original": "La Basse qui monte d’un Ton à A, vous fait reconnoître la Dominante, & la Notte tonique à B, où elle ne monte que d’un semi-Ton.", "english": "The bass rising a whole tone at A reveals the dominant, and at B, where it rises only a semitone, the tonic.", "sources": [ { "pdf_page": 297, "source_image": "source-pages/bnf-297.png", "printed_page": 265, "bbox_pixels": [ 447, 1069, 2131, 230 ], "crop_image": "assets/III.25-064.png" } ] }, { "id": "III.25-065", "type": "paragraph", "section": "III.25", "lesson": 69, "exercise": 69, "reading_order": 1819, "original": "De plus, par quelque Notte du Ton que commence une Progression diatonique, l’Intervale consonant qui s’est trouvé entre cette Notte & celle qui la précede, le repos qui suit immediatement, les Tons & semi-Tons qui se rencontrent dans cette progression diatonique, & l’interruption de cette derniere progression par une consonante, ou disjointe, doivent infailliblement vous faire reconnoître le lieu qu’occupe cette Notte dans le Ton où vous êtes, ou dans celuy que vous pouvez luy subroger. Il est vrai, que l’Intervale consonant qui précede le Diatonique, détermine moins que celuy qui suit ce diatonique, comme le prouve le dernier Exemple de l’Article précédent ; mais d’ailleurs les Tons & semi-Tons qui composent chaque Intervale d’une progression diatonique, suffisent seuls pour vous mettre au fait. Il est donc à propos de bien remarquer le lieu qu’occupent dans chaque Mode les semi-Tons, tant en montant qu’en descendant, & de se souvenir que la progression diatonique ne s’interrompt ordinairement qu’après une Notte tonique, une Mediante, ou une Dominante ; & quand même cela seroit autrement, comme il arrive quelquefois que cette interruption se fait après toute autre Notte, la progression consonante qui suit, ne détermine-t-elle pas ; & les Regles prescrites sur ce sujet, ne suffisent-elles pas pour ne pouvoir s’y tromper ? L’on sçait ce que demande une progression de Tierce, de Quarte, ou de Quinte, tant en montant qu’en descendant, & la représentation d’un même Accord qui se fait souvent dans deux Nottes par Tierces consécutives ou autrement, selon la progression qui suit ; en un mot, si l’on fait un peu d’attention sur tout ce que nous avons dit à cet égard, si l’on s’attache à la Modulation, qui doit être toûjours nôtre premier objet ; si l’on remarque le rapport des Accords avec la progression de la Basse ; si l’on confronte le tout avec une Basse-fondamentale, & si l’on prend garde à la Notte sensible, qui est d’un grand secours par tout où elle a lieu, il est difficile de pouvoir se tromper, puisque dès que vous avez reconnu l’Accord que doit porter une certaine Notte, il n’y a qu’à suivre l’ordre de l’Octave depuis cette Notte jusqu’à celle où la progression diatonique s’interrompt ; (Voyez le Chapitre XI.) la varieté d’Harmonie qu’on peut y introduire d’ailleurs, s’apprendra par la suite.", "english": "Furthermore, whatever note of the key begins a diatonic progression, the consonant interval between that note and the preceding one, the repose immediately following, the whole tones and semitones within that diatonic progression, and its interruption by consonant or disjunct movement must unfailingly reveal that note’s place in the present key or in the key that may replace it. Admittedly, the consonant interval preceding diatonic movement is less decisive than the one following it, as the last example of the preceding article proves. Yet the whole tones and semitones composing each interval of a diatonic progression suffice by themselves to make the situation clear. It is therefore useful to observe carefully where the semitones lie in each mode, both ascending and descending, and to remember that diatonic movement is ordinarily interrupted only after a tonic, mediant, or dominant. Even when this happens otherwise, as it sometimes does after any other note, does not the following consonant progression decide, and do not the rules given on this subject suffice to prevent mistakes? We know what is required by a progression of thirds, fourths, or fifths, ascending or descending, and by the representation of the same chord that often occurs over two notes in successive thirds or otherwise, according to the following progression. In a word, if we attend somewhat to all that we have said on this subject; keep to modulation, which must always be our first concern; observe how chords relate to bass progression; compare the whole with a fundamental bass; and watch the leading note, a great help wherever it occurs, it is difficult to go wrong. Once you have recognized the chord belonging to a particular note, you need only follow the order of the octave from that note to the one where diatonic movement stops. (See Chapter XI.) The variety of harmony that may additionally be introduced will be learned later.", "sources": [ { "pdf_page": 297, "source_image": "source-pages/bnf-297.png", "printed_page": 265, "bbox_pixels": [ 445, 1296, 2135, 2247 ], "crop_image": "assets/III.25-065.png" }, { "pdf_page": 298, "source_image": "source-pages/bnf-298.png", "printed_page": 266, "bbox_pixels": [ 626, 424, 2103, 454 ], "crop_image": "assets/III.25-066.png" } ] }, { "id": "III.26-001", "type": "heading", "section": "III.26", "lesson": 70, "exercise": 70, "reading_order": 1820, "original": "CHAPITRE VINGT-SIXIEME.", "english": "CHAPTER TWENTY-SIX.", "sources": [ { "pdf_page": 298, "source_image": "source-pages/bnf-298.png", "printed_page": 266, "bbox_pixels": [ 761, 1010, 1830, 97 ], "crop_image": "assets/III.26-001.png" } ], "correction_refs": [ "supplement-237", "supplement-238" ] }, { "id": "III.26-002", "type": "heading", "section": "III.26", "lesson": 70, "exercise": 70, "reading_order": 1821, "original": "De la maniere de pratiquer la Septiéme sur toutes les Nottes d’un Ton en Progression diatonique.", "english": "On Using the Seventh on All the Notes of a Key in Diatonic Progression.", "sources": [ { "pdf_page": 298, "source_image": "source-pages/bnf-298.png", "printed_page": 266, "bbox_pixels": [ 669, 1157, 2036, 187 ], "crop_image": "assets/III.26-002.png" } ] }, { "id": "III.26-003", "type": "paragraph", "section": "III.26", "lesson": 70, "exercise": 70, "reading_order": 1822, "original": "Il n’y a que la Notte tonique qui doive paroître toûjours avec l’Accord parfait, au lieu que celuy de la Septiéme peut être approprié à toutes les autres Nottes, avec cette difference, que dans une progression de Quarte en montant sur un Accord parfait ou de Septiéme, toutes les Nottes doivent être regardées comme Dominantes, & peuvent porter, en ce cas, l’Accord de la Septiéme ; mais dans une progression diatonique, il faut que la Notte qui porte cet Accord de Septiéme, puisse se partager en deux Temps, ou qu’elle soit repetée deux fois (ce qui est à peu près la même chose) pour que dans son second Temps elle puisse porter l’Accord de Sixte qui luy convient, selon la Notte qui la suit ; & pour lors la Septiéme doit être toûjours préparée, excepté la premiere qui peut ne pas l’être, selon la progression de la Basse.", "english": "Only the tonic note must always appear with the perfect chord, whereas the seventh chord can be applied to all the others, with this distinction: in an ascending-fourth progression onto a perfect chord or seventh chord, all the notes must be regarded as dominants and may then bear the seventh chord. But in diatonic progression, the note bearing the seventh chord must be divisible into two beats or be sounded twice, which amounts to much the same thing, so that on its second beat it may bear the sixth chord suited to it according to the following note. The seventh must then always be prepared, except for the first, which may be unprepared according to the bass progression.", "sources": [ { "pdf_page": 298, "source_image": "source-pages/bnf-298.png", "printed_page": 266, "bbox_pixels": [ 613, 1380, 2118, 989 ], "crop_image": "assets/III.26-003.png" } ] }, { "id": "III.26-004", "type": "heading", "section": "III.26", "lesson": 70, "exercise": 70, "reading_order": 1823, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 298, "source_image": "source-pages/bnf-298.png", "printed_page": 266, "bbox_pixels": [ 1258, 2432, 795, 99 ], "crop_image": "assets/III.26-004.png" } ] }, { "id": "III.26-005", "type": "music", "section": "III.26", "lesson": 70, "exercise": 70, "reading_order": 1824, "original": "A. B. C.", "english": "A. B. C.", "sources": [ { "pdf_page": 298, "source_image": "source-pages/bnf-298.png", "printed_page": 266, "bbox_pixels": [ 604, 2571, 2124, 355 ], "crop_image": "assets/III.26-005.png" } ], "original_title": "Septiéme suivie d’un Accord de Sixte sur la même Notte.", "english_title": "Seventh followed by a sixth chord on the same note.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.26-005" ], "music_asset_refs": [ "III.26-005" ] }, { "id": "III.26-006", "type": "paragraph", "section": "III.26", "lesson": 70, "exercise": 70, "reading_order": 1825, "original": "A, B. J’aurois pû conformer les Accords de ces Nottes en progression diatonique au Ton qui nous est déclaré par la conclusion qui suit ; mais l’on peut aussi continuer dans le Ton qui a précedé, dont la Notte tonique B, prend dans son second Temps l’Accord qui convient au Ton qui suit.", "english": "A, B. I could have conformed the chords on these diatonic notes to the key declared by the following conclusion. But one may also continue in the preceding key, whose tonic at B takes, on its second beat, the chord appropriate to the following key.", "sources": [ { "pdf_page": 298, "source_image": "source-pages/bnf-298.png", "printed_page": 266, "bbox_pixels": [ 611, 2960, 2116, 374 ], "crop_image": "assets/III.26-006.png" } ] }, { "id": "III.26-007", "type": "paragraph", "section": "III.26", "lesson": 70, "exercise": 70, "reading_order": 1826, "original": "La Notte C, devroit porter naturellement l’Accord de la grande Sixte, qui peut être entendu après celuy de la Septiéme que nous luy donnons ; mais au lieu de sauver cette Septiéme sur la Sixte de la même Notte, nous la sauvons sur la Quinte de la Notte qui suit immédiatement, parce que l’Accord de petite Sixte que porte cette derniere Notte, & celuy de la grande Sixte que doit porter la Notte C, ne font qu’un même Accord dans le fond. De-là vient que lorsqu’on entend une Dissonance, on ne doit pas la quitter qu’elle ne puisse être sauvée ; & comme la Notte de la Basse, sur laquelle cette Dissonance devroit être sauvée naturellement, ne paroît pas toûjours, il faut voir si la Notte qui suit dans cette Basse ne pourroit pas porter un Accord composé des mêmes Sons, qui devoient former l’Accord dont la Dissonance devoit être sauvée, ce qui va être expliqué.", "english": "The note at C should naturally bear the great-sixth chord, which may be heard after the seventh chord we give it. But instead of resolving that seventh onto the sixth of the same note, we resolve it onto the fifth of the immediately following note, because the small-sixth chord on that latter note and the great-sixth chord belonging to C are fundamentally the same chord. Hence, once a dissonance is heard, it should not be abandoned until it can be resolved. As the bass note on which it would naturally resolve does not always appear, one must see whether the following bass note could bear a chord made up of the same sounds as the chord in which the dissonance should have resolved. This will now be explained.", "sources": [ { "pdf_page": 298, "source_image": "source-pages/bnf-298.png", "printed_page": 266, "bbox_pixels": [ 613, 3337, 2116, 230 ], "crop_image": "assets/III.26-007.png" }, { "pdf_page": 299, "source_image": "source-pages/bnf-299.png", "printed_page": 267, "bbox_pixels": [ 303, 376, 2124, 811 ], "crop_image": "assets/III.26-008.png" } ] }, { "id": "III.27-001", "type": "heading", "section": "III.27", "lesson": 71, "exercise": 71, "reading_order": 1827, "original": "CHAPITRE VINGT-SEPTIEME.", "english": "CHAPTER TWENTY-SEVEN.", "sources": [ { "pdf_page": 299, "source_image": "source-pages/bnf-299.png", "printed_page": 267, "bbox_pixels": [ 501, 1331, 1759, 103 ], "crop_image": "assets/III.27-001.png" } ], "correction_refs": [ "supplement-238", "supplement-239", "supplement-240" ] }, { "id": "III.27-002", "type": "heading", "section": "III.27", "lesson": 71, "exercise": 71, "reading_order": 1828, "original": "Comment la même Dissonance peut avoir lieu dans plusieurs Accords consecutifs sur des Nottes differentes ; Et comment elle peut être sauvée sur des Nottes qui nous paroissent étrangeres.", "english": "How the Same Dissonance Can Occur in Several Successive Chords on Different Notes, and How It Can Resolve on Notes That Seem Foreign to Us.", "sources": [ { "pdf_page": 299, "source_image": "source-pages/bnf-299.png", "printed_page": 267, "bbox_pixels": [ 303, 1473, 2124, 271 ], "crop_image": "assets/III.27-002.png" } ] }, { "id": "III.27-003", "type": "paragraph", "section": "III.27", "lesson": 71, "exercise": 71, "reading_order": 1829, "original": "Il faut remarquer que l’Accord de la Septiéme est composé de quatre Nottes differentes, qui peuvent précéder la même Notte, & que ces Nottes peuvent être arrangées consécutivement dans la Basse ; de sorte qu’elles porteront chacune un Accord different en apparence, & qui sera toûjours le même dans le fond, comme il est spécifié au Chap. XII ; si-bien qu’ayant entendu une certaine Dissonance dans un Accord, qui ne peut être sauvée dans l’Accord suivant, il faut voir si cette même Dissonance ne peut pas servir à l’Accord de la Notte suivante, & ainsi jusqu’à ce que l’on voye qu’elle peut être sauvée.", "english": "Observe that the seventh chord consists of four different notes that can precede the same note, and that these notes may be arranged successively in the bass. Each will thus bear a chord different in appearance but always the same in its foundation, as specified in Chapter XII. Having heard a certain dissonance in a chord that cannot resolve in the next chord, therefore, see whether that same dissonance can serve in the chord on the following note, and continue thus until it can resolve.", "sources": [ { "pdf_page": 299, "source_image": "source-pages/bnf-299.png", "printed_page": 267, "bbox_pixels": [ 307, 1787, 2126, 748 ], "crop_image": "assets/III.27-003.png" } ] }, { "id": "III.27-004", "type": "heading", "section": "III.27", "lesson": 71, "exercise": 71, "reading_order": 1830, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 299, "source_image": "source-pages/bnf-299.png", "printed_page": 267, "bbox_pixels": [ 1028, 2599, 731, 99 ], "crop_image": "assets/III.27-004.png" } ] }, { "id": "III.27-005", "type": "music", "section": "III.27", "lesson": 71, "exercise": 71, "reading_order": 1831, "original": "Exemples A, B.", "english": "Examples A, B.", "sources": [ { "pdf_page": 299, "source_image": "source-pages/bnf-299.png", "printed_page": 267, "bbox_pixels": [ 486, 2748, 1784, 279 ], "crop_image": "assets/III.27-005.png" } ], "original_title": "Une même Dissonance dans plusieurs Accords consécutifs.", "english_title": "One dissonance in several successive chords.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.27-005" ], "music_asset_refs": [ "III.27-005" ] }, { "id": "III.27-006", "type": "paragraph", "section": "III.27", "lesson": 71, "exercise": 71, "reading_order": 1832, "original": "La difference des Exemples A, & B, consiste en ce que la Dissonance majeure se trouve dans le premier, & que la mineure est seule dans l’autre. Dans l’Accord de la petite Sixte, A, qui est naturel à la seconde Notte, il se trouve une Dissonance entre la Tierce & la Quarte qui doit être sauvée en faisant descendre la Tierce, ce qui ne se peut sur la Notte suivante ; mais le même Accord fait celuy du Tri-Ton de cette derniere Notte, où la Dissonance ne peut encore être sauvée, ainsi jusqu’à la Notte Ut, où la Dissonance se sauve en descendant sur la Tierce de cette Notte Ut, & où l’on peut remarquer que la Notte Sol, qui porte l’Accord de la Septiéme, sert de fondement à ces quatre differens Accords ; de sorte que quand l’on trouve une Dissonance dans un Accord, il faut toûjours rapporter cet Accord à son fondement, & chercher ensuite dans la Basse la Notte sur laquelle on peut sauver cette Dissonance ; car tant qu’il ne paroît dans la Basse que les mêmes Nottes comprises dans l’Accord où cette Dissonance a lieu, il est certain que cette Dissonance ne peut y être sauvée, & il faut qu’il paroisse absolument dans la Basse une des Nottes de l’Accord où la Dissonance puisse se sauver en descendant si elle est mineure, ou en montant si elle est majeure ; cette Notte se distinguant facilement, lorsqu’après avoir rapporté l’Accord dissonant à son fondement, l’on dit, la Notte fondamentale de cet Accord fondamentale domine une telle Notte qui est une Quarte au-dessus, donc il faut que je trouve cette Notte dans la Basse, ou du moins l’une de celles qui composent son Accord parfait, ou celuy de la Septiéme, supposé que le Chant ne se repose pas en cet endroit ; si l’on ne trouve que la Dominante de cette Notte pour sauver l’Accord dissonant, cette Dominante étant la fondamentale de l’Accord dissonant qui paroît, il faut qu’elle puisse se partager au moins en deux Temps, si elle n’est pas répetée, pour que dans son second Temps elle puisse porter l’Accord dérivé de la Notte qu’elle domine. Cette derniere Règle souffre quelques petites exceptions, qui se trouvent expliquées au Chap. [numéro masqué] des Licences.", "english": "The difference between examples A and B is that the major dissonance occurs in the first, while only the minor dissonance occurs in the other. In the small-sixth chord at A, natural to the second note, there is a dissonance between the third and fourth that must resolve by making the third descend. This cannot happen over the following note. But the same chord makes up the tritone chord on that latter note, where the dissonance still cannot resolve, and so on until C. There it resolves downward to the third of C. Notice that G, bearing the seventh chord, is the foundation of these four different chords. Thus, when a dissonance appears in a chord, always refer that chord to its foundation, then seek in the bass the note on which the dissonance can resolve. As long as only the notes contained in the dissonant chord appear in the bass, the dissonance certainly cannot resolve there. A note of the resolving chord must necessarily appear in the bass, allowing the dissonance to descend if minor or ascend if major. This note is easily distinguished by referring the dissonant chord to its foundation and saying: the fundamental note of this fundamental chord is dominant to such-and-such a note a fourth above; therefore I must find that note in the bass, or at least one of the notes making up its perfect chord, or its seventh chord if the melody does not rest there. If only the dominant of that note is found to resolve the dissonant chord, this dominant being the foundation of the dissonant chord now heard, it must be divisible into at least two beats if not repeated, so that on its second beat it may bear the chord derived from the note to which it is dominant. This last rule admits a few small exceptions, explained in Chapter [number obscured], on licenses.", "sources": [ { "pdf_page": 299, "source_image": "source-pages/bnf-299.png", "printed_page": 267, "bbox_pixels": [ 325, 3046, 2111, 445 ], "crop_image": "assets/III.27-006.png" }, { "pdf_page": 300, "source_image": "source-pages/bnf-300.png", "printed_page": 268, "bbox_pixels": [ 441, 471, 2137, 1941 ], "crop_image": "assets/III.27-007.png" } ] }, { "id": "III.27-008", "type": "paragraph", "section": "III.27", "lesson": 71, "exercise": 71, "reading_order": 1833, "original": "De ce que nous venons de dire, il s’en suit que si l’on a fait entendre une Septiéme sur une Notte qui doit naturellement porter un autre Accord par rapport à celle qui la suit, où selon l’ordre de l’Octave, & que cette Notte n’ait pas une valeur competente pour y faire entendre cet Accord qui luy convient ; il faut que la Notte qui la suit puisse porter le même Accord, selon le fondement, c’est-à-dire, que les Nottes contenuës dans l’Accord de cette Notte suivante soient celles dont l’Accord naturel à la premiere Notte, devoit être composé.", "english": "It follows that if a seventh has been sounded on a note that naturally requires another chord in relation to the next note, or according to the order of the octave, and that note does not last long enough to sound its proper chord, the following note must be able to bear the same chord in its foundation. That is, the notes in the following note’s chord must be those that should have made up the chord natural to the first note.", "sources": [ { "pdf_page": 300, "source_image": "source-pages/bnf-300.png", "printed_page": 268, "bbox_pixels": [ 445, 2414, 2124, 677 ], "crop_image": "assets/III.27-008.png" } ] }, { "id": "III.27-009", "type": "paragraph", "section": "III.27", "lesson": 71, "exercise": 71, "reading_order": 1834, "original": "Voyez l’Exemple qui suit.", "english": "See the following example.", "sources": [ { "pdf_page": 300, "source_image": "source-pages/bnf-300.png", "printed_page": 268, "bbox_pixels": [ 1821, 3150, 716, 92 ], "crop_image": "assets/III.27-009.png" } ] }, { "id": "III.27-010", "type": "heading", "section": "III.27", "lesson": 71, "exercise": 71, "reading_order": 1835, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 301, "source_image": "source-pages/bnf-301.png", "printed_page": 269, "bbox_pixels": [ 1105, 445, 709, 86 ], "crop_image": "assets/III.27-010.png" } ] }, { "id": "III.27-011", "type": "music", "section": "III.27", "lesson": 71, "exercise": 71, "reading_order": 1836, "original": "Basse-continuë. Basse-fondamentale. A. B. C. D.", "english": "Continuo bass. Fundamental bass. A. B. C. D.", "sources": [ { "pdf_page": 301, "source_image": "source-pages/bnf-301.png", "printed_page": 269, "bbox_pixels": [ 391, 578, 2116, 776 ], "crop_image": "assets/III.27-011.png" } ], "original_title": "Préparation et résolution par des Accords de même fondement.", "english_title": "Preparation and resolution through chords with the same foundation.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.27-011" ], "music_asset_refs": [ "III.27-011" ] }, { "id": "III.27-012", "type": "paragraph", "section": "III.27", "lesson": 71, "exercise": 71, "reading_order": 1837, "original": "L’Accord de la petite Sixte que doit porter naturellement la seconde Notte du Ton A, & D, se trouve dans celuy du Tri-Ton qui suit la Notte A, & dans celuy de la Septiéme qui suit la Notte D.", "english": "The small-sixth chord naturally belonging to the second note of the key at A and D is found in the tritone chord following A and in the seventh chord following D.", "sources": [ { "pdf_page": 301, "source_image": "source-pages/bnf-301.png", "printed_page": 269, "bbox_pixels": [ 393, 1415, 2137, 234 ], "crop_image": "assets/III.27-012.png" } ] }, { "id": "III.27-013", "type": "paragraph", "section": "III.27", "lesson": 71, "exercise": 71, "reading_order": 1838, "original": "L’Accord de la petite Sixte que la sixième Notte B, doit porter naturellement en descendant, se trouve dans celuy de la grande Sixte de la Notte qui suit.", "english": "The small-sixth chord naturally belonging to the descending sixth note at B is found in the great-sixth chord of the following note.", "sources": [ { "pdf_page": 301, "source_image": "source-pages/bnf-301.png", "printed_page": 269, "bbox_pixels": [ 393, 1647, 2137, 219 ], "crop_image": "assets/III.27-013.png" } ] }, { "id": "III.27-014", "type": "paragraph", "section": "III.27", "lesson": 71, "exercise": 71, "reading_order": 1839, "original": "La Septiéme qui s’entend sur la Dominante est sauvée par la Sixte de cette même Dominante qui repete à C. C’est de-là d’où vient qu’une Dissonance peut être sauvée par differentes Consonances ; parce qu’elle est toûjours bien sauvée pourvû que ce soit en descendant sur une Consonance de la même Notte qui a porté la Dissonance, ou de la Notte suivante, si cette Dissonance est mineure ; car si elle est majeure, elle se sauvera en montant sur une Consonance.", "english": "The seventh heard above the dominant resolves through the sixth of that same dominant, repeated at C. This is why a dissonance can resolve through different consonances: it is always properly resolved provided that, if minor, it descends onto a consonance of the same bass note that bore it or of the following note. If major, it resolves upward onto a consonance.", "sources": [ { "pdf_page": 301, "source_image": "source-pages/bnf-301.png", "printed_page": 269, "bbox_pixels": [ 393, 1866, 2137, 596 ], "crop_image": "assets/III.27-014.png" } ] }, { "id": "III.27-015", "type": "paragraph", "section": "III.27", "lesson": 71, "exercise": 71, "reading_order": 1840, "original": "Il y a encore une petite attention à faire, qui est, que si selon la suite naturelle des Accords, l’on se sentoit obligé de donner à une Notte un Accord dérivé de celuy de la Notte qui la suit, il faut voir si cette premiere Notte ne pourroit pas porter l’Accord qui domine celuy qui suit, & pour lors on feroit beaucoup mieux de luy donner cet Accord dominant, que celuy qui n’est dans le fond que le même Accord qui doit paroître ensuite ; sur tout, lorsque la Dissonance qui doit être entenduë dans ce premier Accord dominant, peut être préparée par une Consonance de l’Accord précédent.", "english": "One further small point deserves attention. If the natural succession of chords seems to require giving a note a chord derived from the following note’s chord, see whether that first note could instead bear the chord dominant to the following one. It would then be much better to give it that dominant chord than one fundamentally identical to the next chord, especially when the dissonance in this first dominant chord can be prepared by a consonance of the preceding chord.", "sources": [ { "pdf_page": 301, "source_image": "source-pages/bnf-301.png", "printed_page": 269, "bbox_pixels": [ 398, 2464, 2133, 669 ], "crop_image": "assets/III.27-015.png" } ] }, { "id": "III.27-016", "type": "paragraph", "section": "III.27", "lesson": 71, "exercise": 71, "reading_order": 1841, "original": "La suite de l’Harmonie n’est autre chose qu’un enchaînement de Nottes toniques & de Dominantes, dont il faut bien connoître les dérivez, pour faire ensorte qu’un Accord domine toûjours celuy qui le suit ; ainsi l’Accord parfait & ses dérivez ne dominent rien, après eux l’on passe à tel Accord que l’on veut, pourvû que l’on se conforme aux Regles de la Modulation ; mais un Accord dissonant quelconque domine toûjours celuy qui le suit, conformément aux Exemples des 7, 7 & 6, 2, 4♯, 5, & 5 barré ; & c’est-là où nous avons besoin de tout nôtre discernement pour connoître les Accords dérivez & pour leur donner une suite convenable, quoique toutes les differentes Regles que nous avons données de chaque Accord & de chaque progression de la Basse, nous suffisent pour venir à bout de ces difficultez.", "english": "The succession of harmony is nothing but a chain of tonics and dominants, whose derivatives must be well understood so that one chord always dominates the next. Thus the perfect chord and its derivatives dominate nothing; after them one may pass to any chord, provided the rules of modulation are observed. But any dissonant chord always dominates the next, in accordance with the examples of 7, 7 and 6, 2, 4♯, 5, and barred 5. Here we need all our discernment to recognize derived chords and give them a suitable succession, although all the different rules given for each chord and each bass progression suffice to overcome these difficulties.", "sources": [ { "pdf_page": 301, "source_image": "source-pages/bnf-301.png", "printed_page": 269, "bbox_pixels": [ 404, 3135, 2126, 376 ], "crop_image": "assets/III.27-016.png" }, { "pdf_page": 302, "source_image": "source-pages/bnf-302.png", "printed_page": 270, "bbox_pixels": [ 441, 391, 2137, 600 ], "crop_image": "assets/III.27-017.png" } ] }, { "id": "III.27-018", "type": "heading", "section": "III.27", "lesson": 71, "exercise": 71, "reading_order": 1842, "original": "Exemple de la préference que l’on doit donner à un Accord, par rapport à celuy qui le suit.", "english": "Example of the Preference to Be Given to a Chord in Relation to the One Following It.", "sources": [ { "pdf_page": 302, "source_image": "source-pages/bnf-302.png", "printed_page": 270, "bbox_pixels": [ 449, 1023, 2116, 153 ], "crop_image": "assets/III.27-018.png" } ] }, { "id": "III.27-019", "type": "music", "section": "III.27", "lesson": 71, "exercise": 71, "reading_order": 1843, "original": "A. B.", "english": "A. B.", "sources": [ { "pdf_page": 302, "source_image": "source-pages/bnf-302.png", "printed_page": 270, "bbox_pixels": [ 651, 1178, 1621, 252 ], "crop_image": "assets/III.27-019.png" } ], "original_title": "Préference de l’Accord dominant à l’Accord dérivé.", "english_title": "Preference for the dominant chord over the derived chord.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.27-019" ], "music_asset_refs": [ "III.27-019" ] }, { "id": "III.27-020", "type": "paragraph", "section": "III.27", "lesson": 71, "exercise": 71, "reading_order": 1844, "original": "La seconde Notte A, devroit porter naturellement l’Accord de la petite Sixte dérivé de celuy de la Septiéme de la Dominante tonique qui paroît d’abord après elle ; mais pour varier davantage, nous remarquons que cette seconde Notte domine la Dominante, qu’ainsi elle doit porter plûtôt l’Accord déterminé en pareil cas ; & quoique cette Dominante ne paroisse pas d’abord après B, l’on voit que la Notte qui se trouve entre celles-cy, ne peut porter qu’un Accord dérivé de celuy de la Septiéme de la Notte B ; qu’ainsi cette Notte B, doit porter l’Accord de la Septiéme, d’autant plus que la Septiéme y est preparée par une Consonance de l’Accord précédent.", "english": "The second note at A should naturally bear the small-sixth chord derived from the seventh chord on the tonic dominant that appears immediately afterward. But for greater variety, we observe that this second note is dominant to the dominant, and should therefore bear the chord prescribed in such a case instead. Although this dominant does not appear immediately after B, the intervening note can bear only a chord derived from the seventh chord on B. Thus B must bear the seventh chord, all the more so because its seventh is prepared by a consonance of the preceding chord.", "sources": [ { "pdf_page": 302, "source_image": "source-pages/bnf-302.png", "printed_page": 270, "bbox_pixels": [ 443, 1475, 2131, 746 ], "crop_image": "assets/III.27-020.png" } ] }, { "id": "III.27-021", "type": "paragraph", "section": "III.27", "lesson": 71, "exercise": 71, "reading_order": 1845, "original": "Remarquez que toutes nos Regles n’ont encore regardé que l’Harmonie, & que le Chant de chaque Partie y est limité, excepté celuy de la Basse sur laquelle nous fondons cette Harmonie ; ainsi attendez que vous en possediez à fond la connoissance, avant que de songer à la Melodie, dont nous parlerons après avoir expliqué les licences, qui peuvent orner encore l’Harmonie par la varieté qu’elles y introduisent.", "english": "Observe that all our rules have so far concerned only harmony, and the melody of each part has been restricted by it, except for the bass on which we base that harmony. Wait, therefore, until you have a thorough knowledge of harmony before thinking about melody. We shall discuss melody after explaining the licenses, which can further embellish harmony through the variety they introduce.", "sources": [ { "pdf_page": 302, "source_image": "source-pages/bnf-302.png", "printed_page": 270, "bbox_pixels": [ 447, 2223, 2131, 520 ], "crop_image": "assets/III.27-021.png" } ] }, { "id": "III.28-001", "type": "heading", "section": "III.28", "lesson": 72, "exercise": 72, "reading_order": 1846, "original": "CHAPITRE VINGT-HUITIEME.", "english": "CHAPTER TWENTY-EIGHT.", "sources": [ { "pdf_page": 302, "source_image": "source-pages/bnf-302.png", "printed_page": 270, "bbox_pixels": [ 606, 2791, 1825, 99 ], "crop_image": "assets/III.28-001.png" } ] }, { "id": "III.28-002", "type": "heading", "section": "III.28", "lesson": 72, "exercise": 72, "reading_order": 1847, "original": "De toutes les Licences ; & premierement de la Cadence rompuë.", "english": "On All Licenses, Beginning with the Interrupted Cadence.", "sources": [ { "pdf_page": 302, "source_image": "source-pages/bnf-302.png", "printed_page": 270, "bbox_pixels": [ 445, 2896, 2128, 99 ], "crop_image": "assets/III.28-002.png" } ] }, { "id": "III.28-003", "type": "paragraph", "section": "III.28", "lesson": 72, "exercise": 72, "reading_order": 1848, "original": "On appelle Cadence rompuë, une certaine progression de la Basse, qui interrompt la conclusion d’une Cadence parfaite ; car après avoir fait entendre l’Accord de la Septiéme sur une Dominante tonique, si au lieu de tomber naturellement sur la Notte tonique, vous ne faites monter vôtre Basse que d’un Ton ou d’un semi-Ton, pour lors la Cadence parfaite est rompuë, & la Septiéme y est sauvée par la Quinte de cette Notte montée, qui dans les Tons majeurs monte d’un Ton, & dans les mineurs d’un semi-Ton. (Voyez ce que nous disons de la Cadence rompuë au Second Livre, Chap. VI.)", "english": "An interrupted cadence is a certain bass progression that interrupts the conclusion of a perfect cadence. After sounding the seventh chord on a tonic dominant, if, instead of falling naturally onto the tonic, you make the bass rise only a whole tone or semitone, the perfect cadence is interrupted. The seventh then resolves through the fifth of this raised note, which rises a whole tone in major keys and a semitone in minor keys. (See our discussion of the interrupted cadence in Book II, Chapter VI.)", "sources": [ { "pdf_page": 302, "source_image": "source-pages/bnf-302.png", "printed_page": 270, "bbox_pixels": [ 449, 3012, 2120, 529 ], "crop_image": "assets/III.28-003.png" }, { "pdf_page": 303, "source_image": "source-pages/bnf-303.png", "printed_page": 271, "bbox_pixels": [ 408, 374, 2133, 144 ], "crop_image": "assets/III.28-004.png" } ] }, { "id": "III.28-005", "type": "heading", "section": "III.28", "lesson": 72, "exercise": 72, "reading_order": 1849, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 303, "source_image": "source-pages/bnf-303.png", "printed_page": 271, "bbox_pixels": [ 1118, 507, 641, 80 ], "crop_image": "assets/III.28-005.png" } ] }, { "id": "III.28-006", "type": "music", "section": "III.28", "lesson": 72, "exercise": 72, "reading_order": 1850, "original": "Cadence rompuë dans le Ton majeur. Dans le Ton mineur.", "english": "Interrupted cadence in the major key. In the minor key.", "sources": [ { "pdf_page": 303, "source_image": "source-pages/bnf-303.png", "printed_page": 271, "bbox_pixels": [ 789, 574, 1451, 623 ], "crop_image": "assets/III.28-006.png" } ], "original_title": "Cadence rompuë, Tons majeur et mineur.", "english_title": "Interrupted cadence in major and minor keys.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.28-006" ], "music_asset_refs": [ "III.28-006" ] }, { "id": "III.28-007", "type": "paragraph", "section": "III.28", "lesson": 72, "exercise": 72, "reading_order": 1851, "original": "Dans l’Accord parfait qui termine cette Cadence, on entend l’Octave de la Tierce préferablement à celle de la Basse ; ce qui est contre l’ordre naturel ; mais cela provient plûtôt de la fausse progression de la Basse, que de celle des Parties, où l’on voit que la Dissonance mineure est toûjours sauvée en descendant, & la majeure en montant ; & que cette Tierce doublée nous represente le Son fondamental qui devroit être entendu naturellement ; ce n’est pas que dans les Tons majeurs, on ne puisse descendre sur l’Octave de la Basse, au lieu de monter sur la Tierce, comme nous l’avons marqué d’un Guidon ; mais dans les mineurs il faut se conformer absolument à l’Exemple.", "english": "In the perfect chord ending this cadence, the third is doubled at the octave in preference to the bass, contrary to the natural order. This arises more from the bass’s false progression than from that of the parts: the minor dissonance still resolves downward and the major upward, while the doubled third represents the fundamental sound that should naturally be heard. In major keys one may indeed descend to the octave of the bass instead of ascending to the third, as shown by the cue sign. But in minor keys the example must be followed strictly.", "sources": [ { "pdf_page": 303, "source_image": "source-pages/bnf-303.png", "printed_page": 271, "bbox_pixels": [ 398, 1232, 2135, 735 ], "crop_image": "assets/III.28-007.png" } ] }, { "id": "III.28-008", "type": "paragraph", "section": "III.28", "lesson": 72, "exercise": 72, "reading_order": 1852, "original": "Il faut renverser à présent les Accords qui composent cette Cadence rompuë, pour voir les avantages que nous pouvons en tirer.", "english": "We must now invert the chords composing this interrupted cadence to see what advantages we can derive from them.", "sources": [ { "pdf_page": 303, "source_image": "source-pages/bnf-303.png", "printed_page": 271, "bbox_pixels": [ 467, 1963, 2064, 150 ], "crop_image": "assets/III.28-008.png" } ] }, { "id": "III.28-009", "type": "heading", "section": "III.28", "lesson": 72, "exercise": 72, "reading_order": 1853, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 303, "source_image": "source-pages/bnf-303.png", "printed_page": 271, "bbox_pixels": [ 856, 2124, 516, 77 ], "crop_image": "assets/III.28-009.png" } ] }, { "id": "III.28-010", "type": "music", "section": "III.28", "lesson": 72, "exercise": 72, "reading_order": 1854, "original": "Ton majeur. Ton mineur. Basse-fondamentale.", "english": "Major key. Minor key. Fundamental bass.", "sources": [ { "pdf_page": 303, "source_image": "source-pages/bnf-303.png", "printed_page": 271, "bbox_pixels": [ 464, 2191, 916, 1393 ], "crop_image": "assets/III.28-010.png" } ], "original_title": "Renversements de la Cadence rompuë.", "english_title": "Inversions of the interrupted cadence.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.28-010" ], "music_asset_refs": [ "III.28-010" ] }, { "id": "III.28-011", "type": "paragraph", "section": "III.28", "lesson": 72, "exercise": 72, "reading_order": 1855, "original": "Chacune de ces Basses étant mise au-dessous des autres, l’on y entendra les differens Accords qui y sont chiffrez ; d’où l’on peut tirer une suite agréable d’Harmonie & de Melodie dans une progression diatonique de la Basse, en descendant ou en montant.", "english": "Placing each of these basses below the others in turn will produce the different chords figured there. From this one can derive a pleasing succession of harmony and melody with the bass progressing diatonically, downward or upward.", "sources": [ { "pdf_page": 303, "source_image": "source-pages/bnf-303.png", "printed_page": 271, "bbox_pixels": [ 1713, 2290, 817, 821 ], "crop_image": "assets/III.28-011.png" } ] }, { "id": "III.28-012", "type": "paragraph", "section": "III.28", "lesson": 72, "exercise": 72, "reading_order": 1856, "original": "Voyez l’Exemple suivant.", "english": "See the following example.", "sources": [ { "pdf_page": 303, "source_image": "source-pages/bnf-303.png", "printed_page": 271, "bbox_pixels": [ 1705, 3429, 832, 95 ], "crop_image": "assets/III.28-012.png" } ] }, { "id": "III.28-013", "type": "heading", "section": "III.28", "lesson": 72, "exercise": 72, "reading_order": 1857, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 304, "source_image": "source-pages/bnf-304.png", "printed_page": 272, "bbox_pixels": [ 589, 445, 647, 86 ], "crop_image": "assets/III.28-013.png" } ] }, { "id": "III.28-014", "type": "music", "section": "III.28", "lesson": 72, "exercise": 72, "reading_order": 1858, "original": "D. F. G. H. J. Basse-continuë. Basse-fondamentale. A. B. C.", "english": "D. F. G. H. J. Continuo bass. Fundamental bass. A. B. C.", "sources": [ { "pdf_page": 304, "source_image": "source-pages/bnf-304.png", "printed_page": 272, "bbox_pixels": [ 383, 572, 924, 2260 ], "crop_image": "assets/III.28-014.png" } ], "original_title": "Cadences évitées et renversement des Parties.", "english_title": "Evaded cadences and inversion of the parts.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.28-014" ], "music_asset_refs": [ "III.28-014" ] }, { "id": "III.28-015", "type": "paragraph", "section": "III.28", "lesson": 72, "exercise": 72, "reading_order": 1859, "original": "Lorsque cette Partie sert de Basse, la Partie D, doit en être retranchée, & la Partie F, doit être changée dans les deux dernieres Nottes, devant en faire autant de celle-cy, lorsque cette Partie F, sert de Basse.", "english": "When this part serves as bass, part D must be omitted and the final two notes of part F must be changed. The same must be done to this part when F serves as bass.", "sources": [ { "pdf_page": 304, "source_image": "source-pages/bnf-304.png", "printed_page": 272, "bbox_pixels": [ 1320, 516, 1296, 378 ], "crop_image": "assets/III.28-015.png" } ], "original_title": "Instruction à la Partie supérieure.", "english_title": "Instruction for the upper part." }, { "id": "III.28-016", "type": "paragraph", "section": "III.28", "lesson": 72, "exercise": 72, "reading_order": 1860, "original": "Cette Partie ne peut servir de Basse.", "english": "This part cannot serve as bass.", "sources": [ { "pdf_page": 304, "source_image": "source-pages/bnf-304.png", "printed_page": 272, "bbox_pixels": [ 1387, 970, 1155, 90 ], "crop_image": "assets/III.28-016.png" } ], "original_title": "Instruction à la Partie D.", "english_title": "Instruction for part D." }, { "id": "III.28-017", "type": "paragraph", "section": "III.28", "lesson": 72, "exercise": 72, "reading_order": 1861, "original": "Lorsque cette Partie sert de Basse, sa progression doit être diatonique jusqu’à la fin, & plûtôt en montant qu’en descendant.", "english": "When this part serves as bass, its progression must remain diatonic to the end, preferably ascending rather than descending.", "sources": [ { "pdf_page": 304, "source_image": "source-pages/bnf-304.png", "printed_page": 272, "bbox_pixels": [ 1322, 1514, 1296, 241 ], "crop_image": "assets/III.28-017.png" } ], "original_title": "Instruction à la quatrième Partie.", "english_title": "Instruction for the fourth part." }, { "id": "III.28-018", "type": "paragraph", "section": "III.28", "lesson": 72, "exercise": 72, "reading_order": 1862, "original": "La Partie D, doit être retranchée, lorsque celle-cy sert de Basse ; parce que la Cadence irreguliere que cette Partie D, fait entendre contre les Nottes B, C, de la Basse-fondamentale, ne peut se renverser par un Accord de Septiéme ou de Seconde sur la premiere des deux Nottes qui la forment.", "english": "Part D must be omitted when this one serves as bass, because the irregular cadence that D sounds against notes B and C of the fundamental bass cannot be inverted with a seventh or second chord on the first of the two notes forming it.", "sources": [ { "pdf_page": 304, "source_image": "source-pages/bnf-304.png", "printed_page": 272, "bbox_pixels": [ 1322, 1810, 1296, 527 ], "crop_image": "assets/III.28-018.png" } ], "original_title": "Instruction à la Partie G.", "english_title": "Instruction for part G." }, { "id": "III.28-019", "type": "paragraph", "section": "III.28", "lesson": 72, "exercise": 72, "reading_order": 1863, "original": "Cadence parfaite évitée d’A à B, par la Sixte ajoûtée à l’Accord parfait de la Notte B, ce qui prepare une Cadence irreguliere, évitée à C, par la Septiéme ajoûtée, pour faire entendre la Cadence parfaite à la fin.", "english": "The perfect cadence from A to B is evaded by the sixth added to the perfect chord on B. This prepares an irregular cadence, evaded at C by the added seventh, so that the perfect cadence may be heard at the end.", "sources": [ { "pdf_page": 304, "source_image": "source-pages/bnf-304.png", "printed_page": 272, "bbox_pixels": [ 1324, 2451, 1296, 378 ], "crop_image": "assets/III.28-019.png" } ] }, { "id": "III.28-020", "type": "paragraph", "section": "III.28", "lesson": 72, "exercise": 72, "reading_order": 1864, "original": "Voyez le Second Livre sur ce sujet, Chapitre IX. & X.", "english": "See Book II, Chapters IX and X, on this subject.", "sources": [ { "pdf_page": 304, "source_image": "source-pages/bnf-304.png", "printed_page": 272, "bbox_pixels": [ 505, 2836, 1870, 86 ], "crop_image": "assets/III.28-020.png" } ] }, { "id": "III.28-021", "type": "paragraph", "section": "III.28", "lesson": 72, "exercise": 72, "reading_order": 1865, "original": "Si l’on retranche la Quinte de l’Accord de la Notte B, l’on entendra pour lors une Cadence rompuë d’A à B, de même que dans les Nottes H, J, de la Partie G.", "english": "If the fifth is omitted from the chord on B, an interrupted cadence will be heard from A to B, just as at notes H and J of part G.", "sources": [ { "pdf_page": 304, "source_image": "source-pages/bnf-304.png", "printed_page": 272, "bbox_pixels": [ 507, 2920, 2113, 215 ], "crop_image": "assets/III.28-021.png" } ] }, { "id": "III.28-022", "type": "paragraph", "section": "III.28", "lesson": 72, "exercise": 72, "reading_order": 1866, "original": "La progression des Parties superieures est limitée par celle de la Basse-Continuë ; mais lorsqu’on voudra les faire servir de Basse à leur tour, on pourra leur donner telle progression que l’on voudra ; c’est-à-dire seulement, que l’on pourra y changer des progressions consonantes en diatoniques, sans changer neanmoins le fond de l’Harmonie, & l’on y conformera pour lors la progression des autres Parties, qui serviront de Dessus.", "english": "The upper parts’ progression is restricted by that of the continuo bass. But when they are made to serve as bass in turn, they may be given whatever progression is desired. This means only that consonant progressions may be changed into diatonic ones without changing the underlying harmony. The movement of the other parts, now serving as upper parts, must then be adapted accordingly.", "sources": [ { "pdf_page": 304, "source_image": "source-pages/bnf-304.png", "printed_page": 272, "bbox_pixels": [ 507, 3135, 2113, 396 ], "crop_image": "assets/III.28-022.png" }, { "pdf_page": 305, "source_image": "source-pages/bnf-305.png", "printed_page": 273, "bbox_pixels": [ 464, 374, 2118, 148 ], "crop_image": "assets/III.28-023.png" } ] }, { "id": "III.28-024", "type": "paragraph", "section": "III.28", "lesson": 72, "exercise": 72, "reading_order": 1867, "original": "L’on peut faire entendre la Sixte sur la seconde des deux Nottes qui montent d’un Ton ou d’un semi-Ton dans la Cadence rompuë ; mais pour lors l’Accord de la Septiéme ne doit pas être employé sur la premiere de ces deux Nottes, parce que cette Septiéme ne pourroit y être sauvée.", "english": "One may sound the sixth above the second of the two notes rising by a whole tone or semitone in the interrupted cadence. But then the seventh chord must not be used on the first of those notes, because its seventh could not resolve there.", "sources": [ { "pdf_page": 305, "source_image": "source-pages/bnf-305.png", "printed_page": 273, "bbox_pixels": [ 464, 522, 2118, 374 ], "crop_image": "assets/III.28-024.png" } ] }, { "id": "III.28-025", "type": "paragraph", "section": "III.28", "lesson": 72, "exercise": 72, "reading_order": 1868, "original": "L’on peut, comme l’on voit, interrompre la conclusion de chaque Cadence par une Dissonance ajoûtée à la Notte qui termine ces Cadences, pourvû que cette Dissonance soit préparée, & sauvée selon la progression de la Basse-fondamentale, sur laquelle il faut se regler toûjours, crainte de se tromper ; car l’on voit que cette Dissonance ne peut être préparée à C, bien que cela soit bon, parce que la Basse-fondamentale y descend de Quarte, ou y monte de Quinte, ce qui est la même chose.", "english": "As we see, the conclusion of each cadence may be interrupted by adding a dissonance to its final note, provided that the dissonance is prepared and resolved according to the fundamental-bass progression, by which one must always be guided to avoid error. For we see that this dissonance cannot be prepared at C, though it is good, because the fundamental bass descends a fourth there or, equivalently, ascends a fifth.", "sources": [ { "pdf_page": 305, "source_image": "source-pages/bnf-305.png", "printed_page": 273, "bbox_pixels": [ 458, 897, 2124, 598 ], "crop_image": "assets/III.28-025.png" } ] }, { "id": "III.28-026", "type": "paragraph", "section": "III.28", "lesson": 72, "exercise": 72, "reading_order": 1869, "original": "L’on doit mettre au nombre des Licences la Cadence irreguliere & les Dissonances qui ne peuvent être préparées, comme quand la Basse-fondamentale monte de Tierce, de Quinte ou de Septiéme, avec tout ce qui provient du renversement de ces differentes progressions, quoique ce que nous appellons Licence en ce cas, soit inseparable du corps de la bonne Harmonie ; ce qui fait que nous en avons parlé dans l’ordre que nous avons crû devoir tenir, pour l’intelligence des Commençans.", "english": "The irregular cadence and dissonances that cannot be prepared must be counted among the licenses—for example, when the fundamental bass ascends a third, fifth, or seventh—along with everything arising from inversion of these different progressions. Yet what we call license here is inseparable from the substance of good harmony. For this reason we have discussed these matters in the order we thought best for beginners’ understanding.", "sources": [ { "pdf_page": 305, "source_image": "source-pages/bnf-305.png", "printed_page": 273, "bbox_pixels": [ 451, 1492, 2131, 598 ], "crop_image": "assets/III.28-026.png" } ] }, { "id": "III.29-001", "type": "heading", "section": "III.29", "lesson": 73, "exercise": 73, "reading_order": 1870, "original": "CHAPITRE VINGT-NEUVIÉME.", "english": "CHAPTER TWENTY-NINE.", "sources": [ { "pdf_page": 305, "source_image": "source-pages/bnf-305.png", "printed_page": 273, "bbox_pixels": [ 419, 2118, 2171, 114 ], "crop_image": "assets/III.29-001.png" } ] }, { "id": "III.29-002", "type": "heading", "section": "III.29", "lesson": 73, "exercise": 73, "reading_order": 1871, "original": "De l’Accord de la Quinte-superfluë.", "english": "On the Augmented-Fifth Chord.", "sources": [ { "pdf_page": 305, "source_image": "source-pages/bnf-305.png", "printed_page": 273, "bbox_pixels": [ 419, 2239, 2171, 86 ], "crop_image": "assets/III.29-002.png" } ] }, { "id": "III.29-003", "type": "paragraph", "section": "III.29", "lesson": 73, "exercise": 73, "reading_order": 1872, "original": "NOus avons encore à parler de certains Accords qui sont introduits par la Licence ; & en commençant par celuy de la Quinte-superfluë, nous dirons qu’il ne peut se faire jamais que sur la Mediante des Tons mineurs.", "english": "We still have to discuss certain chords introduced by license. Beginning with the augmented-fifth chord, we shall say that it can occur only on the mediant of minor keys.", "sources": [ { "pdf_page": 305, "source_image": "source-pages/bnf-305.png", "printed_page": 273, "bbox_pixels": [ 419, 2342, 2171, 296 ], "crop_image": "assets/III.29-003.png" } ] }, { "id": "III.29-004", "type": "paragraph", "section": "III.29", "lesson": 73, "exercise": 73, "reading_order": 1873, "original": "Cet Accord n’est, à proprement parler, que celuy de la Septiéme d’une Dominante tonique, au-dessous duquel on ajoûte un cinquiéme Son, à la distance d’une Tierce.", "english": "Strictly speaking, this is merely the seventh chord of a tonic dominant, beneath which a fifth sound is added at the distance of a third.", "sources": [ { "pdf_page": 305, "source_image": "source-pages/bnf-305.png", "printed_page": 273, "bbox_pixels": [ 419, 2643, 2171, 226 ], "crop_image": "assets/III.29-004.png" } ] }, { "id": "III.29-005", "type": "heading", "section": "III.29", "lesson": 73, "exercise": 73, "reading_order": 1874, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 305, "source_image": "source-pages/bnf-305.png", "printed_page": 273, "bbox_pixels": [ 419, 2879, 2171, 103 ], "crop_image": "assets/III.29-005.png" } ] }, { "id": "III.29-006", "type": "music", "section": "III.29", "lesson": 73, "exercise": 73, "reading_order": 1875, "original": "Accord de Septiéme ; Accord de Quinte-superfluë. Dominante tonique. Son ajoûté.", "english": "Seventh chord; augmented-fifth chord. Tonic dominant. Added sound.", "sources": [ { "pdf_page": 305, "source_image": "source-pages/bnf-305.png", "printed_page": 273, "bbox_pixels": [ 454, 2939, 1084, 468 ], "crop_image": "assets/III.29-006.png" } ], "original_title": "Accord de Septiéme ; Accord de Quinte-superfluë. Dominante tonique. Son ajoûté.", "english_title": "Seventh chord; augmented-fifth chord. Tonic dominant. Added sound.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.29-006" ], "music_asset_refs": [ "III.29-006" ] }, { "id": "III.29-007", "type": "paragraph", "section": "III.29", "lesson": 73, "exercise": 73, "reading_order": 1876, "original": "Ce n’est point dans le Son ajoûté qu’il faut chercher le fondement de cet Accord, mais dans celuy qui est formé de la Dominante tonique ; & de cette maniere, nos premieres Regles subsistent toûjours. Cet Accord de Septiéme qui a pour fondement la Dominante tonique, suivra toûjours sa progression ordinaire, la Dissonance majeure montera, & la mineure descendra, le tout étant sauvé sur l’Accord parfait de la Notte tonique, pendant que le Son ajoûté formera ensuite luy-même une partie de cet Accord parfait, ou descendra sur cette Notte tonique.", "english": "The foundation of this chord must be sought not in the added sound but in the chord formed on the tonic dominant. In this way our first rules remain valid. This seventh chord, founded on the tonic dominant, will always follow its ordinary progression: the major dissonance will ascend and the minor descend, everything resolving onto the tonic’s perfect chord. Meanwhile, the added sound will itself become part of that perfect chord or descend to the tonic note.", "sources": [ { "pdf_page": 305, "source_image": "source-pages/bnf-305.png", "printed_page": 273, "bbox_pixels": [ 419, 2986, 2171, 516 ], "crop_image": "assets/III.29-007.png" }, { "pdf_page": 306, "source_image": "source-pages/bnf-306.png", "printed_page": 274, "bbox_pixels": [ 419, 404, 2171, 372 ], "crop_image": "assets/III.29-008.png" } ] }, { "id": "III.29-009", "type": "heading", "section": "III.29", "lesson": 73, "exercise": 73, "reading_order": 1877, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 306, "source_image": "source-pages/bnf-306.png", "printed_page": 274, "bbox_pixels": [ 419, 810, 2171, 84 ], "crop_image": "assets/III.29-009.png" } ] }, { "id": "III.29-010", "type": "music", "section": "III.29", "lesson": 73, "exercise": 73, "reading_order": 1878, "original": "Préparation et résolution de la Quinte-superfluë.", "english": "Preparation and resolution of the augmented fifth.", "sources": [ { "pdf_page": 306, "source_image": "source-pages/bnf-306.png", "printed_page": 274, "bbox_pixels": [ 426, 913, 817, 677 ], "crop_image": "assets/III.29-010.png" } ], "original_title": "Préparation et résolution de la Quinte-superfluë.", "english_title": "Preparation and resolution of the augmented fifth.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.29-010" ], "music_asset_refs": [ "III.29-010" ] }, { "id": "III.29-011", "type": "paragraph", "section": "III.29", "lesson": 73, "exercise": 73, "reading_order": 1879, "original": "Cet Accord doit être préparé par celuy de la Septiéme de la Notte qui domine la Dominante tonique, où l’on voit que la seconde Notte, qui est en ce cas la Dominante, ne monte que d’un semi-Ton, au lieu de monter de Quarte sur cette Dominante tonique, pendant que l’on n’entend dans les autres Parties que l’Accord de la Septiéme de cette Dominante tonique, qui est sauvé ensuite, comme nous avons toûjours dit qu’il devoit l’être.", "english": "This chord must be prepared by the seventh chord on the note that is dominant to the tonic dominant. We see that the second note, which here acts as a dominant, rises only a semitone instead of a fourth to that tonic dominant. Meanwhile, the other parts sound only the seventh chord of the tonic dominant, which then resolves as we have always said it must.", "sources": [ { "pdf_page": 306, "source_image": "source-pages/bnf-306.png", "printed_page": 274, "bbox_pixels": [ 419, 920, 2171, 821 ], "crop_image": "assets/III.29-011.png" } ] }, { "id": "III.29-012", "type": "paragraph", "section": "III.29", "lesson": 73, "exercise": 73, "reading_order": 1880, "original": "Cet Accord sert quelquefois à rompre la Cadence, en faisant monter d’un semi-Ton la Dominante tonique sur ce Son ajoûté, qui de sixiéme Notte devient Mediante, en ce que le Ton change par le moyen de la nouvelle Notte sensible qui fait la Quinte-superfluë.", "english": "This chord sometimes serves to interrupt a cadence by making the tonic dominant ascend a semitone to the added sound. That sound changes from sixth note to mediant, because the key changes through the new leading note that forms the augmented fifth.", "sources": [ { "pdf_page": 306, "source_image": "source-pages/bnf-306.png", "printed_page": 274, "bbox_pixels": [ 419, 1747, 2171, 296 ], "crop_image": "assets/III.29-012.png" } ] }, { "id": "III.29-013", "type": "heading", "section": "III.29", "lesson": 73, "exercise": 73, "reading_order": 1881, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 306, "source_image": "source-pages/bnf-306.png", "printed_page": 274, "bbox_pixels": [ 419, 2067, 2171, 84 ], "crop_image": "assets/III.29-013.png" } ] }, { "id": "III.29-014", "type": "music", "section": "III.29", "lesson": 73, "exercise": 73, "reading_order": 1882, "original": "Cadence rompue, changement de Ton et guidons.", "english": "Interrupted cadence, change of key, and cue signs.", "sources": [ { "pdf_page": 306, "source_image": "source-pages/bnf-306.png", "printed_page": 274, "bbox_pixels": [ 445, 2163, 894, 593 ], "crop_image": "assets/III.29-014.png" } ], "original_title": "Cadence rompue, changement de Ton et guidons.", "english_title": "Interrupted cadence, change of key, and cue signs.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.29-014" ], "music_asset_refs": [ "III.29-014" ] }, { "id": "III.29-015", "type": "paragraph", "section": "III.29", "lesson": 73, "exercise": 73, "reading_order": 1883, "original": "Lorsque l’on ne compose qu’à quatre Parties, l’on est libre de mettre dans le Dessus les Nottes marquées d’un Guidon, au lieu de l’une de celles qui leur répond dans les autres Parties.", "english": "When composing in only four parts, one may place the notes marked by cue signs in the upper part in place of one of their corresponding notes in the other parts.", "sources": [ { "pdf_page": 306, "source_image": "source-pages/bnf-306.png", "printed_page": 274, "bbox_pixels": [ 1363, 2185, 1228, 372 ], "crop_image": "assets/III.29-015.png" } ] }, { "id": "III.29-016", "type": "paragraph", "section": "III.29", "lesson": 73, "exercise": 73, "reading_order": 1884, "original": "Cet Accord se prépare encore par celuy dont il est dérivé.", "english": "This chord can also be prepared by the chord from which it is derived.", "sources": [ { "pdf_page": 306, "source_image": "source-pages/bnf-306.png", "printed_page": 274, "bbox_pixels": [ 1363, 2557, 1228, 157 ], "crop_image": "assets/III.29-016.png" } ] }, { "id": "III.29-017", "type": "heading", "section": "III.29", "lesson": 73, "exercise": 73, "reading_order": 1885, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 306, "source_image": "source-pages/bnf-306.png", "printed_page": 274, "bbox_pixels": [ 419, 2778, 2171, 86 ], "crop_image": "assets/III.29-017.png" } ] }, { "id": "III.29-018", "type": "music", "section": "III.29", "lesson": 73, "exercise": 73, "reading_order": 1886, "original": "Préparation par l’Accord dérivé ; quatre alternatives.", "english": "Preparation through the derived chord; four alternatives.", "sources": [ { "pdf_page": 306, "source_image": "source-pages/bnf-306.png", "printed_page": 274, "bbox_pixels": [ 441, 2860, 2139, 602 ], "crop_image": "assets/III.29-018.png" } ], "original_title": "Préparation par l’Accord dérivé ; quatre alternatives.", "english_title": "Preparation through the derived chord; four alternatives.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.29-018" ], "music_asset_refs": [ "III.29-018" ] }, { "id": "III.29-019", "type": "paragraph", "section": "III.29", "lesson": 73, "exercise": 73, "reading_order": 1887, "original": "D’autres le preparent quelquefois par la Quinte de la même Notte, ou par la Sixte mineure de la Notte, qui est un semi-Ton au-dessous, ou encore par les Accords dérivez de celuy de la Septiéme de la Notte qui est un semi-Ton au-dessous ; mais cela est un peu hardi.", "english": "Others sometimes prepare it with the fifth of the same note, with the minor sixth of the note a semitone below, or with chords derived from the seventh chord on the note a semitone below. But this is somewhat bold.", "sources": [ { "pdf_page": 306, "source_image": "source-pages/bnf-306.png", "printed_page": 274, "bbox_pixels": [ 419, 3474, 2171, 92 ], "crop_image": "assets/III.29-019.png" }, { "pdf_page": 307, "source_image": "source-pages/bnf-307.png", "printed_page": 275, "bbox_pixels": [ 419, 367, 2171, 299 ], "crop_image": "assets/III.29-020.png" } ] }, { "id": "III.30-001", "type": "heading", "section": "III.30", "lesson": 74, "exercise": 74, "reading_order": 1888, "original": "CHAPITRE TRENTIÉME.", "english": "CHAPTER THIRTY.", "sources": [ { "pdf_page": 307, "source_image": "source-pages/bnf-307.png", "printed_page": 275, "bbox_pixels": [ 419, 812, 2171, 92 ], "crop_image": "assets/III.30-001.png" } ], "correction_refs": [ "supplement-241", "supplement-242", "supplement-244" ] }, { "id": "III.30-002", "type": "heading", "section": "III.30", "lesson": 74, "exercise": 74, "reading_order": 1889, "original": "De l’Accord de la Neuviéme.", "english": "On the Ninth Chord.", "sources": [ { "pdf_page": 307, "source_image": "source-pages/bnf-307.png", "printed_page": 275, "bbox_pixels": [ 419, 947, 2171, 90 ], "crop_image": "assets/III.30-002.png" } ] }, { "id": "III.30-003", "type": "paragraph", "section": "III.30", "lesson": 74, "exercise": 74, "reading_order": 1890, "original": "CEt Accord ne differe du précédent que dans la Quinte qui étoit superfluë, & qui doit être juste icy, ou plûtôt dans la Tierce du Son fondamentale, qui est mineure icy, au lieu qu’elle étoit majeure ; de sorte que si nous prenons un Accord de Septiéme d’une Dominante, dont la Tierce sera mineure, nous en formerons celuy de la Neuviéme, en ajoûtant une Notte, une Tierce au-dessous de cette Dominante.", "english": "This chord differs from the preceding one only in its fifth, which was augmented and must here be perfect—or rather in the third of the fundamental sound, which is minor here instead of major. Thus, if we take a dominant’s seventh chord with a minor third, we form the ninth chord by adding a note a third below that dominant.", "sources": [ { "pdf_page": 307, "source_image": "source-pages/bnf-307.png", "printed_page": 275, "bbox_pixels": [ 419, 1113, 2171, 531 ], "crop_image": "assets/III.30-003.png" } ] }, { "id": "III.30-004", "type": "heading", "section": "III.30", "lesson": 74, "exercise": 74, "reading_order": 1891, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 307, "source_image": "source-pages/bnf-307.png", "printed_page": 275, "bbox_pixels": [ 419, 1644, 2171, 82 ], "crop_image": "assets/III.30-004.png" } ] }, { "id": "III.30-005", "type": "music", "section": "III.30", "lesson": 74, "exercise": 74, "reading_order": 1892, "original": "Accord de Quinte-superfluë. Sol, mi, ut♯, la : Dominante. Fa : Son ajoûté.", "english": "Augmented-fifth chord. G, E, C♯, A: dominant. F: added sound.", "sources": [ { "pdf_page": 307, "source_image": "source-pages/bnf-307.png", "printed_page": 275, "bbox_pixels": [ 548, 1779, 901, 376 ], "crop_image": "assets/III.30-005.png" } ], "original_title": "Accord de Quinte-superfluë. Sol, mi, ut♯, la : Dominante. Fa : Son ajoûté.", "english_title": "Augmented-fifth chord. G, E, C♯, A: dominant. F: added sound.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.30-005" ], "music_asset_refs": [ "III.30-005" ] }, { "id": "III.30-006", "type": "music", "section": "III.30", "lesson": 74, "exercise": 74, "reading_order": 1893, "original": "Accord de Neuviéme. Sol, mi, ut, la : Dominante. Fa : Son ajoûté.", "english": "Ninth chord. G, E, C, A: dominant. F: added sound.", "sources": [ { "pdf_page": 307, "source_image": "source-pages/bnf-307.png", "printed_page": 275, "bbox_pixels": [ 1473, 1777, 890, 378 ], "crop_image": "assets/III.30-006.png" } ], "original_title": "Accord de Neuviéme. Sol, mi, ut, la : Dominante. Fa : Son ajoûté.", "english_title": "Ninth chord. G, E, C, A: dominant. F: added sound.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.30-006" ], "music_asset_refs": [ "III.30-006" ] }, { "id": "III.30-007", "type": "paragraph", "section": "III.30", "lesson": 74, "exercise": 74, "reading_order": 1894, "original": "Ce n’est pas sans raison que nous vous faisons appercevoir que tout Accord par supposition, tels sont celuy-cy, celuy de la Quinte superfluë, celuy de la Onziéme & celuy de la Septiéme superfluë, (Nous parlerons de ces deux derniers Accords dans les Chap. suivans) dérive de l’Accord de la Septiéme d’une Dominante ; parce que de cette maniere l’on connoît d’abord comment ces Accords doivent être préparez & sauvez ; de sorte que par le moyen d’une Basse-fondamentale, l’on verra que le tout se rapporte à nos Regles des Septiémes.", "english": "We have good reason to point out that every chord by supposition—this one, the augmented-fifth chord, the eleventh chord, and the augmented-seventh chord—derives from a dominant’s seventh chord. We shall discuss the last two in the following chapters. In this way one immediately knows how these chords must be prepared and resolved. By means of a fundamental bass, one will see that everything relates to our rules for sevenths.", "sources": [ { "pdf_page": 307, "source_image": "source-pages/bnf-307.png", "printed_page": 275, "bbox_pixels": [ 419, 2181, 2171, 610 ], "crop_image": "assets/III.30-007.png" } ] }, { "id": "III.30-008", "type": "paragraph", "section": "III.30", "lesson": 74, "exercise": 74, "reading_order": 1895, "original": "Voyez l’Exemple suivant.", "english": "See the following example.", "sources": [ { "pdf_page": 307, "source_image": "source-pages/bnf-307.png", "printed_page": 275, "bbox_pixels": [ 419, 2907, 2171, 97 ], "crop_image": "assets/III.30-008.png" } ] }, { "id": "III.30-009", "type": "heading", "section": "III.30", "lesson": 74, "exercise": 74, "reading_order": 1896, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 308, "source_image": "source-pages/bnf-308.png", "printed_page": 276, "bbox_pixels": [ 419, 468, 2171, 90 ], "crop_image": "assets/III.30-009.png" } ] }, { "id": "III.30-010", "type": "music", "section": "III.30", "lesson": 74, "exercise": 74, "reading_order": 1897, "original": "Neuviémes et Quintes-superfluës ; Basse-Continuë et Basse-fondamentale.", "english": "Ninths and augmented fifths; continuo bass and fundamental bass.", "sources": [ { "pdf_page": 308, "source_image": "source-pages/bnf-308.png", "printed_page": 276, "bbox_pixels": [ 426, 645, 2156, 2155 ], "crop_image": "assets/III.30-010.png" } ], "original_title": "Neuviémes et Quintes-superfluës ; Basse-Continuë et Basse-fondamentale.", "english_title": "Ninths and augmented fifths; continuo bass and fundamental bass.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.30-010" ], "music_asset_refs": [ "III.30-010" ] }, { "id": "III.30-011", "type": "paragraph", "section": "III.30", "lesson": 74, "exercise": 74, "reading_order": 1898, "original": "Toutes les Nottes de la Basse-continuë qui portent des Neuviémes ou des Quintes superfluës, doivent être retranchées, si-tôt que l’on veut entendre la Basse-fondamentale au-dessous ; sinon, il faudroit que les Nottes de cette Basse-fondamentale se trouvassent au-dessus de celles qui sont chiffrées d’un 9, ou d’un 5♯ ; parce que le Son de la Basse-fondamentale, qui est pour lors supposé, ne peut être entendu qu’au-dessus de celuy qui le suppose.", "english": "All continuo-bass notes bearing ninths or augmented fifths must be omitted whenever the fundamental bass is to be heard below. Otherwise, the fundamental-bass notes would have to lie above those figured 9 or 5♯, because the fundamental-bass sound, then displaced by supposition, can be heard only above the sound substituted beneath it.", "sources": [ { "pdf_page": 308, "source_image": "source-pages/bnf-308.png", "printed_page": 276, "bbox_pixels": [ 419, 2838, 2171, 524 ], "crop_image": "assets/III.30-011.png" } ] }, { "id": "III.30-012", "type": "paragraph", "section": "III.30", "lesson": 74, "exercise": 74, "reading_order": 1899, "original": "Les Nottes qui portent des 9 & des 5♯, peuvent descendre d’une Tierce, comme il est marqué par les Guidons, de même qu’elles restent sur le même degré, ce qui fait que la Neuviéme se sauve de deux manieres, de l’Octave lorsque la Basse reste sur le même degré, & de la Tierce lorsqu’elle descend de Tierce ; où l’on peut remarquer que la Septiéme seroit sauvée pour lors de l’Octave, c’est ce que nous verrons ailleurs.", "english": "Notes bearing 9 and 5♯ may descend a third, as the cue signs show, as well as remain on the same degree. The ninth therefore resolves in two ways: to the octave when the bass stays, and to the third when it descends a third. Notice that the seventh would then resolve to the octave, as we shall see elsewhere.", "sources": [ { "pdf_page": 308, "source_image": "source-pages/bnf-308.png", "printed_page": 276, "bbox_pixels": [ 419, 3369, 2171, 165 ], "crop_image": "assets/III.30-012.png" }, { "pdf_page": 309, "source_image": "source-pages/bnf-309.png", "printed_page": 277, "bbox_pixels": [ 419, 382, 2171, 361 ], "crop_image": "assets/III.30-013.png" } ] }, { "id": "III.30-014", "type": "paragraph", "section": "III.30", "lesson": 74, "exercise": 74, "reading_order": 1900, "original": "L’on veut encore que la Neuviéme puisse être sauvée de la Quinte, en faisant monter la Basse de Quarte ; mais l’Harmonie qui en provient est impropre, ainsi nous laissons cela à la discretion des gens de bon goût.", "english": "Some also maintain that the ninth may resolve to the fifth by making the bass ascend a fourth. But the resulting harmony is unsuitable, so we leave this to the discretion of people of good taste.", "sources": [ { "pdf_page": 309, "source_image": "source-pages/bnf-309.png", "printed_page": 277, "bbox_pixels": [ 419, 752, 2171, 296 ], "crop_image": "assets/III.30-014.png" } ] }, { "id": "III.30-015", "type": "heading", "section": "III.30", "lesson": 74, "exercise": 74, "reading_order": 1901, "original": "Exemple de la Neuviéme sauvée de la Quinte.", "english": "Example of the Ninth Resolving to the Fifth.", "sources": [ { "pdf_page": 309, "source_image": "source-pages/bnf-309.png", "printed_page": 277, "bbox_pixels": [ 419, 1117, 2171, 90 ], "crop_image": "assets/III.30-015.png" } ] }, { "id": "III.30-016", "type": "music", "section": "III.30", "lesson": 74, "exercise": 74, "reading_order": 1902, "original": "Neuviéme sauvée de la Quinte ; autre résolution par les Guidons.", "english": "Ninth resolving to the fifth; alternative resolution through cue signs.", "sources": [ { "pdf_page": 309, "source_image": "source-pages/bnf-309.png", "printed_page": 277, "bbox_pixels": [ 417, 1253, 1182, 544 ], "crop_image": "assets/III.30-016.png" } ], "original_title": "Neuviéme sauvée de la Quinte ; autre résolution par les Guidons.", "english_title": "Ninth resolving to the fifth; alternative resolution through cue signs.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.30-016" ], "music_asset_refs": [ "III.30-016" ] }, { "id": "III.30-017", "type": "paragraph", "section": "III.30", "lesson": 74, "exercise": 74, "reading_order": 1903, "original": "Elle pourroit plû-tôt se sauver de la Sixte, en faisant monter la Basse de Tierce ; parce qu’en ce cas le fond de l’Harmonie ne changeroit point ; Voyez les Guidons de l’autre Exemple.", "english": "It could more suitably resolve to the sixth by making the bass ascend a third, because the foundation of the harmony would then remain unchanged. See the cue signs in the other example.", "sources": [ { "pdf_page": 309, "source_image": "source-pages/bnf-309.png", "printed_page": 277, "bbox_pixels": [ 1604, 1265, 987, 526 ], "crop_image": "assets/III.30-017.png" } ] }, { "id": "III.30-018", "type": "paragraph", "section": "III.30", "lesson": 74, "exercise": 74, "reading_order": 1904, "original": "Toute Dissonance mineure par supposition, veut être absolument preparée ; de sorte que dès que l’on voit que la Neuviéme peut être preparée par une Consonance de l’Accord précedent, pourvû que la Basse monte, en ce cas, d’une Seconde ou d’une Quarte, l’on peut mettre cette Dissonance en pratique, en la sauvant ensuite selon l’ordre prescrit dans l’Exemple, & sans s’écarter de la bonne Modulation.", "english": "Every minor dissonance by supposition must absolutely be prepared. Thus, whenever the ninth can be prepared by a consonance of the preceding chord, provided that the bass rises a second or fourth in this case, one may use this dissonance, afterward resolving it in the manner prescribed by the example and without departing from good modulation.", "sources": [ { "pdf_page": 309, "source_image": "source-pages/bnf-309.png", "printed_page": 277, "bbox_pixels": [ 419, 1798, 2171, 440 ], "crop_image": "assets/III.30-018.png" } ] }, { "id": "III.30-019", "type": "paragraph", "section": "III.30", "lesson": 74, "exercise": 74, "reading_order": 1905, "original": "La Septiéme qui peut accompagner toûjours la Neuviéme, ne doit jamais y être jointe, si elle ne s’y trouve pas preparée par une Consonance de l’Accord précédent ; Voyez cependant ce que nous disons sur ce sujet au Chap. XVII. du Second Livre.", "english": "The seventh, which can always accompany the ninth, must never be added unless prepared by a consonance of the preceding chord. See, however, what we say on this subject in Book II, Chapter XVII.", "sources": [ { "pdf_page": 309, "source_image": "source-pages/bnf-309.png", "printed_page": 277, "bbox_pixels": [ 419, 2247, 2171, 288 ], "crop_image": "assets/III.30-019.png" } ] }, { "id": "III.30-020", "type": "paragraph", "section": "III.30", "lesson": 74, "exercise": 74, "reading_order": 1906, "original": "Remarquez encore icy que les Dissonances mineures par supposition, telles sont celle-cy & la Onziéme, dont nous parlerons au Chap. suivant, peuvent être preparées par une autre Dissonance ordinaire, comme par la Septiéme, ou par la fausse-Quinte, bien que la Septiéme ne convienne que dans la preparation de la Onziéme heteroclite ; & cela vient de ce que ces dernieres Dissonances se trouvent dans le même Accord fondamentale, ayant déja fait remarquer au Chapitre XII. qu’une même Notte pouvoit former plusieurs Dissonances de suite, lorsqu’elles provenoient du même Accord-fondamental.", "english": "Observe also that minor dissonances by supposition, such as this one and the eleventh to be discussed in the next chapter, may be prepared by another ordinary dissonance, such as the seventh or diminished fifth, although the seventh is suitable only for preparing the heteroclite eleventh. This is because these latter dissonances belong to the same fundamental chord. We already observed in Chapter XII that the same note could form several successive dissonances when they came from the same fundamental chord.", "sources": [ { "pdf_page": 309, "source_image": "source-pages/bnf-309.png", "printed_page": 277, "bbox_pixels": [ 419, 2542, 2171, 733 ], "crop_image": "assets/III.30-020.png" } ] }, { "id": "III.30-021", "type": "paragraph", "section": "III.30", "lesson": 74, "exercise": 74, "reading_order": 1907, "original": "Tournez pour l’Exemple suivant.", "english": "Turn the page for the following example.", "sources": [ { "pdf_page": 309, "source_image": "source-pages/bnf-309.png", "printed_page": 277, "bbox_pixels": [ 419, 3347, 2171, 90 ], "crop_image": "assets/III.30-021.png" } ] }, { "id": "III.30-022", "type": "heading", "section": "III.30", "lesson": 74, "exercise": 74, "reading_order": 1908, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 310, "source_image": "source-pages/bnf-310.png", "printed_page": 278, "bbox_pixels": [ 419, 408, 2171, 90 ], "crop_image": "assets/III.30-022.png" } ] }, { "id": "III.30-023", "type": "music", "section": "III.30", "lesson": 74, "exercise": 74, "reading_order": 1909, "original": "Dissonances successives ; Basse-Continuë et Basse-fondamentale.", "english": "Successive dissonances; continuo bass and fundamental bass.", "sources": [ { "pdf_page": 310, "source_image": "source-pages/bnf-310.png", "printed_page": 278, "bbox_pixels": [ 426, 520, 2137, 1008 ], "crop_image": "assets/III.30-023.png" } ], "original_title": "Dissonances successives ; Basse-Continuë et Basse-fondamentale.", "english_title": "Successive dissonances; continuo bass and fundamental bass.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.30-023" ], "music_asset_refs": [ "III.30-023" ] }, { "id": "III.30-024", "type": "paragraph", "section": "III.30", "lesson": 74, "exercise": 74, "reading_order": 1910, "original": "Les Nottes A, de la Basse-continuë portent les Accords dérivez des fondamentaux, qui sont chiffrez sur la Basse-fondamentale ; ainsi des Nottes B. Or, si l’on peut entendre les Dissonances par supposition après une autre Dissonance ; & s’il est certain que la Dissonance doit être précedée & suivie d’une Consonance, il faut donc absolument, pour que cette derniere Regle ne soit point détruite, que les differentes Dissonances qui s’entendent consecutivement sur le même degré, ne soient point telles en effet, & qu’elles proviennent toutes d’une premiere dissonance qui est la Septiéme, dont l’Accord-fondamental ne change point jusqu’à l’expiration de ces differentes dissonances en apparence sur une Consonance, comme cela se voit dans l’Exemple, & comme cela est effectivement.", "english": "The continuo-bass notes at A bear chords derived from the fundamental chords figured on the fundamental bass; likewise the notes at B. Now, if dissonances by supposition may be heard after another dissonance, and if a dissonance must certainly be preceded and followed by a consonance, then, to preserve this last rule, the different dissonances heard successively on the same degree must not truly be different dissonances. They must all arise from an initial dissonance, the seventh, whose fundamental chord remains unchanged until these apparent dissonances end on a consonance, as the example shows and as is indeed the case.", "sources": [ { "pdf_page": 310, "source_image": "source-pages/bnf-310.png", "printed_page": 278, "bbox_pixels": [ 419, 1568, 2171, 887 ], "crop_image": "assets/III.30-024.png" } ] }, { "id": "III.30-025", "type": "paragraph", "section": "III.30", "lesson": 74, "exercise": 74, "reading_order": 1911, "original": "L’on peut voir au Chap. XV. comment la Onziéme heteroclite se prepare encore par la fausse-Quinte, &c.", "english": "Chapter XV shows how the heteroclite eleventh is also prepared by the diminished fifth, and so forth.", "sources": [ { "pdf_page": 310, "source_image": "source-pages/bnf-310.png", "printed_page": 278, "bbox_pixels": [ 419, 2464, 2171, 159 ], "crop_image": "assets/III.30-025.png" } ] }, { "id": "III.31-001", "type": "heading", "section": "III.31", "lesson": 75, "exercise": 75, "reading_order": 1912, "original": "CHAPITRE TRENTE-UNIÉME.", "english": "CHAPTER THIRTY-ONE.", "sources": [ { "pdf_page": 310, "source_image": "source-pages/bnf-310.png", "printed_page": 278, "bbox_pixels": [ 419, 2722, 2171, 101 ], "crop_image": "assets/III.31-001.png" } ], "correction_refs": [ "supplement-244" ] }, { "id": "III.31-002", "type": "heading", "section": "III.31", "lesson": 75, "exercise": 75, "reading_order": 1913, "original": "De l’Accord de la Onziéme, dite Quarte.", "english": "On the Eleventh Chord, Called the Fourth.", "sources": [ { "pdf_page": 310, "source_image": "source-pages/bnf-310.png", "printed_page": 278, "bbox_pixels": [ 419, 2870, 2171, 95 ], "crop_image": "assets/III.31-002.png" } ] }, { "id": "III.31-003", "type": "paragraph", "section": "III.31", "lesson": 75, "exercise": 75, "reading_order": 1914, "original": "L’Accord de la Onziéme est composé de cinq Sons, ainsi, [Ré, La, Ut, Mi, Sol : 1. 5. 7. 9. 11.] où l’on voit que le Son ajoûté est une Quinte au-dessous de celuy qui sert de fondement à l’Accord de la Septiéme :", "english": "The eleventh chord consists of five sounds, thus: [D, A, C, E, G: 1. 5. 7. 9. 11.]. We see that the added sound lies a fifth below the foundation of the seventh chord:", "sources": [ { "pdf_page": 310, "source_image": "source-pages/bnf-310.png", "printed_page": 278, "bbox_pixels": [ 419, 2971, 2171, 346 ], "crop_image": "assets/III.31-003.png" } ] }, { "id": "III.31-004", "type": "image", "section": "III.31", "lesson": 75, "exercise": 75, "reading_order": 1915, "original": "La, Ut, Mi, Sol.\n 5. 7. 9. 11.\n 1. 3. 5. 7.", "english": "A, C, E, G.\n 5. 7. 9. 11.\n 1. 3. 5. 7.", "sources": [ { "pdf_page": 310, "source_image": "source-pages/bnf-310.png", "printed_page": 278, "bbox_pixels": [ 1911, 3309, 559, 159 ], "crop_image": "assets/III.31-004.png" } ], "original_title": "Rapport de la Onziéme à la Septiéme", "english_title": "Relationship of the eleventh to the seventh", "format": "preformatted", "asset_refs": [ "III.31-004" ] }, { "id": "III.31-005", "type": "paragraph", "section": "III.31", "lesson": 75, "exercise": 75, "reading_order": 1916, "original": "Cet Accord est peu usité, parce qu’il est extrêmement dur, se trouvant trois Dissonances mineures dans sa construction, comme on le voit par les nombres 7. 9. 11. cependant la pratique en est aisée, en ce que les trois Consonances de l’Accord précédent preparent ces trois Dissonances en restant sur le même degré ; mais il ne faut pas les sauver toutes trois à la fois ; parce qu’étant mineures, & devant descendre, on ne pourroit éviter deux Quintes de suite dans les Parties ; de sorte qu’il faut donc sauver les plus dures les premieres, qui sont la Onziéme & la Neuviéme, puis on sauve la Septiéme ensuite.", "english": "This chord is little used because it is extremely harsh, containing three minor dissonances, as the numbers 7, 9, and 11 show. Its use is nevertheless easy, since the three consonances of the preceding chord prepare these three dissonances by remaining on the same degree. But all three must not resolve at once: being minor and required to descend, they would make two consecutive fifths unavoidable between the parts. One must therefore resolve the harshest first, the eleventh and ninth, and then resolve the seventh.", "sources": [ { "pdf_page": 310, "source_image": "source-pages/bnf-310.png", "printed_page": 278, "bbox_pixels": [ 419, 3470, 2171, 97 ], "crop_image": "assets/III.31-005.png" }, { "pdf_page": 311, "source_image": "source-pages/bnf-311.png", "printed_page": 279, "bbox_pixels": [ 419, 391, 2171, 1195 ], "crop_image": "assets/III.31-006.png" } ] }, { "id": "III.31-007", "type": "heading", "section": "III.31", "lesson": 75, "exercise": 75, "reading_order": 1917, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 311, "source_image": "source-pages/bnf-311.png", "printed_page": 279, "bbox_pixels": [ 419, 754, 2171, 90 ], "crop_image": "assets/III.31-007.png" } ] }, { "id": "III.31-008", "type": "music", "section": "III.31", "lesson": 75, "exercise": 75, "reading_order": 1918, "original": "Accord de Onziéme et résolution successive ; guidons.", "english": "Eleventh chord and successive resolution; cue signs.", "sources": [ { "pdf_page": 311, "source_image": "source-pages/bnf-311.png", "printed_page": 279, "bbox_pixels": [ 353, 904, 1387, 945 ], "crop_image": "assets/III.31-008.png" } ], "original_title": "Accord de Onziéme et résolution successive ; guidons.", "english_title": "Eleventh chord and successive resolution; cue signs.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.31-008" ], "music_asset_refs": [ "III.31-008" ] }, { "id": "III.31-009", "type": "paragraph", "section": "III.31", "lesson": 75, "exercise": 75, "reading_order": 1919, "original": "L’on voit que la progression de la Basse-continuë est pareille à celle que fait la Neuviéme, pour ce qui est de preparer cette Neuviéme & la Onziéme ; mais pour sauver la Onziéme, on fera toûjours bien de laisser la Basse sur le même degré, pour y faire entendre ensuite l’Accord de la Septiéme, quoiqu’on puisse la faire monter d’une Tierce, comme il est marqué par le Guidon de la Basse, où l’on entendroit pour lors l’Accord de la grande Sixte dérivé de celuy de la Septiéme de la Notte qui reste sur le même degré.", "english": "We see that the continuo bass progresses as it does with the ninth, as regards preparing the ninth and eleventh. But in resolving the eleventh, it is always advisable to leave the bass on the same degree so that the seventh chord may then be heard. The bass may nevertheless ascend a third, as its cue sign shows; one would then hear the great-sixth chord derived from the seventh chord on the note that remains on the same degree.", "sources": [ { "pdf_page": 311, "source_image": "source-pages/bnf-311.png", "printed_page": 279, "bbox_pixels": [ 419, 1592, 2171, 801 ], "crop_image": "assets/III.31-009.png" } ] }, { "id": "III.31-010", "type": "paragraph", "section": "III.31", "lesson": 75, "exercise": 75, "reading_order": 1920, "original": "Les Guidons mis dans le Dessus, font voir les cinquiémes Sons dont cet Accord de Onziéme n’est pas toûjours rempli, sur tout lorsque l’on ne compose qu’à quatre Parties, étant libre de faire entendre ce cinquiéme Son à la place de l’un des autres, pourvû qu’il ne soit pas dissonant ; ou s’il est tel, qu’il soit au moins preparé.", "english": "The cue signs in the upper part show the fifth sounds that do not always complete this eleventh chord, especially in four-part composition. One may sound this fifth sound in place of one of the others, provided it is not dissonant, or, if dissonant, is at least prepared.", "sources": [ { "pdf_page": 311, "source_image": "source-pages/bnf-311.png", "printed_page": 279, "bbox_pixels": [ 419, 2400, 2171, 370 ], "crop_image": "assets/III.31-010.png" } ] }, { "id": "III.31-011", "type": "paragraph", "section": "III.31", "lesson": 75, "exercise": 75, "reading_order": 1921, "original": "Nous parlons icy du veritable Accord de Onziéme dans toute sa construction ; mais sa grande dureté nous oblige d’en retrancher la meilleure partie des Sons qui le composent, conformément à celuy dont nous avons parlé au Chapitre XV. & que l’on peut appeller heteroclite pour cette raison. Cette réforme le rend bien plus supportable, aussi ne le pratique-t-on que rarement dans toute son étenduë, quoiqu’il nous fournisse quelquefois des suspensions agréables d’Harmonie & de Melodie, lorsqu’il est employé à propos.", "english": "We are speaking here of the true eleventh chord in its complete construction. Its great harshness, however, forces us to remove most of its sounds, in accordance with the chord discussed in Chapter XV, which for this reason may be called heteroclite. This alteration makes it much more tolerable. Thus it is rarely used in its full extent, although, when aptly employed, it sometimes provides pleasing suspensions of harmony and melody.", "sources": [ { "pdf_page": 311, "source_image": "source-pages/bnf-311.png", "printed_page": 279, "bbox_pixels": [ 419, 2776, 2171, 595 ], "crop_image": "assets/III.31-011.png" } ] }, { "id": "III.31-012", "type": "heading", "section": "III.31", "lesson": 75, "exercise": 75, "reading_order": 1922, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 312, "source_image": "source-pages/bnf-312.png", "printed_page": 280, "bbox_pixels": [ 419, 440, 2171, 90 ], "crop_image": "assets/III.31-012.png" } ] }, { "id": "III.31-013", "type": "music", "section": "III.31", "lesson": 75, "exercise": 75, "reading_order": 1923, "original": "Onziéme heteroclite ; suspensions A et résolutions B.", "english": "Heteroclite eleventh; suspensions A and resolutions B.", "sources": [ { "pdf_page": 312, "source_image": "source-pages/bnf-312.png", "printed_page": 280, "bbox_pixels": [ 488, 544, 2122, 1476 ], "crop_image": "assets/III.31-013.png" } ], "original_title": "Onziéme heteroclite ; suspensions A et résolutions B.", "english_title": "Heteroclite eleventh; suspensions A and resolutions B.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.31-013" ], "music_asset_refs": [ "III.31-013" ] }, { "id": "III.31-014", "type": "paragraph", "section": "III.31", "lesson": 75, "exercise": 75, "reading_order": 1924, "original": "Pour suivre l’usage, nous chiffrons cet Accord simplement d’un 4 lorsqu’il est heteroclite, & lorsqu’il est rempli de tous ses Sons, nous y joignons un 9, ainsi, [4/9] ou [9/4]. Cet Accord quand il est heteroclite, s’accompagne encore quelquefois de la Septiéme, & on le chiffre pour lors ainsi, [7/4], ou [4/7].", "english": "Following customary practice, we figure this chord simply with 4 when it is heteroclite; when all its sounds are present, we add 9, thus [4/9] or [9/4]. The heteroclite chord is also sometimes accompanied by the seventh, and is then figured [7/4] or [4/7].", "sources": [ { "pdf_page": 312, "source_image": "source-pages/bnf-312.png", "printed_page": 280, "bbox_pixels": [ 419, 2047, 2171, 488 ], "crop_image": "assets/III.31-014.png" } ] }, { "id": "III.31-015", "type": "paragraph", "section": "III.31", "lesson": 75, "exercise": 75, "reading_order": 1925, "original": "Il est certain que les Accords par supposition ne servent qu’à suspendre les Sons qui devroient être entendus naturellement ; & ce que vous pouvez remarquer entre A, & B, où les Sons A, suspendent ceux de B, qui devroient être entendus naturellement, vous le trouverez par tout où ces Accords ont lieu, en les confrontant avec la Basse-continuë, & non pas avec la Fondamentale, qui nous represente toûjours l’Harmonie parfaite.", "english": "Chords by supposition certainly serve only to delay the sounds that should naturally be heard. What is observable between A and B, where the sounds at A suspend those at B that should naturally sound, will be found wherever these chords occur, by comparing them with the continuo bass rather than the fundamental bass, which always represents perfect harmony.", "sources": [ { "pdf_page": 312, "source_image": "source-pages/bnf-312.png", "printed_page": 280, "bbox_pixels": [ 419, 2539, 2171, 520 ], "crop_image": "assets/III.31-015.png" } ] }, { "id": "III.32-001", "type": "heading", "section": "III.32", "lesson": 76, "exercise": 76, "reading_order": 1926, "original": "CHAPITRE TRENTE-DEUXIÉME.", "english": "CHAPTER THIRTY-TWO.", "sources": [ { "pdf_page": 313, "source_image": "source-pages/bnf-313.png", "printed_page": 281, "bbox_pixels": [ 419, 513, 2171, 97 ], "crop_image": "assets/III.32-001.png" } ], "correction_refs": [ "supplement-245", "supplement-246" ] }, { "id": "III.32-002", "type": "heading", "section": "III.32", "lesson": 76, "exercise": 76, "reading_order": 1927, "original": "De l’Accord de la Septiéme superfluë.", "english": "On the Augmented-Seventh Chord.", "sources": [ { "pdf_page": 313, "source_image": "source-pages/bnf-313.png", "printed_page": 281, "bbox_pixels": [ 419, 657, 2171, 101 ], "crop_image": "assets/III.32-002.png" } ] }, { "id": "III.32-003", "type": "paragraph", "section": "III.32", "lesson": 76, "exercise": 76, "reading_order": 1928, "original": "L’Accord de la Septiéme superfluë ne differe de celuy de la Onziéme que dans la Tierce du Son fondamentale qui est majeure icy, au lieu qu’elle étoit mineure.", "english": "The augmented-seventh chord differs from the eleventh chord only in the third of the fundamental sound, which is major here instead of minor.", "sources": [ { "pdf_page": 313, "source_image": "source-pages/bnf-313.png", "printed_page": 281, "bbox_pixels": [ 301, 829, 2290, 236 ], "crop_image": "assets/III.32-003.png" } ] }, { "id": "III.32-004", "type": "heading", "section": "III.32", "lesson": 76, "exercise": 76, "reading_order": 1929, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 313, "source_image": "source-pages/bnf-313.png", "printed_page": 281, "bbox_pixels": [ 419, 1126, 2171, 88 ], "crop_image": "assets/III.32-004.png" } ] }, { "id": "III.32-005", "type": "music", "section": "III.32", "lesson": 76, "exercise": 76, "reading_order": 1930, "original": "Accord de Septiéme superfluë. Sol, mi, ut, la : Son fondamental. Ré : Son ajoûté.", "english": "Augmented-seventh chord. G, E, C, A: fundamental sound. D: added sound.", "sources": [ { "pdf_page": 313, "source_image": "source-pages/bnf-313.png", "printed_page": 281, "bbox_pixels": [ 301, 1276, 944, 449 ], "crop_image": "assets/III.32-005.png" } ], "original_title": "Accord de Septiéme superfluë. Sol, mi, ut, la : Son fondamental. Ré : Son ajoûté.", "english_title": "Augmented-seventh chord. G, E, C, A: fundamental sound. D: added sound.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.32-005" ], "music_asset_refs": [ "III.32-005" ] }, { "id": "III.32-006", "type": "music", "section": "III.32", "lesson": 76, "exercise": 76, "reading_order": 1931, "original": "Accord de Onziéme. Sol, mi, ut, la : Son fondamental. Ré : Son ajoûté.", "english": "Eleventh chord. G, E, C, A: fundamental sound. D: added sound.", "sources": [ { "pdf_page": 313, "source_image": "source-pages/bnf-313.png", "printed_page": 281, "bbox_pixels": [ 1245, 1276, 1180, 449 ], "crop_image": "assets/III.32-006.png" } ], "original_title": "Accord de Onziéme. Sol, mi, ut, la : Son fondamental. Ré : Son ajoûté.", "english_title": "Eleventh chord. G, E, C, A: fundamental sound. D: added sound.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.32-006" ], "music_asset_refs": [ "III.32-006" ] }, { "id": "III.32-007", "type": "annotation", "section": "III.32", "lesson": 76, "exercise": 76, "reading_order": 1932, "original": "[Note manuscrite : voyez le Suppl.]", "english": "[Manuscript note: see the Supplement.]", "sources": [ { "pdf_page": 313, "source_image": "source-pages/bnf-313.png", "printed_page": 281, "bbox_pixels": [ 2408, 1182, 301, 116 ], "crop_image": "assets/III.32-007.png" } ] }, { "id": "III.32-008", "type": "paragraph", "section": "III.32", "lesson": 76, "exercise": 76, "reading_order": 1933, "original": "Cet Accord qui ne se fait jamais que sur la Notte tonique, doit être précedé & suivi de l’Accord parfait de cette même Notte tonique.", "english": "This chord, which occurs only on the tonic note, must be preceded and followed by the perfect chord on that same tonic.", "sources": [ { "pdf_page": 313, "source_image": "source-pages/bnf-313.png", "printed_page": 281, "bbox_pixels": [ 301, 1790, 2290, 165 ], "crop_image": "assets/III.32-008.png" } ] }, { "id": "III.32-009", "type": "heading", "section": "III.32", "lesson": 76, "exercise": 76, "reading_order": 1934, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 313, "source_image": "source-pages/bnf-313.png", "printed_page": 281, "bbox_pixels": [ 419, 2015, 2171, 90 ], "crop_image": "assets/III.32-009.png" } ] }, { "id": "III.32-010", "type": "music", "section": "III.32", "lesson": 76, "exercise": 76, "reading_order": 1935, "original": "Septiéme superfluë ; suspensions A et résolutions B.", "english": "Augmented seventh; suspensions A and resolutions B.", "sources": [ { "pdf_page": 313, "source_image": "source-pages/bnf-313.png", "printed_page": 281, "bbox_pixels": [ 299, 2110, 955, 1003 ], "crop_image": "assets/III.32-010.png" } ], "original_title": "Septiéme superfluë ; suspensions A et résolutions B.", "english_title": "Augmented seventh; suspensions A and resolutions B.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.32-010" ], "music_asset_refs": [ "III.32-010" ] }, { "id": "III.32-011", "type": "paragraph", "section": "III.32", "lesson": 76, "exercise": 76, "reading_order": 1936, "original": "Les Sons A, suspendent les Sons B, & ces marques [traits obliques] désignent la progression naturelle des Sons A.", "english": "The sounds at A suspend those at B, and these marks [diagonal lines] indicate the natural progression of the sounds at A.", "sources": [ { "pdf_page": 313, "source_image": "source-pages/bnf-313.png", "printed_page": 281, "bbox_pixels": [ 1268, 2121, 1322, 223 ], "crop_image": "assets/III.32-011.png" } ] }, { "id": "III.32-012", "type": "paragraph", "section": "III.32", "lesson": 76, "exercise": 76, "reading_order": 1937, "original": "L’on retranche souvent de cet Accord le Son qui fait la Septiéme superfluë, lorsque la Basse descend d’un Ton ou d’un semi-Ton.", "english": "The sound forming the augmented seventh is often omitted from this chord when the bass descends a whole tone or semitone.", "sources": [ { "pdf_page": 313, "source_image": "source-pages/bnf-313.png", "printed_page": 281, "bbox_pixels": [ 1268, 2350, 1322, 301 ], "crop_image": "assets/III.32-012.png" } ] }, { "id": "III.32-013", "type": "heading", "section": "III.32", "lesson": 76, "exercise": 76, "reading_order": 1938, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 314, "source_image": "source-pages/bnf-314.png", "printed_page": 282, "bbox_pixels": [ 419, 455, 2171, 90 ], "crop_image": "assets/III.32-013.png" } ] }, { "id": "III.32-014", "type": "music", "section": "III.32", "lesson": 76, "exercise": 76, "reading_order": 1939, "original": "Accord chiffré avec un 2 ; Basse-Continuë et Basse-fondamentale.", "english": "Chord figured with 2; continuo bass and fundamental bass.", "sources": [ { "pdf_page": 314, "source_image": "source-pages/bnf-314.png", "printed_page": 282, "bbox_pixels": [ 454, 548, 950, 1079 ], "crop_image": "assets/III.32-014.png" } ], "original_title": "Accord chiffré avec un 2 ; Basse-Continuë et Basse-fondamentale.", "english_title": "Chord figured with 2; continuo bass and fundamental bass.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.32-014" ], "music_asset_refs": [ "III.32-014" ] }, { "id": "III.32-015", "type": "music", "section": "III.32", "lesson": 76, "exercise": 76, "reading_order": 1940, "original": "Autre Exemple ; B-C. et B-F.", "english": "Another example; continuo bass and fundamental bass.", "sources": [ { "pdf_page": 314, "source_image": "source-pages/bnf-314.png", "printed_page": 282, "bbox_pixels": [ 1408, 529, 1172, 1098 ], "crop_image": "assets/III.32-015.png" } ], "original_title": "Autre Exemple ; B-C. et B-F.", "english_title": "Another example; continuo bass and fundamental bass.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.32-015" ], "music_asset_refs": [ "III.32-015" ] }, { "id": "III.32-016", "type": "paragraph", "section": "III.32", "lesson": 76, "exercise": 76, "reading_order": 1941, "original": "Cet Accord se chiffre avec un 2, parce qu’il se prépare de même que la Deuxiéme ; mais comme la Cinquiéme & la Quarte s’y rencontrent, cette Quarte ne peut plus être prise que comme une Dissonance par supposition, & l’on voit en effet que cet Accord nous représente celui de la Onziéme ou de la Septiéme superfluë, dont on retranche le Son qui paroît immediatement après dans la Basse à D, parce que ce Son n’aime pas sa replique.", "english": "This chord is figured with 2 because it is prepared like the second chord. But since the fifth and fourth occur together in it, that fourth can only be regarded as a dissonance by supposition. Indeed, this chord represents the eleventh or augmented-seventh chord with the sound omitted that appears immediately afterward in the bass at D, because that sound does not welcome its octave equivalent.", "sources": [ { "pdf_page": 314, "source_image": "source-pages/bnf-314.png", "printed_page": 282, "bbox_pixels": [ 419, 1695, 2171, 539 ], "crop_image": "assets/III.32-016.png" } ] }, { "id": "III.33-001", "type": "heading", "section": "III.33", "lesson": 77, "exercise": 77, "reading_order": 1942, "original": "CHAPITRE TRENTE-TROISIÉME.", "english": "CHAPTER THIRTY-THREE.", "sources": [ { "pdf_page": 314, "source_image": "source-pages/bnf-314.png", "printed_page": 282, "bbox_pixels": [ 419, 2374, 2171, 90 ], "crop_image": "assets/III.33-001.png" } ], "correction_refs": [ "supplement-246", "supplement-247" ] }, { "id": "III.33-002", "type": "heading", "section": "III.33", "lesson": 77, "exercise": 77, "reading_order": 1943, "original": "De l’Accord de la Seconde superfluë, & de ses dérivez.", "english": "On the Augmented-Second Chord and Its Derivatives.", "sources": [ { "pdf_page": 314, "source_image": "source-pages/bnf-314.png", "printed_page": 282, "bbox_pixels": [ 419, 2496, 2171, 92 ], "crop_image": "assets/III.33-002.png" } ] }, { "id": "III.33-003", "type": "paragraph", "section": "III.33", "lesson": 77, "exercise": 77, "reading_order": 1944, "original": "NOus disons que l’Accord de la Seconde superfluë & ses dérivez sont des Accords par emprunt, en ce que la Dominante tonique cede son fondement à la Sixiéme des Tons mineurs seulement, dont cet Accord de Seconde superfluë & ses dérivez proviennent : Ainsi,", "english": "We call the augmented-second chord and its derivatives chords by borrowing, because the tonic dominant yields its foundation to the sixth note, in minor keys only, from which this augmented-second chord and its derivatives arise. Thus:", "sources": [ { "pdf_page": 314, "source_image": "source-pages/bnf-314.png", "printed_page": 282, "bbox_pixels": [ 419, 2630, 2171, 312 ], "crop_image": "assets/III.33-003.png" } ] }, { "id": "III.33-004", "type": "paragraph", "section": "III.33", "lesson": 77, "exercise": 77, "reading_order": 1945, "original": "au lieu de", "english": "instead of", "sources": [ { "pdf_page": 314, "source_image": "source-pages/bnf-314.png", "printed_page": 282, "bbox_pixels": [ 449, 3046, 389, 92 ], "crop_image": "assets/III.33-004.png" } ] }, { "id": "III.33-005", "type": "music", "section": "III.33", "lesson": 77, "exercise": 77, "reading_order": 1946, "original": "Accord de Septiéme. Sol, mi, ut♯, la.", "english": "Seventh chord. G, E, C♯, A.", "sources": [ { "pdf_page": 314, "source_image": "source-pages/bnf-314.png", "printed_page": 282, "bbox_pixels": [ 834, 2993, 531, 301 ], "crop_image": "assets/III.33-005.png" } ], "original_title": "Accord de Septiéme. Sol, mi, ut♯, la.", "english_title": "Seventh chord. G, E, C♯, A.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.33-005" ], "music_asset_refs": [ "III.33-005" ] }, { "id": "III.33-006", "type": "paragraph", "section": "III.33", "lesson": 77, "exercise": 77, "reading_order": 1947, "original": "Nous trouverons", "english": "we find", "sources": [ { "pdf_page": 314, "source_image": "source-pages/bnf-314.png", "printed_page": 282, "bbox_pixels": [ 1408, 3046, 548, 92 ], "crop_image": "assets/III.33-006.png" } ] }, { "id": "III.33-007", "type": "music", "section": "III.33", "lesson": 77, "exercise": 77, "reading_order": 1948, "original": "Accord de Seconde superfluë. Sol, mi, ut♯, si♭.", "english": "Augmented-second chord. G, E, C♯, B♭.", "sources": [ { "pdf_page": 314, "source_image": "source-pages/bnf-314.png", "printed_page": 282, "bbox_pixels": [ 1954, 2980, 505, 314 ], "crop_image": "assets/III.33-007.png" } ], "original_title": "Accord de Seconde superfluë. Sol, mi, ut♯, si♭.", "english_title": "Augmented-second chord. G, E, C♯, B♭.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.33-007" ], "music_asset_refs": [ "III.33-007" ] }, { "id": "III.33-008", "type": "paragraph", "section": "III.33", "lesson": 77, "exercise": 77, "reading_order": 1949, "original": "Ce n’est pas sans raison que nous disons, que l’Accord de la Seconde superfluë tire son origine par emprunt de celui de la Septiéme d’une Dominante tonique, puisque le lieu que la sixiéme Notte occupe en ce cas, est celui où devroit être placée cette Dominante tonique, les Sons affectez à l’Accord de la Septiéme de cette Dominante n’y étant aucunement alterez, & leur progression, tant à l’égard de la Dissonance majeure, qu’à l’égard de la mineure, étant toûjours conforme à celle qui leur est déterminée naturellement. De plus, si le choix de l’une de ces deux Nottes est arbitraire dans le milieu d’une Piece, lorsque l’on veut faire entendre avec l’une d’elles les Sons affectez à l’Accord de la Septiéme de la Dominante tonique, l’on n’est cependant plus le maître de la suite de l’Harmonie, qui doit être conforme en tout à celle de cet Accord de la Septiéme ; ainsi l’Accord parfait de la Notte tonique doit suivre également l’un & l’autre Accord.", "english": "We have good reason to say that the augmented-second chord originates by borrowing from a tonic dominant’s seventh chord. The sixth note occupies the place where that tonic dominant should stand, while the sounds belonging to the dominant’s seventh chord remain entirely unaltered. Their progression, for both the major and minor dissonance, always agrees with the motion naturally prescribed to them. Moreover, although the choice between these two bass notes is free in the middle of a piece when one wishes to sound the tonic dominant’s seventh-chord tones with either of them, the ensuing harmony is no longer freely chosen. It must conform in every respect to the succession of that seventh chord. Thus the tonic’s perfect chord must follow either chord alike.", "sources": [ { "pdf_page": 314, "source_image": "source-pages/bnf-314.png", "printed_page": 282, "bbox_pixels": [ 419, 3343, 2171, 180 ], "crop_image": "assets/III.33-008.png" }, { "pdf_page": 315, "source_image": "source-pages/bnf-315.png", "printed_page": 283, "bbox_pixels": [ 419, 378, 2171, 902 ], "crop_image": "assets/III.33-009.png" } ] }, { "id": "III.33-010", "type": "heading", "section": "III.33", "lesson": 77, "exercise": 77, "reading_order": 1950, "original": "EXEMPLES.", "english": "EXAMPLES.", "sources": [ { "pdf_page": 315, "source_image": "source-pages/bnf-315.png", "printed_page": 283, "bbox_pixels": [ 419, 1345, 2171, 95 ], "crop_image": "assets/III.33-010.png" } ] }, { "id": "III.33-011", "type": "music", "section": "III.33", "lesson": 77, "exercise": 77, "reading_order": 1951, "original": "Dissonance mineure C ; majeure B ou Notte sensible ; D ; Dominantes toniques A ; Mediantes F ; Nottes toniques G.", "english": "Minor dissonance C; major dissonance B or leading note; D; tonic dominants A; mediants F; tonics G.", "sources": [ { "pdf_page": 315, "source_image": "source-pages/bnf-315.png", "printed_page": 283, "bbox_pixels": [ 439, 1480, 1030, 1852 ], "crop_image": "assets/III.33-011.png" } ], "original_title": "Dissonance mineure C ; majeure B ou Notte sensible ; D ; Dominantes toniques A ; Mediantes F ; Nottes toniques G.", "english_title": "Minor dissonance C; major dissonance B or leading note; D; tonic dominants A; mediants F; tonics G.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.33-011" ], "music_asset_refs": [ "III.33-011" ] }, { "id": "III.33-012", "type": "music", "section": "III.33", "lesson": 77, "exercise": 77, "reading_order": 1952, "original": "Accords par emprunt ; Sixiéme Notte A ; Dominante tonique ; Guidon H ; Mediantes F ; Nottes toniques G.", "english": "Chords by borrowing; sixth note A; tonic dominant; cue sign H; mediants F; tonics G.", "sources": [ { "pdf_page": 315, "source_image": "source-pages/bnf-315.png", "printed_page": 283, "bbox_pixels": [ 1486, 1480, 1118, 1852 ], "crop_image": "assets/III.33-012.png" } ], "original_title": "Accords par emprunt ; Sixiéme Notte A ; Dominante tonique ; Guidon H ; Mediantes F ; Nottes toniques G.", "english_title": "Chords by borrowing; sixth note A; tonic dominant; cue sign H; mediants F; tonics G.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.33-012" ], "music_asset_refs": [ "III.33-012" ] }, { "id": "III.33-013", "type": "paragraph", "section": "III.33", "lesson": 77, "exercise": 77, "reading_order": 1953, "original": "Il se trouve dans ces Accords par emprunt deux Dissonances majeures, & deux mineures, dont celles qui sont étrangeres proviennent du changement de la Dominante tonique en la sixiéme Notte, où l’on voit que les mineures descendent toûjours, mais que la majeure étrangere ne monte pas toûjours, comme cela se devroit si elle étoit Notte sensible ; Voyez le Guidon H, où l’on peut faire monter cette Dissonance majeure, & où on le doit même, lorsque la Dissonance mineure C, ou A, se rencontre dans la Basse.", "english": "These chords by borrowing contain two major and two minor dissonances. The foreign ones arise from replacing the tonic dominant with the sixth note. We see that the minor dissonances always descend, but the foreign major one does not always ascend, as it would have to if it were the leading note. See the cue sign H, where this major dissonance may ascend, and indeed must do so when the minor dissonance C or A occurs in the bass.", "sources": [ { "pdf_page": 315, "source_image": "source-pages/bnf-315.png", "printed_page": 283, "bbox_pixels": [ 419, 3349, 2171, 155 ], "crop_image": "assets/III.33-013.png" }, { "pdf_page": 316, "source_image": "source-pages/bnf-316.png", "printed_page": 284, "bbox_pixels": [ 419, 462, 2171, 451 ], "crop_image": "assets/III.33-014.png" } ] }, { "id": "III.33-015", "type": "paragraph", "section": "III.33", "lesson": 77, "exercise": 77, "reading_order": 1954, "original": "Remarquez que la difference de ces deux Exemples ne consiste que dans la sixiéme Notte, au lieu de la Dominante tonique A, & que la suite des Dissonances qui se trouvent dans l’un & l’autre Exemples est toûjours la même, sans que la Modulation en soit aucunement alterée.", "english": "Observe that the only difference between the two examples is the sixth note in place of the tonic dominant at A. The succession of dissonances in both examples remains the same, with no alteration whatever to the modulation.", "sources": [ { "pdf_page": 316, "source_image": "source-pages/bnf-316.png", "printed_page": 284, "bbox_pixels": [ 419, 915, 2171, 372 ], "crop_image": "assets/III.33-015.png" } ] }, { "id": "III.33-016", "type": "paragraph", "section": "III.33", "lesson": 77, "exercise": 77, "reading_order": 1955, "original": "De cet Accord de Seconde-superfluë formée du changement de la Dominante en la sixiéme Notte, provient une pareille difference dans tous les Accords dérivez de celui de la Septiéme d’une Dominante tonique.", "english": "Replacing the dominant with the sixth note produces this augmented-second chord and a corresponding difference in every chord derived from a tonic dominant’s seventh chord.", "sources": [ { "pdf_page": 316, "source_image": "source-pages/bnf-316.png", "printed_page": 284, "bbox_pixels": [ 419, 1289, 2171, 292 ], "crop_image": "assets/III.33-016.png" } ] }, { "id": "III.33-017", "type": "paragraph", "section": "III.33", "lesson": 77, "exercise": 77, "reading_order": 1956, "original": "Si la Notte sensible doit porter l’Accord de la fausse-Quinte, celui de la Septiéme diminuée qui s’y trouve ne provient que de ce changement, en y joignant cette 7♭, au lieu de la 6. B.", "english": "Where the leading note should bear the diminished-fifth chord, the resulting diminished-seventh chord comes solely from this change, adding 7♭ in place of 6, B.", "sources": [ { "pdf_page": 316, "source_image": "source-pages/bnf-316.png", "printed_page": 284, "bbox_pixels": [ 419, 1586, 2171, 226 ], "crop_image": "assets/III.33-017.png" } ] }, { "id": "III.33-018", "type": "paragraph", "section": "III.33", "lesson": 77, "exercise": 77, "reading_order": 1957, "original": "Pareillement la Tierce mineure se joint à l’Accord du Tri-Ton d’une quatriéme Notte, au lieu de la Seconde C.", "english": "Likewise, the minor third is added to the fourth note’s tritone chord in place of the second, C.", "sources": [ { "pdf_page": 316, "source_image": "source-pages/bnf-316.png", "printed_page": 284, "bbox_pixels": [ 419, 1813, 2171, 144 ], "crop_image": "assets/III.33-018.png" } ] }, { "id": "III.33-019", "type": "paragraph", "section": "III.33", "lesson": 77, "exercise": 77, "reading_order": 1958, "original": "La fausse-Quinte se joint à l’Accord de la petite Sixte d’une seconde Notte, au lieu de la Quarte D.", "english": "The diminished fifth is added to the second note’s small-sixth chord in place of the fourth, D.", "sources": [ { "pdf_page": 316, "source_image": "source-pages/bnf-316.png", "printed_page": 284, "bbox_pixels": [ 419, 1957, 2171, 148 ], "crop_image": "assets/III.33-019.png" } ] }, { "id": "III.33-020", "type": "paragraph", "section": "III.33", "lesson": 77, "exercise": 77, "reading_order": 1959, "original": "La Quarte se joint à l’Accord de la Quinte-superfluë de la Mediante, au lieu de la Tierce F.", "english": "The fourth is added to the mediant’s augmented-fifth chord in place of the third, F.", "sources": [ { "pdf_page": 316, "source_image": "source-pages/bnf-316.png", "printed_page": 284, "bbox_pixels": [ 419, 2105, 2171, 150 ], "crop_image": "assets/III.33-020.png" } ] }, { "id": "III.33-021", "type": "paragraph", "section": "III.33", "lesson": 77, "exercise": 77, "reading_order": 1960, "original": "La Sixte mineure se joint à l’Accord de la Septiéme-superfluë de la Notte tonique, au lieu de la Quinte G.", "english": "The minor sixth is added to the tonic’s augmented-seventh chord in place of the fifth, G.", "sources": [ { "pdf_page": 316, "source_image": "source-pages/bnf-316.png", "printed_page": 284, "bbox_pixels": [ 419, 2256, 2171, 155 ], "crop_image": "assets/III.33-021.png" } ] }, { "id": "III.33-022", "type": "paragraph", "section": "III.33", "lesson": 77, "exercise": 77, "reading_order": 1961, "original": "Pour mieux connoître cette difference, il faut prendre à part les quatre Basses superieures, pour les faire servir de Basse chacune à leur tour, pendant que les autres serviront de Dessus.", "english": "To understand this difference better, take the four upper bass lines separately, letting each serve as bass in turn while the others serve as upper parts.", "sources": [ { "pdf_page": 316, "source_image": "source-pages/bnf-316.png", "printed_page": 284, "bbox_pixels": [ 419, 2413, 2171, 223 ], "crop_image": "assets/III.33-022.png" } ] }, { "id": "III.33-023", "type": "paragraph", "section": "III.33", "lesson": 77, "exercise": 77, "reading_order": 1962, "original": "Pour ce qui est des deux Basses inferieures, l’on sçait que les Accords par supposition qu’elles portent, les empêchent de pouvoir servir de Dessus, chacune devant être entenduë en particulier avec les quatre superieures ; car elles ne feroient pas un bon effet l’une avec l’autre.", "english": "As for the two lower basses, the chords by supposition they bear prevent them from serving as upper parts, as we know. Each must be heard separately with the four upper parts, since they would not sound well together.", "sources": [ { "pdf_page": 316, "source_image": "source-pages/bnf-316.png", "printed_page": 284, "bbox_pixels": [ 419, 2640, 2171, 365 ], "crop_image": "assets/III.33-023.png" } ] }, { "id": "III.33-024", "type": "paragraph", "section": "III.33", "lesson": 77, "exercise": 77, "reading_order": 1963, "original": "L’on peut faire descendre seule la nouvelle Dissonance mineure introduite par ce changement, où pour lors l’Accord de la Septiéme de la Dominante tonique subsiste ensuite dans sa composition naturelle.", "english": "The new minor dissonance introduced by this change may descend alone, leaving the tonic dominant’s seventh chord afterward in its natural construction.", "sources": [ { "pdf_page": 316, "source_image": "source-pages/bnf-316.png", "printed_page": 284, "bbox_pixels": [ 419, 3008, 2171, 232 ], "crop_image": "assets/III.33-024.png" } ] }, { "id": "III.33-025", "type": "heading", "section": "III.33", "lesson": 77, "exercise": 77, "reading_order": 1964, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 317, "source_image": "source-pages/bnf-317.png", "printed_page": 285, "bbox_pixels": [ 419, 449, 2171, 86 ], "crop_image": "assets/III.33-025.png" } ] }, { "id": "III.33-026", "type": "music", "section": "III.33", "lesson": 77, "exercise": 77, "reading_order": 1965, "original": "Descente de la nouvelle Dissonance mineure ; six accords.", "english": "Descent of the new minor dissonance; six chords.", "sources": [ { "pdf_page": 317, "source_image": "source-pages/bnf-317.png", "printed_page": 285, "bbox_pixels": [ 445, 587, 2060, 447 ], "crop_image": "assets/III.33-026.png" } ], "original_title": "Descente de la nouvelle Dissonance mineure ; six accords.", "english_title": "Descent of the new minor dissonance; six chords.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.33-026" ], "music_asset_refs": [ "III.33-026" ] }, { "id": "III.33-027", "type": "paragraph", "section": "III.33", "lesson": 77, "exercise": 77, "reading_order": 1966, "original": "L’on peut faire encore monter seule la Notte sensible dans les Accords seulement qui peuvent se renverser, & non pas dans les deux derniers qui sont par supposition ; mais après l’avoir fait monter, elle doit reprendre sa place dans l’Accord de la Septiéme de la Dominante tonique.", "english": "One may also make the leading note ascend alone, but only in the chords that can be inverted, not in the last two, which are by supposition. After ascending, however, it must return to its place in the tonic dominant’s seventh chord.", "sources": [ { "pdf_page": 317, "source_image": "source-pages/bnf-317.png", "printed_page": 285, "bbox_pixels": [ 419, 1096, 2171, 370 ], "crop_image": "assets/III.33-027.png" } ] }, { "id": "III.33-028", "type": "heading", "section": "III.33", "lesson": 77, "exercise": 77, "reading_order": 1967, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 317, "source_image": "source-pages/bnf-317.png", "printed_page": 285, "bbox_pixels": [ 419, 1474, 2171, 90 ], "crop_image": "assets/III.33-028.png" } ] }, { "id": "III.33-029", "type": "music", "section": "III.33", "lesson": 77, "exercise": 77, "reading_order": 1968, "original": "Montée de la Notte sensible et retour ; quatre accords.", "english": "Ascent and return of the leading note; four chords.", "sources": [ { "pdf_page": 317, "source_image": "source-pages/bnf-317.png", "printed_page": 285, "bbox_pixels": [ 439, 1601, 2066, 507 ], "crop_image": "assets/III.33-029.png" } ], "original_title": "Montée de la Notte sensible et retour ; quatre accords.", "english_title": "Ascent and return of the leading note; four chords.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.33-029" ], "music_asset_refs": [ "III.33-029" ] }, { "id": "III.33-030", "type": "paragraph", "section": "III.33", "lesson": 77, "exercise": 77, "reading_order": 1969, "original": "Tous ces Accords par emprunt, & celui de la Quinte-superfluë ne peuvent se pratiquer que dans les Tons mineurs, comme nous l’avons déja dit, chacun de ces Accords ayant une Notte particuliere affectée dans la Basse qui ne change jamais ; ce que nous expliquons plus amplement au Chap. XXXV. Il y a encore quelques Licences dont on peut s’instruire au second Livre, Chap. XIII. & XVIII.", "english": "All these chords by borrowing, and the augmented-fifth chord, may be used only in minor keys, as already stated. Each has a particular bass note permanently assigned to it, as we explain more fully in Chapter XXXV. Some further licenses can be studied in Book II, Chapters XIII and XVIII.", "sources": [ { "pdf_page": 317, "source_image": "source-pages/bnf-317.png", "printed_page": 285, "bbox_pixels": [ 419, 2153, 2171, 533 ], "crop_image": "assets/III.33-030.png" } ] }, { "id": "III.34-001", "type": "heading", "section": "III.34", "lesson": 78, "exercise": 78, "reading_order": 1970, "original": "CHAPITRE TRENTE-QUATRIÉME.", "english": "CHAPTER THIRTY-FOUR.", "sources": [ { "pdf_page": 318, "source_image": "source-pages/bnf-318.png", "printed_page": 286, "bbox_pixels": [ 516, 496, 2214, 92 ], "crop_image": "assets/III.34-001.png" } ], "correction_refs": [ "supplement-248", "supplement-249", "supplement-250" ] }, { "id": "III.34-002", "type": "heading", "section": "III.34", "lesson": 78, "exercise": 78, "reading_order": 1971, "original": "Du Chromatique.", "english": "On the Chromatic.", "sources": [ { "pdf_page": 318, "source_image": "source-pages/bnf-318.png", "printed_page": 286, "bbox_pixels": [ 419, 623, 2171, 95 ], "crop_image": "assets/III.34-002.png" } ] }, { "id": "III.34-003", "type": "paragraph", "section": "III.34", "lesson": 78, "exercise": 78, "reading_order": 1972, "original": "DAns la Mélodie, le Chromatique consiste en une suite de Chant qui procede par semi-Tons, tant en montant qu’en descendant ; ce qui produit un effet merveilleux dans l’Harmonie, parce que la plûpart de ces semi-Tons, qui ne sont pas dans l’ordre diatonique, causent à tout moment des Dissonances qui suspendent ou qui interrompent les conclusions, & donnent même de la facilité à remplir les Accords de tous les Sons qui les composent, sans déranger l’ordre diatonique des Parties superieures.", "english": "In melody, the chromatic consists of a melodic succession moving by semitones, both upward and downward. It produces a wonderful effect in harmony, because most of these semitones, which lie outside the diatonic order, continually cause dissonances that suspend or interrupt conclusions. They even make it easier to fill chords with all their constituent sounds without disturbing the diatonic order of the upper parts.", "sources": [ { "pdf_page": 318, "source_image": "source-pages/bnf-318.png", "printed_page": 286, "bbox_pixels": [ 516, 752, 2214, 614 ], "crop_image": "assets/III.34-003.png" } ] }, { "id": "III.34-004", "type": "paragraph", "section": "III.34", "lesson": 78, "exercise": 78, "reading_order": 1973, "original": "Le Chromatique n’est en usage que dans les Tons mineurs ; il est plus difficile à comprendre lorsque les Parties descendent, que lorsqu’elles montent.", "english": "The chromatic is used only in minor keys. It is more difficult to understand when the parts descend than when they ascend.", "sources": [ { "pdf_page": 318, "source_image": "source-pages/bnf-318.png", "printed_page": 286, "bbox_pixels": [ 516, 1371, 2214, 228 ], "crop_image": "assets/III.34-004.png" } ] }, { "id": "III.34-005", "type": "heading", "section": "III.34", "lesson": 78, "exercise": 78, "reading_order": 1974, "original": "ARTICLE PREMIER.", "english": "ARTICLE ONE.", "sources": [ { "pdf_page": 318, "source_image": "source-pages/bnf-318.png", "printed_page": 286, "bbox_pixels": [ 1021, 1512, 1236, 92 ], "crop_image": "assets/III.34-005.png" } ] }, { "id": "III.34-006", "type": "heading", "section": "III.34", "lesson": 78, "exercise": 78, "reading_order": 1975, "original": "Du Chromatique en descendant.", "english": "On Descending Chromatic Movement.", "sources": [ { "pdf_page": 318, "source_image": "source-pages/bnf-318.png", "printed_page": 286, "bbox_pixels": [ 419, 1620, 2171, 92 ], "crop_image": "assets/III.34-006.png" } ] }, { "id": "III.34-007", "type": "paragraph", "section": "III.34", "lesson": 78, "exercise": 78, "reading_order": 1976, "original": "Lorsqu’on a donné commencement au Chromatique dans un certain Ton, en faisant descendre une Partie quelconque par semi-Tons, on peut le poursuivre consecutivement dans ce même Ton, dans celui de sa Dominante, & plus précisément dans celui de sa quatriéme Notte. La Notte tonique de ce premier Ton devenant pour lors Dominante ; ainsi par enchaînement chaque Notte tonique peut devenir Dominante du Ton dans lequel on entre, sans trop s’écarter neanmoins de celui par lequel on a commencé ; car dès que l’on trouve jour à y rentrer, il faut en profiter.", "english": "After beginning the chromatic in a certain key by making any part descend in semitones, one may continue it successively in that key, in the key of its dominant, and more particularly in that of its fourth note. The tonic of the first key then becomes a dominant. Thus, in a chain, each tonic may become the dominant of the key being entered, without departing too far from the opening key; for one must take the first opportunity to return to it.", "sources": [ { "pdf_page": 318, "source_image": "source-pages/bnf-318.png", "printed_page": 286, "bbox_pixels": [ 516, 1749, 2214, 675 ], "crop_image": "assets/III.34-007.png" } ] }, { "id": "III.34-008", "type": "paragraph", "section": "III.34", "lesson": 78, "exercise": 78, "reading_order": 1977, "original": "C’est d’abord par le moyen des Nottes toniques qui deviennent consecutivement Dominantes, que l’on peut prendre une intelligence sensible du Chromatique.", "english": "Successive tonics becoming dominants provide the first means of gaining a clear understanding of the chromatic.", "sources": [ { "pdf_page": 318, "source_image": "source-pages/bnf-318.png", "printed_page": 286, "bbox_pixels": [ 516, 2426, 2214, 226 ], "crop_image": "assets/III.34-008.png" } ] }, { "id": "III.34-009", "type": "paragraph", "section": "III.34", "lesson": 78, "exercise": 78, "reading_order": 1978, "original": "Après avoir passé de la Notte tonique à sa Dominante, l’on revient ensuite à cette Notte tonique en la rendant Dominante ; & ainsi en suivant la regle des Septiémes, Chap. XXI. & faisant proceder les Parties superieures en descendant par autant de semi-Tons qu’il sera possible, chacun de ces semi-Tons formant avec la Basse-fondamentale la Tierce ou la Septiéme, ou quelquefois la fausse-Quinte de la Notte qui porte neanmoins un Accord de Septiéme ; l’on ne trouvera de difference entre le Chromatique & nos regles ordinaires, qu’en ce que la Notte sensible peut descendre ici d’un semi-Ton, au lieu qu’elle doit toûjours monter ; mais le Son où elle doit monter est toûjours sous-entendu dans l’Accord, & ce n’est qu’en consequence du Chromatique, que l’on peut prendre cette liberté.", "english": "After passing from the tonic to its dominant, return to the tonic and make it a dominant. Continue according to the rule of sevenths, Chapter XXI, making the upper parts descend through as many semitones as possible. Each of these semitone notes forms a third, seventh, or sometimes diminished fifth with the fundamental bass, whose note nevertheless bears a seventh chord. The only difference between the chromatic and our ordinary rules will be that the leading note may here descend a semitone, although it should always ascend. But the sound to which it should ascend is always understood within the chord, and only the chromatic permits this liberty.", "sources": [ { "pdf_page": 318, "source_image": "source-pages/bnf-318.png", "printed_page": 286, "bbox_pixels": [ 516, 2653, 2214, 913 ], "crop_image": "assets/III.34-009.png" } ] }, { "id": "III.34-010", "type": "heading", "section": "III.34", "lesson": 78, "exercise": 78, "reading_order": 1979, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 319, "source_image": "source-pages/bnf-319.png", "printed_page": 287, "bbox_pixels": [ 419, 496, 2171, 86 ], "crop_image": "assets/III.34-010.png" } ] }, { "id": "III.34-011", "type": "music", "section": "III.34", "lesson": 78, "exercise": 78, "reading_order": 1980, "original": "Chromatique en descendant ; Basse-fondamentale des Septiémes.", "english": "Descending chromatic movement; fundamental bass of sevenths.", "sources": [ { "pdf_page": 319, "source_image": "source-pages/bnf-319.png", "printed_page": 287, "bbox_pixels": [ 264, 627, 2139, 1852 ], "crop_image": "assets/III.34-011.png" } ], "original_title": "Chromatique en descendant ; Basse-fondamentale des Septiémes.", "english_title": "Descending chromatic movement; fundamental bass of sevenths.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.34-011" ], "music_asset_refs": [ "III.34-011" ] }, { "id": "III.34-012", "type": "annotation", "section": "III.34", "lesson": 78, "exercise": 78, "reading_order": 1981, "original": "[Note manuscrite : voyez le Suppl.]", "english": "[Manuscript note: see the Supplement.]", "sources": [ { "pdf_page": 319, "source_image": "source-pages/bnf-319.png", "printed_page": 287, "bbox_pixels": [ 2429, 655, 365, 170 ], "crop_image": "assets/III.34-012.png" } ] }, { "id": "III.34-013", "type": "paragraph", "section": "III.34", "lesson": 78, "exercise": 78, "reading_order": 1982, "original": "Les ♮ quarrez que nous joignons ici aux 7, servent à rendre mineur l’Intervale qui se trouvoit auparavant majeur, comme on peut le remarquer dans les Parties.", "english": "The natural signs ♮ attached here to the 7s make minor an interval that was previously major, as may be observed in the parts.", "sources": [ { "pdf_page": 319, "source_image": "source-pages/bnf-319.png", "printed_page": 287, "bbox_pixels": [ 267, 2503, 2165, 228 ], "crop_image": "assets/III.34-013.png" } ] }, { "id": "III.34-014", "type": "paragraph", "section": "III.34", "lesson": 78, "exercise": 78, "reading_order": 1983, "original": "Si l’on fait servir chaque partie de Basse à son tour, en retranchant pour lors la Fondamentale, l’on trouvera d’abord une suite de 7, & de 6, pareille à celle qui dérive de la Progression fondamentale des 7 ; avec la difference du Chromatique que nous y observons. L’on verra ensuite comment les Tri-Tons & les fausses-Quintes tiennent lieu de 2, & de [6/5], & comment ces Intervales servent à se sauver les uns les autres par le moyen du Chromatique ; La Notte sensible descendant par tout, excepté à la fin, au lieu de monter.", "english": "If each part serves as bass in turn, with the fundamental bass then omitted, one first finds a succession of 7s and 6s like that derived from the fundamental progression of sevenths, with the chromatic difference observed here. One then sees how tritones and diminished fifths take the place of 2 and [6/5], and how these intervals resolve one another through the chromatic, the leading note descending everywhere except at the end, instead of ascending.", "sources": [ { "pdf_page": 319, "source_image": "source-pages/bnf-319.png", "printed_page": 287, "bbox_pixels": [ 267, 2737, 2165, 587 ], "crop_image": "assets/III.34-014.png" } ] }, { "id": "III.34-015", "type": "paragraph", "section": "III.34", "lesson": 78, "exercise": 78, "reading_order": 1984, "original": "Voici une autre maniere de pratiquer le Chromatique sur une Notte tonique qui tient ferme, ou qui reste sur le même degré dans la Basse.", "english": "Here is another way of using the chromatic over a tonic held firmly, or remaining on the same degree, in the bass.", "sources": [ { "pdf_page": 319, "source_image": "source-pages/bnf-319.png", "printed_page": 287, "bbox_pixels": [ 267, 3326, 2165, 219 ], "crop_image": "assets/III.34-015.png" } ] }, { "id": "III.34-016", "type": "heading", "section": "III.34", "lesson": 78, "exercise": 78, "reading_order": 1985, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 320, "source_image": "source-pages/bnf-320.png", "printed_page": 288, "bbox_pixels": [ 419, 443, 2171, 86 ], "crop_image": "assets/III.34-016.png" } ] }, { "id": "III.34-017", "type": "music", "section": "III.34", "lesson": 78, "exercise": 78, "reading_order": 1986, "original": "Point d’Orgue ; Chromatique sur une Notte tonique tenue.", "english": "Pedal point; chromatic movement over a held tonic.", "sources": [ { "pdf_page": 320, "source_image": "source-pages/bnf-320.png", "printed_page": 288, "bbox_pixels": [ 598, 582, 2137, 1164 ], "crop_image": "assets/III.34-017.png" } ], "original_title": "Point d’Orgue ; Chromatique sur une Notte tonique tenue.", "english_title": "Pedal point; chromatic movement over a held tonic.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.34-017" ], "music_asset_refs": [ "III.34-017" ] }, { "id": "III.34-018", "type": "paragraph", "section": "III.34", "lesson": 78, "exercise": 78, "reading_order": 1987, "original": "L’on peut appeller ceci, Point d’Orgue.", "english": "This may be called a pedal point.", "sources": [ { "pdf_page": 320, "source_image": "source-pages/bnf-320.png", "printed_page": 288, "bbox_pixels": [ 419, 1753, 2171, 77 ], "crop_image": "assets/III.34-018.png" } ] }, { "id": "III.34-019", "type": "paragraph", "section": "III.34", "lesson": 78, "exercise": 78, "reading_order": 1988, "original": "La Notte sensible a presque toûjours lieu dans le Chromatique ; ainsi l’on peut y employer tous les Accords où la Dissonance majeure se fait entendre, comme ceux que nous venons de voir ; de plus celui de la Seconde-superfluë, ses dérivez, & sur tout celui de la Quinte-superfluë, lorsqu’on veut rompre une Cadence, selon ce qu’on a pû remarquer dans l’Exemple que nous avons donné au Ch. XXX, où la Notte sensible descend d’un semi-Ton. Sçachant donc à present la composition de tous les Accords superflus ou diminuez par emprunt ou par supposition, l’on pourra les employer par tout où l’on sentira que la Notte sensible pourra avoir lieu, sans éviter cependant de faire entendre l’Accord parfait, ou celui de la Septiéme & leur dérivez, lorsqu’on les trouve sous ses pas, en observant encore, autant qu’il sera possible, un ordre diatonique dans les Parties superieures.", "english": "The leading note occurs almost always in the chromatic, so one may employ all chords in which the major dissonance sounds, such as those just seen. One may also use the augmented-second chord and its derivatives, and especially the augmented-fifth chord when wishing to interrupt a cadence, as could be observed in the example in Chapter XXX, where the leading note descends a semitone. Now that the construction of all augmented or diminished chords by borrowing or supposition is known, they may be used wherever the leading note seems appropriate. Do not, however, avoid the perfect or seventh chord and their derivatives when they lie in your path, and still preserve a diatonic order in the upper parts as far as possible.", "sources": [ { "pdf_page": 320, "source_image": "source-pages/bnf-320.png", "printed_page": 288, "bbox_pixels": [ 591, 1858, 2161, 975 ], "crop_image": "assets/III.34-019.png" } ] }, { "id": "III.34-020", "type": "annotation", "section": "III.34", "lesson": 78, "exercise": 78, "reading_order": 1989, "original": "[Note manuscrite : pag. 274.]", "english": "[Manuscript note: page 274.]", "sources": [ { "pdf_page": 320, "source_image": "source-pages/bnf-320.png", "printed_page": 288, "bbox_pixels": [ 243, 2301, 310, 90 ], "crop_image": "assets/III.34-020.png" } ] }, { "id": "III.34-021", "type": "heading", "section": "III.34", "lesson": 78, "exercise": 78, "reading_order": 1990, "original": "ARTICLE SECOND.", "english": "ARTICLE TWO.", "sources": [ { "pdf_page": 320, "source_image": "source-pages/bnf-320.png", "printed_page": 288, "bbox_pixels": [ 419, 2896, 2171, 95 ], "crop_image": "assets/III.34-021.png" } ] }, { "id": "III.34-022", "type": "heading", "section": "III.34", "lesson": 78, "exercise": 78, "reading_order": 1991, "original": "Du Chromatique en montant.", "english": "On Ascending Chromatic Movement.", "sources": [ { "pdf_page": 320, "source_image": "source-pages/bnf-320.png", "printed_page": 288, "bbox_pixels": [ 419, 3055, 2171, 101 ], "crop_image": "assets/III.34-022.png" } ] }, { "id": "III.34-023", "type": "paragraph", "section": "III.34", "lesson": 78, "exercise": 78, "reading_order": 1992, "original": "Le Chromatique peut encore se pratiquer en montant : mais il n’a pas pour lors la tristesse du premier, & l’Harmonie qui en provient, s’unit parfaitement avec la Fondamentale.", "english": "The chromatic may also ascend, but it then lacks the sadness of the former kind, and its resulting harmony agrees perfectly with the fundamental bass.", "sources": [ { "pdf_page": 320, "source_image": "source-pages/bnf-320.png", "printed_page": 288, "bbox_pixels": [ 591, 3201, 2161, 247 ], "crop_image": "assets/III.34-023.png" } ] }, { "id": "III.34-024", "type": "heading", "section": "III.34", "lesson": 78, "exercise": 78, "reading_order": 1993, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 321, "source_image": "source-pages/bnf-321.png", "printed_page": 289, "bbox_pixels": [ 419, 447, 2171, 88 ], "crop_image": "assets/III.34-024.png" } ] }, { "id": "III.34-025", "type": "music", "section": "III.34", "lesson": 78, "exercise": 78, "reading_order": 1994, "original": "Chromatique en montant ; Basse-fondamentale ; Cadence rompue A ; emprunt B/C.", "english": "Ascending chromatic movement; fundamental bass; interrupted cadence A; borrowing B/C.", "sources": [ { "pdf_page": 321, "source_image": "source-pages/bnf-321.png", "printed_page": 289, "bbox_pixels": [ 445, 587, 2146, 1895 ], "crop_image": "assets/III.34-025.png" } ], "original_title": "Chromatique en montant ; Basse-fondamentale ; Cadence rompue A ; emprunt B/C.", "english_title": "Ascending chromatic movement; fundamental bass; interrupted cadence A; borrowing B/C.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.34-025" ], "music_asset_refs": [ "III.34-025" ] }, { "id": "III.34-026", "type": "paragraph", "section": "III.34", "lesson": 78, "exercise": 78, "reading_order": 1995, "original": "B. Cette Notte, quoique fondamentale, ne peut avoir lieu pendant que la Notte C, en emprunte le fondement.", "english": "B. This note, although fundamental, cannot occur while the note at C borrows its foundation.", "sources": [ { "pdf_page": 321, "source_image": "source-pages/bnf-321.png", "printed_page": 289, "bbox_pixels": [ 419, 2542, 2171, 155 ], "crop_image": "assets/III.34-026.png" } ] }, { "id": "III.34-027", "type": "paragraph", "section": "III.34", "lesson": 78, "exercise": 78, "reading_order": 1996, "original": "A. Cadence rompue.", "english": "A. Interrupted cadence.", "sources": [ { "pdf_page": 321, "source_image": "source-pages/bnf-321.png", "printed_page": 289, "bbox_pixels": [ 419, 2696, 2171, 79 ], "crop_image": "assets/III.34-027.png" } ] }, { "id": "III.34-028", "type": "heading", "section": "III.34", "lesson": 78, "exercise": 78, "reading_order": 1997, "original": "EXEMPLE", "english": "EXAMPLE", "sources": [ { "pdf_page": 321, "source_image": "source-pages/bnf-321.png", "printed_page": 289, "bbox_pixels": [ 419, 2840, 2171, 90 ], "crop_image": "assets/III.34-028.png" } ] }, { "id": "III.34-029", "type": "heading", "section": "III.34", "lesson": 78, "exercise": 78, "reading_order": 1998, "original": "De deux Parties qui montent & qui descendent en même temps, par semi-Tons.", "english": "Of Two Parts Ascending and Descending Simultaneously by Semitones.", "sources": [ { "pdf_page": 321, "source_image": "source-pages/bnf-321.png", "printed_page": 289, "bbox_pixels": [ 419, 2948, 2171, 165 ], "crop_image": "assets/III.34-029.png" } ] }, { "id": "III.34-030", "type": "paragraph", "section": "III.34", "lesson": 78, "exercise": 78, "reading_order": 1999, "original": "Tournez pour voir l’Exemple.", "english": "Turn the page to see the example.", "sources": [ { "pdf_page": 321, "source_image": "source-pages/bnf-321.png", "printed_page": 289, "bbox_pixels": [ 419, 3238, 2171, 105 ], "crop_image": "assets/III.34-030.png" } ] }, { "id": "III.34-031", "type": "heading", "section": "III.34", "lesson": 78, "exercise": 78, "reading_order": 2000, "original": "Les trois Parties superieures peuvent se renverser entr’elles, & se servir de Basse reciproquement.", "english": "The Three Upper Parts May Be Inverted Among Themselves, Each Serving as Bass in Turn.", "sources": [ { "pdf_page": 322, "source_image": "source-pages/bnf-322.png", "printed_page": 290, "bbox_pixels": [ 419, 425, 2171, 155 ], "crop_image": "assets/III.34-031.png" } ] }, { "id": "III.34-032", "type": "music", "section": "III.34", "lesson": 78, "exercise": 78, "reading_order": 2001, "original": "Mouvemens chromatiques contraires ; Basse-Continuë et Basse-fondamentale.", "english": "Contrary chromatic movements; continuo bass and fundamental bass.", "sources": [ { "pdf_page": 322, "source_image": "source-pages/bnf-322.png", "printed_page": 290, "bbox_pixels": [ 396, 589, 2150, 1665 ], "crop_image": "assets/III.34-032.png" } ], "original_title": "Mouvemens chromatiques contraires ; Basse-Continuë et Basse-fondamentale.", "english_title": "Contrary chromatic movements; continuo bass and fundamental bass.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.34-032" ], "music_asset_refs": [ "III.34-032" ] }, { "id": "III.34-033", "type": "paragraph", "section": "III.34", "lesson": 78, "exercise": 78, "reading_order": 2002, "original": "Remarquez bien que tous ces semi-Tons que nous employons dans le Chromatique, ne consistent que dans la Sixiéme & la Septiéme Notte du Ton que l’on traite, en ce que dans les Tons mineurs la Notte sensible devant être diminuée d’un semi-Ton pour descendre, & la sixiéme Notte devant être augmentée pareillement d’un semi-Ton pour monter, l’on peut faire passer ces Nottes sur l’un & l’autre Intervale, tant en montant qu’en descendant.", "english": "Observe carefully that all the semitones used in the chromatic concern only the sixth and seventh notes of the key being treated. In minor keys the leading note must be lowered a semitone to descend, and the sixth note must likewise be raised a semitone to ascend. Thus these notes may pass through either form, both ascending and descending.", "sources": [ { "pdf_page": 322, "source_image": "source-pages/bnf-322.png", "printed_page": 290, "bbox_pixels": [ 419, 2307, 2171, 537 ], "crop_image": "assets/III.34-033.png" } ] }, { "id": "III.34-034", "type": "paragraph", "section": "III.34", "lesson": 78, "exercise": 78, "reading_order": 2003, "original": "Pour achever de se convaincre sur la verité des Regles contenuës dans ce Livre, il est à propos d’en confronter le détail avec la recapitulation que nous en donnons au second Livre, Chap. XVIII. où l’on trouve tous les Accords avec leurs differentes suites, & tous les differens Chants qui peuvent être mis en usage.", "english": "To complete one’s conviction of the truth of the rules in this book, compare their details with the recapitulation in Book II, Chapter XVIII. There one finds all the chords with their different successions, and all the different melodies that may be used.", "sources": [ { "pdf_page": 322, "source_image": "source-pages/bnf-322.png", "printed_page": 290, "bbox_pixels": [ 419, 2847, 2171, 367 ], "crop_image": "assets/III.34-034.png" } ] }, { "id": "III.34-035", "type": "paragraph", "section": "III.34", "lesson": 78, "exercise": 78, "reading_order": 2004, "original": "Voyez encore les observations que nous faisons sur l’établissement des Regles, elles ne peuvent être que tres-utiles.", "english": "See also our observations on the establishment of the rules; they cannot fail to be very useful.", "sources": [ { "pdf_page": 322, "source_image": "source-pages/bnf-322.png", "printed_page": 290, "bbox_pixels": [ 419, 3212, 2171, 155 ], "crop_image": "assets/III.34-035.png" } ] }, { "id": "III.34-036", "type": "paragraph", "section": "III.34", "lesson": 78, "exercise": 78, "reading_order": 2005, "original": "L’on trouvera dans le Chap XLIV. un Exemple du Chromatique, avec des Accords par supposition & par emprunt qui font un fort bon effet.", "english": "Chapter XLIV contains an example of the chromatic with chords by supposition and borrowing that produce a very good effect.", "sources": [ { "pdf_page": 322, "source_image": "source-pages/bnf-322.png", "printed_page": 290, "bbox_pixels": [ 419, 3369, 2171, 228 ], "crop_image": "assets/III.34-036.png" } ] }, { "id": "III.35-001", "type": "heading", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2006, "original": "CHAPITRE TRENTE-CINQUIÉME.", "english": "CHAPTER THIRTY-FIVE.", "sources": [ { "pdf_page": 323, "source_image": "source-pages/bnf-323.png", "printed_page": 291, "bbox_pixels": [ 419, 511, 2171, 95 ], "crop_image": "assets/III.35-001.png" } ], "correction_refs": [ "supplement-251", "supplement-253", "supplement-256", "supplement-257" ] }, { "id": "III.35-002", "type": "heading", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2007, "original": "De la maniere de pratiquer tout ce qui a été dit jusqu’à present.", "english": "On Putting into Practice Everything Said Thus Far.", "sources": [ { "pdf_page": 323, "source_image": "source-pages/bnf-323.png", "printed_page": 291, "bbox_pixels": [ 419, 655, 2171, 97 ], "crop_image": "assets/III.35-002.png" } ] }, { "id": "III.35-003", "type": "heading", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2008, "original": "ARTICLE PREMIER.", "english": "ARTICLE ONE.", "sources": [ { "pdf_page": 323, "source_image": "source-pages/bnf-323.png", "printed_page": 291, "bbox_pixels": [ 419, 793, 2171, 92 ], "crop_image": "assets/III.35-003.png" } ] }, { "id": "III.35-004", "type": "heading", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2009, "original": "De la Progression de la Basse.", "english": "On Bass Progression.", "sources": [ { "pdf_page": 323, "source_image": "source-pages/bnf-323.png", "printed_page": 291, "bbox_pixels": [ 419, 928, 2171, 95 ], "crop_image": "assets/III.35-004.png" } ] }, { "id": "III.35-005", "type": "paragraph", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2010, "original": "IL faut d’abord composer une Basse avec le plus beau Chant que l’on puisse s’imaginer, dans un Ton qui soit familier, duquel on puisse passer à plusieurs autres qui soient également familiers, selon ce qui en a été dit au Chap. XXIV. Cette Basse doit être remplie de Cadences parfaites aussi souvent que l’on peut ; car c’est la Progression naturelle à une Basse, qui doit proceder par des Intervales consonans, plûtôt que par des diatoniques ; les Cadences rompues & irregulieres ne devant y être admises qu’autant que l’on sçait les distinguer, & que l’on sent qu’elles peuvent être employées, soit pour éviter de trop frequentes Cadences parfaites dans un même Ton, par le moyen de la rompuë (diversité tres-agreable en ce cas) soit encore pour faire reposer le Chant sur une Dominante tonique, ou même sur la Notte tonique, par le moyen de la Cadence irreguliere, (autre diversité qui entretient l’Auditeur dans des suspensions agréables.) L’on ne doit pas moins essayer de faire entrer dans cette Basse, de ces Progressions sur lesquelles on peut faire entendre une suite d’Harmonie dérivée de celle des differentes Cadences, selon les Exemples que nous en avons donné, sans oublier les Progressions de 7, 7 & 6, 2 & 6, 5/, 4♯, 2♯, 9, 11, 5♯, & 7♯.", "english": "First compose a bass with the most beautiful melody you can imagine, in a familiar key from which you can pass to several others equally familiar, as discussed in Chapter XXIV. Fill this bass with perfect cadences as often as possible, for this is the natural progression of a bass, which should move by consonant rather than diatonic intervals. Admit interrupted and irregular cadences only insofar as you can distinguish them and sense where they may be used: the interrupted cadence to avoid too frequent perfect cadences in one key, a very agreeable variety in this case; or the irregular cadence to bring the melody to rest on a tonic dominant or even the tonic, another variety that keeps the listener in pleasing suspense. Also try to include bass progressions supporting harmonic successions derived from the different cadences, according to our examples, without forgetting the progressions of 7, 7 and 6, 2 and 6, barred 5, 4♯, 2♯, 9, 11, 5♯, and 7♯.", "sources": [ { "pdf_page": 323, "source_image": "source-pages/bnf-323.png", "printed_page": 291, "bbox_pixels": [ 419, 1068, 2171, 1442 ], "crop_image": "assets/III.35-005.png" } ] }, { "id": "III.35-006", "type": "paragraph", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2011, "original": "Chaque Notte de la Basse doit nous representer un Temps, & chaque Accord de même ; de sorte qu’une Ronde peut se partager en quatre Noires pour en former quatre Temps ; supposant que la mesure sera pour lors à quatre Temps.", "english": "Each bass note should represent a beat, and each chord likewise. Thus a whole note may be divided into four quarter notes to form four beats, assuming a measure of four beats.", "sources": [ { "pdf_page": 323, "source_image": "source-pages/bnf-323.png", "printed_page": 291, "bbox_pixels": [ 419, 2520, 2171, 305 ], "crop_image": "assets/III.35-006.png" } ] }, { "id": "III.35-007", "type": "paragraph", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2012, "original": "Comme il peut se trouver des Personnes, qui, se méfiant de leur force craindront de ne pouvoir composer une bonne Basse ; il est à propos de les avertir (si elles n’ont pas ce goût naturel qui nous fait inventer divers Chants qui sont toûjours agreables) qu’elles ne pourront se tromper en faisant proceder la Basse indifferemment sur toutes les Nottes d’un Ton, en preferant les plus petits Intervales aux plus grands, comme monter de 3, plûtôt que descendre de 6, &c. en se souvenant que la Notte sensible veut être suivie de la Tonique, au Chromatique près ; qu’il faut faire entendre une Cadence finale avant que de passer dans un autre Ton, & proceder dans ce Ton à peu-près comme dans l’autre, ainsi de Ton en Ton, selon ce qui en a été dit aux Chapitres XIII. XIV. XV. XVI. XXIV. & XXV. De plus, comme la Notte qui termine les Cadences parfaites, rompues ou irregulieres, doit être entenduë dans le premier Temps de la mesure, il faut composer la Basse, de façon que cette regularité y soit observée ; & au cas que le contraire se rencontre dans la premiere Cadence, & que l’on ne veuille pas changer le Chant de la Basse, il n’y a qu’à la faire commencer par un autre Temps que par celui où elle aura commencé ; c’est à dire, que si elle a commencé par le premier Temps, il n’y a qu’à la faire commencer par le second, ou par le troisiéme Temps ; ou bien si elle a commencé par le second ou par le troisiéme, il n’y a qu’à la faire commencer par le premier, &c. & si cela se trouve au milieu de la Piece, il faut pour lors ajoûter ou retrancher une ou deux Nottes, selon le cas ; en observant encore que les Cadences se fassent sentir de deux en deux mesures, ou de quatre en quatre ; bien que l’on puisse transgresser cette derniere Regle, lorsque le bon goût nous le dicte, ou lorsque nous y sommes forcez par des paroles, sur lesquelles nous nous guidons pour lors.", "english": "Some people, mistrusting their ability, may fear they cannot compose a good bass. If they lack the natural taste that invents varied and consistently agreeable melodies, let them know that they cannot go wrong by moving the bass freely among all the notes of a key, preferring smaller intervals to larger ones—for instance, ascending a third rather than descending a sixth. Remember that the leading note requires the tonic next, except in the chromatic; that a final cadence must be heard before entering another key; and that one should proceed in that key much as in the first, then from key to key as explained in Chapters XIII, XIV, XV, XVI, XXIV, and XXV. Moreover, the note ending a perfect, interrupted, or irregular cadence must sound on the first beat of the measure, so compose the bass to observe this regularity. If the first cadence fails to do so and you do not wish to change the bass melody, simply begin it on a different beat. If it began on the first, start it on the second or third; if on the second or third, start it on the first, and so forth. If this happens in the middle of the piece, add or remove one or two notes as needed. Also make cadences perceptible every two or four measures, though this last rule may be broken when good taste dictates or when words compel us and must then guide us.", "sources": [ { "pdf_page": 323, "source_image": "source-pages/bnf-323.png", "printed_page": 291, "bbox_pixels": [ 419, 2827, 2171, 675 ], "crop_image": "assets/III.35-007.png" }, { "pdf_page": 324, "source_image": "source-pages/bnf-324.png", "printed_page": 292, "bbox_pixels": [ 419, 425, 2171, 1487 ], "crop_image": "assets/III.35-008.png" } ] }, { "id": "III.35-009", "type": "heading", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2013, "original": "ARTICLE SECOND.", "english": "ARTICLE TWO.", "sources": [ { "pdf_page": 324, "source_image": "source-pages/bnf-324.png", "printed_page": 292, "bbox_pixels": [ 419, 1908, 2171, 92 ], "crop_image": "assets/III.35-009.png" } ] }, { "id": "III.35-010", "type": "heading", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2014, "original": "De l’usage des Accords consonans & dissonans.", "english": "On the Use of Consonant and Dissonant Chords.", "sources": [ { "pdf_page": 324, "source_image": "source-pages/bnf-324.png", "printed_page": 292, "bbox_pixels": [ 419, 2041, 2171, 99 ], "crop_image": "assets/III.35-010.png" } ] }, { "id": "III.35-011", "type": "paragraph", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2015, "original": "L’Accord parfait doit servir pour commencer, pour finir, & pour toutes les Cadences qui se trouvent au milieu d’une Piece, il peut encore avoir lieu dans une Progression diatonique de la Basse, aussi-bien que ses dérivez, qui sont l’Accord de 6, & celui de 6-4, en remarquant que dans de pareilles Progressions, les Accords consonans & les dissonans sont entre-lassez. Voyez l’Exemple de l’Octave, Chapitre XI. & celui des 6ᵗᵉˢ, Chapitre XVI. Il faut faire ensorte que toutes les Dissonances soient preparées & sauvées selon les regles ; ce qui ne demande pas une grande attention, lorsque l’on possede parfaitement la suite des Accords. L’on sçait d’ailleurs qu’elles peuvent n’être pas preparées après l’Accord parfait de la Notte tonique seulement, sur elle ou sur ses dérivez ; pourvû que le Ton ne change pas, bien qu’il puisse changer, lorsque la Basse monte de 3, pour descendre ensuite de 5.", "english": "The perfect chord must serve for beginnings, endings, and all cadences within a piece. It may also occur in diatonic bass progression, as may its derivatives, the sixth and sixth–fourth chords. Observe that in such progressions consonant and dissonant chords are interwoven. See the octave example in Chapter XI and the sixths example in Chapter XVI. All dissonances must be prepared and resolved according to the rules; this needs little attention once chord succession is perfectly understood. We also know that dissonances may be unprepared only after the tonic’s perfect chord, on that note or on its derivatives, provided the key does not change—although it may change when the bass ascends a third and then descends a fifth.", "sources": [ { "pdf_page": 324, "source_image": "source-pages/bnf-324.png", "printed_page": 292, "bbox_pixels": [ 419, 2200, 2171, 1046 ], "crop_image": "assets/III.35-011.png" } ] }, { "id": "III.35-012", "type": "heading", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2016, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 325, "source_image": "source-pages/bnf-325.png", "printed_page": 293, "bbox_pixels": [ 419, 455, 2171, 90 ], "crop_image": "assets/III.35-012.png" } ] }, { "id": "III.35-013", "type": "music", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2017, "original": "Montée de Tierce puis descente de Quinte ; changemens de Ton A et B.", "english": "Rising third, then falling fifth; key changes A and B.", "sources": [ { "pdf_page": 325, "source_image": "source-pages/bnf-325.png", "printed_page": 293, "bbox_pixels": [ 307, 595, 2088, 363 ], "crop_image": "assets/III.35-013.png" } ], "original_title": "Montée de Tierce puis descente de Quinte ; changemens de Ton A et B.", "english_title": "Rising third, then falling fifth; key changes A and B.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.35-013" ], "music_asset_refs": [ "III.35-013" ] }, { "id": "III.35-014", "type": "annotation", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2018, "original": "[Note manuscrite : voyez le Suppl.]", "english": "[Manuscript note: see the Supplement.]", "sources": [ { "pdf_page": 325, "source_image": "source-pages/bnf-325.png", "printed_page": 293, "bbox_pixels": [ 2429, 584, 322, 183 ], "crop_image": "assets/III.35-014.png" } ] }, { "id": "III.35-015", "type": "paragraph", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2019, "original": "Lorsque la Basse monte de 3. pour descendre ensuite de 5, & que le Ton change, si le premier est majeur, celui où l’on passe est mineur A ; Ou au contraire, si le premier est mineur, celui où l’on passe est majeur B, les lignes qui traversent d’une Notte à l’autre ;", "english": "When the bass ascends a third and then descends a fifth, and the key changes, a first key that is major leads to a minor key, A; conversely, a first key that is minor leads to a major key, B. The lines passing from one note to another,", "sources": [ { "pdf_page": 325, "source_image": "source-pages/bnf-325.png", "printed_page": 293, "bbox_pixels": [ 312, 990, 2139, 314 ], "crop_image": "assets/III.35-015.png" } ] }, { "id": "III.35-016", "type": "image", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2020, "original": "Ainsi, [traits convergeant des deux Nottes de gauche vers celle de droite.]", "english": "thus, [lines converge from the two notes on the left toward the one on the right],", "sources": [ { "pdf_page": 325, "source_image": "source-pages/bnf-325.png", "printed_page": 293, "bbox_pixels": [ 312, 1315, 553, 273 ], "crop_image": "assets/III.35-016.png" } ], "original_title": "Progression du Dessus vers une Dissonance non préparée", "english_title": "Upper-part progression toward an unprepared dissonance", "asset_refs": [ "III.35-016" ] }, { "id": "III.35-017", "type": "paragraph", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2021, "original": "font voir que la Dissonance formée de la Notte qui est à la droite de la ligne, n’est point preparée, & la Progression que le Dessus doit tenir en ce cas.", "english": "show that the dissonance formed by the note to the right of the line is unprepared, and show the progression the upper part must follow in this case.", "sources": [ { "pdf_page": 325, "source_image": "source-pages/bnf-325.png", "printed_page": 293, "bbox_pixels": [ 869, 1366, 1582, 228 ], "crop_image": "assets/III.35-017.png" } ] }, { "id": "III.35-018", "type": "paragraph", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2022, "original": "L’on peut user à discretion du renversement de ces Progressions fondamentales.", "english": "One may freely use inversions of these fundamental progressions.", "sources": [ { "pdf_page": 325, "source_image": "source-pages/bnf-325.png", "printed_page": 293, "bbox_pixels": [ 312, 1594, 2139, 146 ], "crop_image": "assets/III.35-018.png" } ] }, { "id": "III.35-019", "type": "paragraph", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2023, "original": "Il ne faut point encore déranger l’ordre diatonique des Parties superieures, hors que ce ne soit pour rendre un Accord plus complet, ou pour remettre une Partie au-dessus de la Basse, ou dans sa portée naturelle ; & il faut éviter, en ce cas, de faire entendre deux Octaves ou deux Quintes de suite, excepté qu’elles ne soient renversées.", "english": "Do not yet disturb the diatonic order of the upper parts, except to make a chord more complete, to restore a part above the bass, or to bring it into its natural range. In these cases avoid two consecutive octaves or fifths, unless they are inverted.", "sources": [ { "pdf_page": 325, "source_image": "source-pages/bnf-325.png", "printed_page": 293, "bbox_pixels": [ 312, 1740, 2139, 445 ], "crop_image": "assets/III.35-019.png" } ] }, { "id": "III.35-020", "type": "paragraph", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2024, "original": "Les Parties qui montent ou qui descendent ensemble doivent être disposées par Tierce ou par Sixte, & le moins qu’il se peut par Quarte, jamais par Octave, ni par Quinte ; c’est à dire, que deux Parties quelconques qui feront Tierce ou Sixte ensemble, pourront les faire encore dans l’Accord suivant, & ainsi de suite.", "english": "Parts ascending or descending together must be arranged in thirds or sixths, in fourths as little as possible, and never in octaves or fifths. That is, any two parts forming a third or sixth together may do so again in the following chord, and so on.", "sources": [ { "pdf_page": 325, "source_image": "source-pages/bnf-325.png", "printed_page": 293, "bbox_pixels": [ 312, 2187, 2139, 367 ], "crop_image": "assets/III.35-020.png" } ] }, { "id": "III.35-021", "type": "paragraph", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2025, "original": "Quand une Partie monte ou descend diatoniquement, pendant qu’une autre procede par un Intervale consonant, cela est toûjours bon, en attendant une explication plus juste.", "english": "When one part ascends or descends diatonically while another moves by a consonant interval, this is always good, pending a more precise explanation.", "sources": [ { "pdf_page": 325, "source_image": "source-pages/bnf-325.png", "printed_page": 293, "bbox_pixels": [ 312, 2557, 2139, 230 ], "crop_image": "assets/III.35-021.png" } ] }, { "id": "III.35-022", "type": "paragraph", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2026, "original": "Souvenez-vous que la suite des Accords qui est contenuë dans un Ton, est la même dans tous les autres Tons, n’y ayant pour cela qu’à distinguer celui dans lequel on est, pour donner à chaque Notte l’Accord qui lui convient selon le rang qu’elle tient dans ce Ton ; puisque la seconde Notte, la Mediante, la Dominante, &c. tiennent toûjours le même rang dans chaque Ton, & portent toûjours le même Accord.", "english": "Remember that the chord succession contained in one key is the same in every other key. Simply identify the current key to give each note the chord suited to its rank there, since the second note, mediant, dominant, and so forth always occupy the same ranks and bear the same chords in every key.", "sources": [ { "pdf_page": 325, "source_image": "source-pages/bnf-325.png", "printed_page": 293, "bbox_pixels": [ 312, 2789, 2139, 516 ], "crop_image": "assets/III.35-022.png" } ] }, { "id": "III.35-023", "type": "heading", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2027, "original": "ARTICLE TROISIÉME.", "english": "ARTICLE THREE.", "sources": [ { "pdf_page": 326, "source_image": "source-pages/bnf-326.png", "printed_page": 294, "bbox_pixels": [ 419, 451, 2171, 97 ], "crop_image": "assets/III.35-023.png" } ] }, { "id": "III.35-024", "type": "heading", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2028, "original": "Des Dissonances majeures causées par la Notte sensible, & des Nottes sur lesquelles elles se font.", "english": "On Major Dissonances Caused by the Leading Note, and the Notes on Which They Occur.", "sources": [ { "pdf_page": 326, "source_image": "source-pages/bnf-326.png", "printed_page": 294, "bbox_pixels": [ 419, 593, 2171, 189 ], "crop_image": "assets/III.35-024.png" } ] }, { "id": "III.35-025", "type": "paragraph", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2029, "original": "1°. Le Tri-Ton ne se fait que sur la quatriéme Notte, lorsque cette Notte descend ensuite sur la Mediante ou sur la Notte tonique.", "english": "1. The tritone occurs only on the fourth note when that note then descends to the mediant or tonic.", "sources": [ { "pdf_page": 326, "source_image": "source-pages/bnf-326.png", "printed_page": 294, "bbox_pixels": [ 419, 825, 2171, 153 ], "crop_image": "assets/III.35-025.png" } ] }, { "id": "III.35-026", "type": "paragraph", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2030, "original": "2°. La fausse-Quinte ne se fait que sur la Notte sensible, lorsque cette Notte monte ensuite sur celle du Ton, ou quelquefois sur la Mediante.", "english": "2. The diminished fifth occurs only on the leading note when it then ascends to the tonic, or sometimes the mediant.", "sources": [ { "pdf_page": 326, "source_image": "source-pages/bnf-326.png", "printed_page": 294, "bbox_pixels": [ 419, 978, 2171, 217 ], "crop_image": "assets/III.35-026.png" } ] }, { "id": "III.35-027", "type": "paragraph", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2031, "original": "3°. La petite Sixte majeure ne se fait que sur la seconde Notte du Ton, & lorsque la Sixte est mineure, c’est ordinairement sur la sixiéme Notte.", "english": "3. The major small-sixth chord occurs only on the second note of the key; when its sixth is minor, it is ordinarily on the sixth note.", "sources": [ { "pdf_page": 326, "source_image": "source-pages/bnf-326.png", "printed_page": 294, "bbox_pixels": [ 419, 1201, 2171, 215 ], "crop_image": "assets/III.35-027.png" } ] }, { "id": "III.35-028", "type": "paragraph", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2032, "original": "4°. La Tierce majeure ne peut se rencontrer avec la Septiéme, formant ensemble un Intervale de Tri-Ton ou de fausse-Quinte, que sur la Dominante tonique. Ces quatre Dissonances sont les plus usitées.", "english": "4. The major third and seventh can occur together, forming a tritone or diminished fifth, only on the tonic dominant. These four dissonances are the most commonly used.", "sources": [ { "pdf_page": 326, "source_image": "source-pages/bnf-326.png", "printed_page": 294, "bbox_pixels": [ 419, 1427, 2171, 234 ], "crop_image": "assets/III.35-028.png" } ] }, { "id": "III.35-029", "type": "paragraph", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2033, "original": "5°. La septiéme superfluë ne se fait que sur la Notte tonique, qui reste sur le même degré, pour preparer & sauver cette Dissonance.", "english": "5. The augmented seventh occurs only on the tonic, which remains on the same degree to prepare and resolve this dissonance.", "sources": [ { "pdf_page": 326, "source_image": "source-pages/bnf-326.png", "printed_page": 294, "bbox_pixels": [ 419, 1661, 2171, 146 ], "crop_image": "assets/III.35-029.png" } ] }, { "id": "III.35-030", "type": "paragraph", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2034, "original": "6°. La cinquiéme superfluë ne se fait que sur la Mediante des Tons mineurs, comme il a été dit ailleurs.", "english": "6. The augmented fifth occurs only on the mediant of minor keys, as stated elsewhere.", "sources": [ { "pdf_page": 326, "source_image": "source-pages/bnf-326.png", "printed_page": 294, "bbox_pixels": [ 419, 1807, 2171, 146 ], "crop_image": "assets/III.35-030.png" } ] }, { "id": "III.35-031", "type": "paragraph", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2035, "original": "7°. La seconde superfluë ne se fait que sur la sixiéme Notte des Tons mineurs, & cette Notte doit descendre ensuite.", "english": "7. The augmented second occurs only on the sixth note of minor keys, and that note must then descend.", "sources": [ { "pdf_page": 326, "source_image": "source-pages/bnf-326.png", "printed_page": 294, "bbox_pixels": [ 419, 1955, 2171, 150 ], "crop_image": "assets/III.35-031.png" } ] }, { "id": "III.35-032", "type": "paragraph", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2036, "original": "8°. La septiéme diminuée ne se fait que sur la Notte sensible ; après quoi cette Notte doit monter.", "english": "8. The diminished seventh occurs only on the leading note, which must then ascend.", "sources": [ { "pdf_page": 326, "source_image": "source-pages/bnf-326.png", "printed_page": 294, "bbox_pixels": [ 419, 2105, 2171, 148 ], "crop_image": "assets/III.35-032.png" } ] }, { "id": "III.35-033", "type": "paragraph", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2037, "original": "9°. Les autres Dissonances dérivées de ces deux dernieres se font sur les mêmes Nottes, que celles dont l’Accord ne differe que de la Dominante à la sixiéme Notte, dans les Tons mineurs seulement.", "english": "9. Other dissonances derived from these last two occur on the same notes as those whose chords differ only by replacing the dominant with the sixth note, in minor keys alone.", "sources": [ { "pdf_page": 326, "source_image": "source-pages/bnf-326.png", "printed_page": 294, "bbox_pixels": [ 419, 2258, 2171, 226 ], "crop_image": "assets/III.35-033.png" } ] }, { "id": "III.35-034", "type": "heading", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2038, "original": "ARTICLE QUATRIÉME.", "english": "ARTICLE FOUR.", "sources": [ { "pdf_page": 326, "source_image": "source-pages/bnf-326.png", "printed_page": 294, "bbox_pixels": [ 419, 2552, 2171, 97 ], "crop_image": "assets/III.35-034.png" } ] }, { "id": "III.35-035", "type": "heading", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2039, "original": "Des Dissonances mineures.", "english": "On Minor Dissonances.", "sources": [ { "pdf_page": 326, "source_image": "source-pages/bnf-326.png", "printed_page": 294, "bbox_pixels": [ 419, 2696, 2171, 101 ], "crop_image": "assets/III.35-035.png" } ] }, { "id": "III.35-036", "type": "paragraph", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2040, "original": "1°. La onziéme heteroclite, dite Quarte, peut se faire sur toutes les Nottes qui doivent porter des Accords parfaits ou de Septiéme, pourvû que ceux-ci suivent immediatement après, en exceptant de cette Regle la premiere & la derniere Notte d’une Piece ; & de cette maniere, elle se trouvera toûjours préparée, en remarquant deux choses.", "english": "1. The heteroclite eleventh, called the fourth, may occur on any note requiring a perfect or seventh chord, provided that chord follows immediately. Exclude the first and last notes of a piece from this rule. In this way it will always be prepared, observing two things.", "sources": [ { "pdf_page": 326, "source_image": "source-pages/bnf-326.png", "printed_page": 294, "bbox_pixels": [ 419, 2857, 2171, 455 ], "crop_image": "assets/III.35-036.png" } ] }, { "id": "III.35-037", "type": "paragraph", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2041, "original": "La premiere, que si l’on tombe sur un Accord parfait après l’un de ses dérivez, ces deux Accords n’étant qu’un même, la Onziéme ne peut y être entenduë.", "english": "First, if a perfect chord follows one of its derivatives, the two being the same chord, the eleventh cannot be sounded there.", "sources": [ { "pdf_page": 326, "source_image": "source-pages/bnf-326.png", "printed_page": 294, "bbox_pixels": [ 419, 3313, 2171, 230 ], "crop_image": "assets/III.35-037.png" } ] }, { "id": "III.35-038", "type": "paragraph", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2042, "original": "La seconde est, de donner toûjours la Sixte à la Notte qui monte de Tierce sur celle où l’on veut faire cette Onziéme.", "english": "Second, always give the sixth to the note ascending a third to the note on which the eleventh is desired.", "sources": [ { "pdf_page": 327, "source_image": "source-pages/bnf-327.png", "printed_page": 295, "bbox_pixels": [ 419, 397, 2171, 155 ], "crop_image": "assets/III.35-038.png" } ] }, { "id": "III.35-039", "type": "paragraph", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2043, "original": "2°. La Septiéme où la Dissonance majeure ne se fait point entendre, aime à être preparée par l’Octave, par la Quinte, par la Sixte, par la Tierce ou par la Sixte, & même par la Quarte ; Consonance provenant de l’Accord de Sixte-Quarte d’une Dominante tonique, selon les differentes progressions de la Basse.", "english": "2. A seventh without the major dissonance prefers to be prepared by the octave, fifth, sixth, third, or sixth, and even by the fourth, a consonance arising from a tonic dominant’s sixth–fourth chord, according to the different bass progressions.", "sources": [ { "pdf_page": 327, "source_image": "source-pages/bnf-327.png", "printed_page": 295, "bbox_pixels": [ 419, 554, 2171, 372 ], "crop_image": "assets/III.35-039.png" } ] }, { "id": "III.35-040", "type": "paragraph", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2044, "original": "3°. La Neuviéme doit être toûjours preparée par la Tierce ou par la Quinte, selon la differente progression de la Basse ; elle peut l’être encore par la fausse-Quinte.", "english": "3. The ninth must always be prepared by the third or fifth, according to the bass progression; it may also be prepared by the diminished fifth.", "sources": [ { "pdf_page": 327, "source_image": "source-pages/bnf-327.png", "printed_page": 295, "bbox_pixels": [ 419, 930, 2171, 221 ], "crop_image": "assets/III.35-040.png" } ] }, { "id": "III.35-041", "type": "paragraph", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2045, "original": "4°. La Onziéme doit l’être aussi par la Quinte, & quelquefois par la Septiéme, mais rarement ; quand elle est heteroclite, elle peut l’être par toutes les Consonances, & encore par la Septiéme & par la fausse-Quinte.", "english": "4. The eleventh must likewise be prepared by the fifth, and sometimes, though rarely, by the seventh. When heteroclite, it may be prepared by any consonance, and also by the seventh or diminished fifth.", "sources": [ { "pdf_page": 327, "source_image": "source-pages/bnf-327.png", "printed_page": 295, "bbox_pixels": [ 419, 1156, 2171, 292 ], "crop_image": "assets/III.35-041.png" } ] }, { "id": "III.35-042", "type": "paragraph", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2046, "original": "5°. La Seconde qui est preparée dans la Basse, peut être précedée dans le Dessus, d’une Consonance quelconque, pendant que la Basse tient & reste sur le même degré. Au reste, toutes les Dissonances doivent être sauvées, comme il a été dit.", "english": "5. The second, prepared in the bass, may be preceded in the upper part by any consonance while the bass holds on the same degree. All dissonances must, moreover, be resolved as already described.", "sources": [ { "pdf_page": 327, "source_image": "source-pages/bnf-327.png", "printed_page": 295, "bbox_pixels": [ 419, 1452, 2171, 292 ], "crop_image": "assets/III.35-042.png" } ] }, { "id": "III.35-043", "type": "paragraph", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2047, "original": "L’on peut retrancher de tous les Accords dissonans l’un des deux Sons qui forment ensemble la Dissonance, & n’y faire que l’Accord parfait, ou l’un de ses dérivez.", "english": "From any dissonant chord, one may omit one of the two sounds forming the dissonance together, leaving only the perfect chord or one of its derivatives.", "sources": [ { "pdf_page": 327, "source_image": "source-pages/bnf-327.png", "printed_page": 295, "bbox_pixels": [ 419, 1747, 2171, 234 ], "crop_image": "assets/III.35-043.png" } ] }, { "id": "III.35-044", "type": "heading", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2048, "original": "ARTICLE CINQUIÉME.", "english": "ARTICLE FIVE.", "sources": [ { "pdf_page": 327, "source_image": "source-pages/bnf-327.png", "printed_page": 295, "bbox_pixels": [ 419, 2037, 2171, 95 ], "crop_image": "assets/III.35-044.png" } ] }, { "id": "III.35-045", "type": "heading", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2049, "original": "Des Consonances qui doivent être preferées, lorsqu’il s’agit de les doubler.", "english": "On Which Consonances to Prefer When Doubling Them.", "sources": [ { "pdf_page": 327, "source_image": "source-pages/bnf-327.png", "printed_page": 295, "bbox_pixels": [ 419, 2174, 2171, 172 ], "crop_image": "assets/III.35-045.png" } ] }, { "id": "III.35-046", "type": "paragraph", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2050, "original": "Il n’y a qu’à compter les Consonances par ordre, ainsi l’Octave, la Quinte, la Quarte, la Tierce & la Sixte, pour sçavoir distinguer que l’on doit preferer l’Octave à la Quinte, & ainsi de suite ; en remarquant que l’Octave est déja une replique, & que dans l’Accord consonant de la Sixte, l’Octave de la Tierce ou de la Sixte est aussi bonne que celle de la Basse.", "english": "Simply count the consonances in order—octave, fifth, fourth, third, sixth—to know that the octave should be preferred to the fifth, and so on. Observe that the octave is already a duplication, and in the consonant sixth chord, an octave doubling of the third or sixth is as good as one of the bass.", "sources": [ { "pdf_page": 327, "source_image": "source-pages/bnf-327.png", "printed_page": 295, "bbox_pixels": [ 419, 2402, 2171, 451 ], "crop_image": "assets/III.35-046.png" } ] }, { "id": "III.35-047", "type": "heading", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2051, "original": "ARTICLE SIXIÉME.", "english": "ARTICLE SIX.", "sources": [ { "pdf_page": 327, "source_image": "source-pages/bnf-327.png", "printed_page": 295, "bbox_pixels": [ 419, 2930, 2171, 90 ], "crop_image": "assets/III.35-047.png" } ] }, { "id": "III.35-048", "type": "heading", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2052, "original": "De la Mesure & du Temps.", "english": "On Meter and Beat.", "sources": [ { "pdf_page": 327, "source_image": "source-pages/bnf-327.png", "printed_page": 295, "bbox_pixels": [ 419, 3068, 2171, 103 ], "crop_image": "assets/III.35-048.png" } ] }, { "id": "III.35-049", "type": "paragraph", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2053, "original": "Une Musique sans mouvement perd toute sa grace, on ne peut même inventer de beaux Chants sans ce mouvement ; il ne faut donc pas seulement s’attacher à faire des Accords, il faut de plus que le Chant des Parties, dont ces Accords sont composez, ait un certain mouvement où l’on puisse distinguer une Cesure, une Section, une Cadence, une Syllabe longue d’une breve, & les Temps où la Dissonance doit être employée ; le tout devant se faire sentir dans le premier instant du premier Temps d’une Mesure. Voyez le premier Chap. & dans le second Livre, les Chap. XXVI. XXVII. XXVIII. & XXIX.", "english": "Music without rhythmic movement loses all its grace; without it, one cannot even invent beautiful melodies. Therefore do not merely concern yourself with making chords. The melodies of the parts composing them must also have a certain movement in which one can distinguish a caesura, a section, a cadence, a long syllable from a short one, and the beats on which dissonance must be used. All this must be felt at the very beginning of a measure’s first beat. See Chapter I, and Book II, Chapters XXVI, XXVII, XXVIII, and XXIX.", "sources": [ { "pdf_page": 327, "source_image": "source-pages/bnf-327.png", "printed_page": 295, "bbox_pixels": [ 419, 3223, 2171, 333 ], "crop_image": "assets/III.35-049.png" }, { "pdf_page": 328, "source_image": "source-pages/bnf-328.png", "printed_page": 296, "bbox_pixels": [ 419, 382, 2171, 438 ], "crop_image": "assets/III.35-050.png" } ] }, { "id": "III.35-051", "type": "heading", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2054, "original": "ARTICLE SEPTIÉME.", "english": "ARTICLE SEVEN.", "sources": [ { "pdf_page": 328, "source_image": "source-pages/bnf-328.png", "printed_page": 296, "bbox_pixels": [ 419, 823, 2171, 92 ], "crop_image": "assets/III.35-051.png" } ] }, { "id": "III.35-052", "type": "heading", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2055, "original": "De la Syncope.", "english": "On Syncopation.", "sources": [ { "pdf_page": 328, "source_image": "source-pages/bnf-328.png", "printed_page": 296, "bbox_pixels": [ 419, 971, 2171, 95 ], "crop_image": "assets/III.35-052.png" } ] }, { "id": "III.35-053", "type": "paragraph", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2056, "original": "Pour suivre l’ordre naturel de la Mesure, il faut que la valeur de chaque Notte commence & finisse dans l’espace de chaque Temps. Cependant une Notte qui aura commencé dans le premier instant du Temps bon, pourra rester sur le même degré autant de temps que le goût le permettra, que le Son en soit permanent, ou non ; mais dès qu’une Notte commence dans un autre temps, & que la moitié de sa valeur se fait entendre dans le Temps bon suivant, cela heurte l’oreille, & l’on dit pour lors qu’elle est syncopée. Or cette Notte syncopée peut se distinguer de quatre façons.", "english": "To follow the natural order of meter, each note’s duration must begin and end within the span of a beat. Nevertheless, a note beginning at the first instant of a strong beat may remain on the same degree as long as taste allows, whether its sound is sustained or not. But when a note begins on another beat and half its duration is heard in the following strong beat, this strikes against the ear, and the note is called syncopated. Such a note can be distinguished in four ways.", "sources": [ { "pdf_page": 328, "source_image": "source-pages/bnf-328.png", "printed_page": 296, "bbox_pixels": [ 419, 1126, 2171, 685 ], "crop_image": "assets/III.35-053.png" } ] }, { "id": "III.35-054", "type": "paragraph", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2057, "original": "La premiere, lorsque la Notte se trouve partagée en deux valeurs égales par la barre qui separe les Mesures ; Ainsi.", "english": "First, when the barline dividing measures splits a note into two equal durations, thus:", "sources": [ { "pdf_page": 328, "source_image": "source-pages/bnf-328.png", "printed_page": 296, "bbox_pixels": [ 419, 1809, 2171, 157 ], "crop_image": "assets/III.35-054.png" } ] }, { "id": "III.35-055", "type": "music", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2058, "original": "Premiere façon de syncope ; mesures à 2, 4 et 3.", "english": "First form of syncopation; meters in 2, 4, and 3.", "sources": [ { "pdf_page": 328, "source_image": "source-pages/bnf-328.png", "printed_page": 296, "bbox_pixels": [ 432, 2017, 2135, 324 ], "crop_image": "assets/III.35-055.png" } ], "original_title": "Premiere façon de syncope ; mesures à 2, 4 et 3.", "english_title": "First form of syncopation; meters in 2, 4, and 3.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.35-055" ], "music_asset_refs": [ "III.35-055" ] }, { "id": "III.35-056", "type": "paragraph", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2059, "original": "La seconde, lorsque deux Nottes d’une égale valeur qui se suivent en même degré sont liées par un demi cercle fait ainsi, [arc supérieur] ou ainsi [arc inférieur] ; ce qui marque que le Son de ces deux Nottes doit être permanent.", "english": "Second, when two successive notes of equal duration on the same degree are joined by a semicircle shaped thus [upper arc] or thus [lower arc]. This indicates that their sound must remain continuous.", "sources": [ { "pdf_page": 328, "source_image": "source-pages/bnf-328.png", "printed_page": 296, "bbox_pixels": [ 419, 2380, 2171, 301 ], "crop_image": "assets/III.35-056.png" } ] }, { "id": "III.35-057", "type": "heading", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2060, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 328, "source_image": "source-pages/bnf-328.png", "printed_page": 296, "bbox_pixels": [ 419, 2683, 2171, 90 ], "crop_image": "assets/III.35-057.png" } ] }, { "id": "III.35-058", "type": "music", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2061, "original": "Seconde façon de syncope ; Nottes liées.", "english": "Second form of syncopation; tied notes.", "sources": [ { "pdf_page": 328, "source_image": "source-pages/bnf-328.png", "printed_page": 296, "bbox_pixels": [ 432, 2823, 2126, 312 ], "crop_image": "assets/III.35-058.png" } ], "original_title": "Seconde façon de syncope ; Nottes liées.", "english_title": "Second form of syncopation; tied notes.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.35-058" ], "music_asset_refs": [ "III.35-058" ] }, { "id": "III.35-059", "type": "paragraph", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2062, "original": "La troisiéme, lorsqu’une Notte est précedée d’une autre qui ne vaut que la moitié du premier Temps, ou lorsqu’elle est précedée d’un caractere qui marque un silence de pareille valeur ; supposé que cette Notte précedée ainsi, anticipe dans le Temps suivant.", "english": "Third, when a note is preceded by another worth only half the first beat, or by a rest of that same value, provided the note so preceded extends into the following beat.", "sources": [ { "pdf_page": 328, "source_image": "source-pages/bnf-328.png", "printed_page": 296, "bbox_pixels": [ 419, 3128, 2171, 312 ], "crop_image": "assets/III.35-059.png" } ] }, { "id": "III.35-060", "type": "heading", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2063, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 329, "source_image": "source-pages/bnf-329.png", "printed_page": 297, "bbox_pixels": [ 419, 434, 2171, 90 ], "crop_image": "assets/III.35-060.png" } ] }, { "id": "III.35-061", "type": "music", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2064, "original": "Troisiéme façon de syncope ; Nottes A, B, C, D, F, G, H et J.", "english": "Third form of syncopation; notes A, B, C, D, F, G, H, and J.", "sources": [ { "pdf_page": 329, "source_image": "source-pages/bnf-329.png", "printed_page": 297, "bbox_pixels": [ 430, 580, 2131, 307 ], "crop_image": "assets/III.35-061.png" } ], "original_title": "Troisiéme façon de syncope ; Nottes A, B, C, D, F, G, H et J.", "english_title": "Third form of syncopation; notes A, B, C, D, F, G, H, and J.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.35-061" ], "music_asset_refs": [ "III.35-061" ] }, { "id": "III.35-062", "type": "paragraph", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2065, "original": "Les Nottes A. B. C. D. F. G. H. & J. sont syncopées.", "english": "Notes A, B, C, D, F, G, H, and J are syncopated.", "sources": [ { "pdf_page": 329, "source_image": "source-pages/bnf-329.png", "printed_page": 297, "bbox_pixels": [ 419, 894, 2171, 73 ], "crop_image": "assets/III.35-062.png" } ] }, { "id": "III.35-063", "type": "paragraph", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2066, "original": "La quatriéme, lorsqu’on fait repeter deux Nottes en même degré, dont la valeur est égale, & dont la premiere frape dans le Temps mauvais, & la seconde dans le Temps bon, au lieu de les lier, soit pour l’application des paroles, soit pour rendre l’Air plus vif ou plus gay.", "english": "Fourth, when two notes of equal value on the same degree are repeated rather than tied, the first striking on a weak beat and the second on a strong beat, either to accommodate words or to make the air more lively or cheerful.", "sources": [ { "pdf_page": 329, "source_image": "source-pages/bnf-329.png", "printed_page": 297, "bbox_pixels": [ 419, 1027, 2171, 376 ], "crop_image": "assets/III.35-063.png" } ] }, { "id": "III.35-064", "type": "heading", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2067, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 329, "source_image": "source-pages/bnf-329.png", "printed_page": 297, "bbox_pixels": [ 419, 1399, 2171, 88 ], "crop_image": "assets/III.35-064.png" } ] }, { "id": "III.35-065", "type": "music", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2068, "original": "Quatriéme façon de syncope ; Nottes répétées.", "english": "Fourth form of syncopation; repeated notes.", "sources": [ { "pdf_page": 329, "source_image": "source-pages/bnf-329.png", "printed_page": 297, "bbox_pixels": [ 430, 1510, 2128, 279 ], "crop_image": "assets/III.35-065.png" } ], "original_title": "Quatriéme façon de syncope ; Nottes répétées.", "english_title": "Fourth form of syncopation; repeated notes.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.35-065" ], "music_asset_refs": [ "III.35-065" ] }, { "id": "III.35-066", "type": "paragraph", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2069, "original": "Pour qu’une Notte soit syncopée, il faut non seulement qu’elle commence dans un Temps mauvais, ou dans la seconde moitié du premier Temps ; mais il faut encore que sa valeur puisse se partager en deux parties égales, dont l’une frape dans le premier Temps, & l’autre dans le Temps suivant ; & au lieu de ne se servir que d’une Notte pour la syncope, l’on peut en prendre deux, dont chacune represente la moitié de cette Notte syncopée, pouvant les faire repeter, ou en rendre le Son permanent, en les liant avec le demi cercle ; ce qui fait qu’elles ne s’expriment pour lors que comme une Notte, dont la valeur égaleroit celle de ces deux Nottes.", "english": "For a note to be syncopated, it must not only begin on a weak beat or in the second half of the first beat; its duration must also divide into two equal parts, one sounding in the first beat and the other in the following beat. Instead of one syncopated note, two may be used, each representing half its value. They may be repeated, or their sound sustained by joining them with the semicircle, in which case they are performed as a single note whose duration equals their combined values.", "sources": [ { "pdf_page": 329, "source_image": "source-pages/bnf-329.png", "printed_page": 297, "bbox_pixels": [ 419, 1826, 2171, 746 ], "crop_image": "assets/III.35-066.png" } ] }, { "id": "III.35-067", "type": "paragraph", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2070, "original": "On doit laisser au Compositeur la liberté de se servir de ces differentes manieres de syncoper ; (c’est le sentiment des plus habiles Maîtres,) elles sont également en usage dans l’Harmonie & dans la Melodie ; dans l’Harmonie pour faire entendre les Dissonances preparées ; & dans la Melodie pour rendre le Chant plus expressif, sans changer l’espece de l’Intervale entendu dans l’une & dans l’autre Notte de la syncope, ou dans la même Notte syncopée.", "english": "Composers should be free to use these different ways of syncopating; this is the opinion of the most skilled masters. They are equally used in harmony and melody: in harmony to sound prepared dissonances, and in melody to make the line more expressive without changing the kind of interval heard in the two notes of the syncopation or in the single syncopated note.", "sources": [ { "pdf_page": 329, "source_image": "source-pages/bnf-329.png", "printed_page": 297, "bbox_pixels": [ 419, 2574, 2171, 529 ], "crop_image": "assets/III.35-067.png" } ] }, { "id": "III.35-068", "type": "heading", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2071, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 330, "source_image": "source-pages/bnf-330.png", "printed_page": 298, "bbox_pixels": [ 419, 421, 2171, 88 ], "alternate_image": "source-pages/alternate/bne-334-native.png", "crop_image": "assets/III.35-068.png" } ] }, { "id": "III.35-069", "type": "music", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2072, "original": "Syncope dans l’Harmonie et dans la Melodie.", "english": "Syncopation in harmony and melody.", "sources": [ { "pdf_page": 330, "source_image": "source-pages/bnf-330.png", "printed_page": 298, "bbox_pixels": [ 441, 556, 2141, 1317 ], "alternate_image": "source-pages/alternate/bne-334-native.png", "crop_image": "assets/III.35-069.png" } ], "original_title": "Syncope dans l’Harmonie et dans la Melodie.", "english_title": "Syncopation in harmony and melody.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.35-069" ], "music_asset_refs": [ "III.35-069" ] }, { "id": "III.35-070", "type": "paragraph", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2073, "original": "Les chiffres qui ne marquent que des Consonances, ainsi 3. 6. &c. font voir que la Syncope n’est employée que pour le goût du Chant ; & ceux qui marquent une Dissonance après la Consonance, font voir que cette Syncope sert à l’Harmonie.", "english": "Figures indicating only consonances, such as 3, 6, and so forth, show that syncopation serves only melodic taste. Those indicating a dissonance after a consonance show that the syncopation serves harmony.", "sources": [ { "pdf_page": 330, "source_image": "source-pages/bnf-330.png", "printed_page": 298, "bbox_pixels": [ 419, 1897, 2171, 286 ], "alternate_image": "source-pages/alternate/bne-334-native.png", "crop_image": "assets/III.35-070.png" } ] }, { "id": "III.35-071", "type": "paragraph", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2074, "original": "L’on peut faire syncoper la Basse de même que le Dessus, ensemble ou separément quant à la Melodie ; mais quant à l’Harmonie cette Basse ne peut syncoper que dans les Accords de 2, ou de 4♯, ou encore de septiéme-superfluë.", "english": "The bass may be syncopated like the upper part, together or separately for melodic purposes. For harmonic purposes, however, the bass can be syncopated only in chords of 2, 4♯, or the augmented seventh.", "sources": [ { "pdf_page": 330, "source_image": "source-pages/bnf-330.png", "printed_page": 298, "bbox_pixels": [ 419, 2187, 2171, 303 ], "alternate_image": "source-pages/alternate/bne-334-native.png", "crop_image": "assets/III.35-071.png" } ] }, { "id": "III.35-072", "type": "paragraph", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2075, "original": "Pour que la Syncope soit observée exactement dans l’Harmonie, il faut que la valeur de la Consonance qui prepare & qui sauve, & que la Dissonance preparée soit égale, autant que cela se peut, ceci ne souffrant d’exceptions que dans la mesure à trois Temps, où il se trouve deux Temps mauvais ; de sorte que la Consonance qui prepare ou qui sauve peut contenir, en ce cas, le double ou la moitié de la valeur de la Dissonance preparée.", "english": "For strict harmonic syncopation, the preparing consonance, the resolving consonance, and the prepared dissonance must have equal durations as far as possible. Exceptions occur only in triple meter, which has two weak beats; there the preparing or resolving consonance may be twice or half the duration of the prepared dissonance.", "sources": [ { "pdf_page": 330, "source_image": "source-pages/bnf-330.png", "printed_page": 298, "bbox_pixels": [ 419, 2486, 2171, 516 ], "alternate_image": "source-pages/alternate/bne-334-native.png", "crop_image": "assets/III.35-072.png" } ] }, { "id": "III.35-073", "type": "paragraph", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2076, "original": "Lorsqu’il se trouve plusieurs Dissonances de suite, il n’y a que la premiere qui puisse s’assujettir à la regle d’être preparée dans les Temps mauvais, & d’être entenduë dans le bon.", "english": "When several dissonances follow one another, only the first can obey the rule of being prepared on a weak beat and heard on a strong beat.", "sources": [ { "pdf_page": 330, "source_image": "source-pages/bnf-330.png", "printed_page": 298, "bbox_pixels": [ 419, 3010, 2171, 232 ], "alternate_image": "source-pages/alternate/bne-334-native.png", "crop_image": "assets/III.35-073.png" } ] }, { "id": "III.35-074", "type": "paragraph", "section": "III.35", "lesson": 79, "exercise": 79, "reading_order": 2077, "original": "Dés qu’une Dissonance ne peut être preparée, la Syncope n’y a plus de part ; mais il faut y observer, autant que cela se peut, une Progression diatonique depuis la Consonance qui précede la Dissonance jusqu’à la Consonance qui sauve, & une égalité de valeur dans chacune des Nottes qui les forment, bien que cette égalité ne soit pas si necessaire ici que dans la Syncope ; & que la Progression diatonique de la Consonance qui passe à la Dissonance non preparée ne doive pas servir de regle generale, sur tout à l’égard de la Septiéme, de la fausse-Quinte, & de toutes les Dissonances majeures.", "english": "As soon as a dissonance cannot be prepared, syncopation no longer has a role. But one should preserve, as far as possible, diatonic movement from the consonance preceding the dissonance to the consonance resolving it, with equal values for the notes involved. This equality is less necessary here than in syncopation, and diatonic movement from a consonance to an unprepared dissonance must not be made a general rule, especially for the seventh, diminished fifth, and all major dissonances.", "sources": [ { "pdf_page": 330, "source_image": "source-pages/bnf-330.png", "printed_page": 298, "bbox_pixels": [ 419, 3238, 2171, 309 ], "alternate_image": "source-pages/alternate/bne-334-native.png", "crop_image": "assets/III.35-074.png" }, { "pdf_page": 331, "source_image": "source-pages/bnf-331.png", "printed_page": 299, "bbox_pixels": [ 419, 387, 2171, 378 ], "crop_image": "assets/III.35-075.png" } ] }, { "id": "III.36-001", "type": "heading", "section": "III.36", "lesson": 80, "exercise": 80, "reading_order": 2078, "original": "CHAPITRE TRENTE-SIXIÉME.", "english": "CHAPTER THIRTY-SIX.", "sources": [ { "pdf_page": 331, "source_image": "source-pages/bnf-331.png", "printed_page": 299, "bbox_pixels": [ 405, 905, 2165, 150 ], "crop_image": "assets/III.36-001.png" } ], "correction_refs": [ "supplement-257" ] }, { "id": "III.36-002", "type": "heading", "section": "III.36", "lesson": 80, "exercise": 80, "reading_order": 2079, "original": "De la Composition à deux Parties.", "english": "On Two-Part Composition.", "sources": [ { "pdf_page": 331, "source_image": "source-pages/bnf-331.png", "printed_page": 299, "bbox_pixels": [ 405, 1049, 2165, 150 ], "crop_image": "assets/III.36-002.png" } ] }, { "id": "III.36-003", "type": "paragraph", "section": "III.36", "lesson": 80, "exercise": 80, "reading_order": 2080, "original": "MOins il y a de Parties dans une Piece de Musique, plus les Regles en sont rigoureuses ; de sorte que certaines Licences permises dans les quatre Parties peuvent devenir fautes, lorsqu’on diminuë le nombre de ces Parties.", "english": "The fewer parts a piece of music contains, the stricter its rules become. Certain licenses allowed in four parts may therefore become faults when the number of parts is reduced.", "sources": [ { "pdf_page": 331, "source_image": "source-pages/bnf-331.png", "printed_page": 299, "bbox_pixels": [ 405, 1199, 2165, 313 ], "crop_image": "assets/III.36-003.png" } ] }, { "id": "III.36-004", "type": "paragraph", "section": "III.36", "lesson": 80, "exercise": 80, "reading_order": 2081, "original": "1°. Il faut distinguer à present les Consonances en parfaites & en imparfaites.", "english": "1. We must now distinguish perfect from imperfect consonances.", "sources": [ { "pdf_page": 331, "source_image": "source-pages/bnf-331.png", "printed_page": 299, "bbox_pixels": [ 405, 1512, 2165, 150 ], "crop_image": "assets/III.36-004.png" } ] }, { "id": "III.36-005", "type": "paragraph", "section": "III.36", "lesson": 80, "exercise": 80, "reading_order": 2082, "original": "Les parfaites sont l’Octave & la Quinte, n’étant pas permis ici de faire deux Octaves ni deux Quintes de suite, quand même elles seroient renversées.", "english": "The perfect consonances are the octave and fifth. Here two consecutive octaves or fifths are forbidden, even when inverted.", "sources": [ { "pdf_page": 331, "source_image": "source-pages/bnf-331.png", "printed_page": 299, "bbox_pixels": [ 405, 1662, 2165, 218 ], "crop_image": "assets/III.36-005.png" } ] }, { "id": "III.36-006", "type": "paragraph", "section": "III.36", "lesson": 80, "exercise": 80, "reading_order": 2083, "original": "La Quarte est aussi une Consonance parfaite ; mais comme elle ne convient gueres dans une composition à deux, nous nous contenterons de prescrire la maniere dont elle doit y être employée.", "english": "The fourth is also a perfect consonance; but as it is little suited to two-part composition, we shall merely prescribe how it should be used there.", "sources": [ { "pdf_page": 331, "source_image": "source-pages/bnf-331.png", "printed_page": 299, "bbox_pixels": [ 405, 1880, 2165, 232 ], "crop_image": "assets/III.36-006.png" } ] }, { "id": "III.36-007", "type": "paragraph", "section": "III.36", "lesson": 80, "exercise": 80, "reading_order": 2084, "original": "Les imparfaites sont la Tierce & la Sixte, pouvant en faire plusieurs de suite, & les entremêler, sans craindre de manquer ; pourvû qu’on ne s’écarte pas de la bonne Modulation.", "english": "The imperfect consonances are the third and sixth. Several may follow one another and be intermingled without fear of error, provided good modulation is maintained.", "sources": [ { "pdf_page": 331, "source_image": "source-pages/bnf-331.png", "printed_page": 299, "bbox_pixels": [ 405, 2112, 2165, 218 ], "crop_image": "assets/III.36-007.png" } ] }, { "id": "III.36-008", "type": "paragraph", "section": "III.36", "lesson": 80, "exercise": 80, "reading_order": 2085, "original": "Quand on passe d’une Tierce à une Sixte, ou d’une Sixte à une Tierce, & que la progression des Parties est consonante, il faut faire ensorte qu’elle soit contraire ou renversée ; c’est à dire, que l’une monte, pendant que l’autre descend.", "english": "When passing from a third to a sixth or from a sixth to a third, if the parts move by consonant intervals, their motion must be contrary or inverted: one ascends while the other descends.", "sources": [ { "pdf_page": 331, "source_image": "source-pages/bnf-331.png", "printed_page": 299, "bbox_pixels": [ 405, 2329, 2165, 300 ], "crop_image": "assets/III.36-008.png" } ] }, { "id": "III.36-009", "type": "paragraph", "section": "III.36", "lesson": 80, "exercise": 80, "reading_order": 2086, "original": "Il est bon de passer, autant que l’on peut, d’une Consonance parfaite à une imparfaite, & de celle-ci à l’autre.", "english": "As far as possible, it is good to pass from a perfect consonance to an imperfect one and back again.", "sources": [ { "pdf_page": 331, "source_image": "source-pages/bnf-331.png", "printed_page": 299, "bbox_pixels": [ 405, 2629, 2165, 150 ], "crop_image": "assets/III.36-009.png" } ] }, { "id": "III.36-010", "type": "paragraph", "section": "III.36", "lesson": 80, "exercise": 80, "reading_order": 2087, "original": "L’on ne peut gueres passer d’une Consonance parfaite à une autre, ou à une imparfaite, ou encore de celle-ci à une parfaite, que lorsqu’une Partie procéde diatoniquement, pendant que l’autre fait un Intervale consonant ; & il est bon même que la progression des Parties soit contraire en ce cas.", "english": "One can scarcely pass from a perfect consonance to another, or to an imperfect one, or from an imperfect to a perfect one, unless one part moves diatonically while the other moves by a consonant interval. Even then, contrary motion is advisable.", "sources": [ { "pdf_page": 331, "source_image": "source-pages/bnf-331.png", "printed_page": 299, "bbox_pixels": [ 405, 2779, 2165, 381 ], "crop_image": "assets/III.36-010.png" } ] }, { "id": "III.36-011", "type": "heading", "section": "III.36", "lesson": 80, "exercise": 80, "reading_order": 2088, "original": "EXEMPLE. De la suite des Consonances parfaites.", "english": "EXAMPLE. Succession of Perfect Consonances.", "sources": [ { "pdf_page": 332, "source_image": "source-pages/bnf-332.png", "printed_page": 300, "bbox_pixels": [ 405, 463, 2165, 150 ], "crop_image": "assets/III.36-011.png" } ] }, { "id": "III.36-012", "type": "music", "section": "III.36", "lesson": 80, "exercise": 80, "reading_order": 2089, "original": "De la suite des Consonances parfaites", "english": "Succession of perfect consonances", "sources": [ { "pdf_page": 332, "source_image": "source-pages/bnf-332.png", "printed_page": 300, "bbox_pixels": [ 405, 668, 2165, 668 ], "crop_image": "assets/III.36-012.png" } ], "original_title": "De la suite des Consonances parfaites", "english_title": "Succession of perfect consonances", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.36-012" ], "music_asset_refs": [ "III.36-012" ] }, { "id": "III.36-013", "type": "paragraph", "section": "III.36", "lesson": 80, "exercise": 80, "reading_order": 2090, "original": "Toute autre Progression de deux Consonances parfaites de suite, ne vaut rien.", "english": "Any other progression of two successive perfect consonances is worthless.", "sources": [ { "pdf_page": 332, "source_image": "source-pages/bnf-332.png", "printed_page": 300, "bbox_pixels": [ 405, 1335, 2165, 95 ], "crop_image": "assets/III.36-013.png" } ] }, { "id": "III.36-014", "type": "paragraph", "section": "III.36", "lesson": 80, "exercise": 80, "reading_order": 2091, "original": "Les mesures marquées d’un A, se ressemblent, aussi-bien que celles qui sont marquées d’un B.", "english": "The measures marked A resemble one another, as do those marked B.", "sources": [ { "pdf_page": 332, "source_image": "source-pages/bnf-332.png", "printed_page": 300, "bbox_pixels": [ 405, 1444, 2165, 163 ], "crop_image": "assets/III.36-014.png" } ] }, { "id": "III.36-015", "type": "paragraph", "section": "III.36", "lesson": 80, "exercise": 80, "reading_order": 2092, "original": "2°. L’on peut faire passer une Partie par autant d’Intervales consonans que l’on veut, pendant que l’autre reste sur le même degré ; bien entendu que les deux Parties s’accorderont toûjours ensemble.", "english": "2. One part may pass through as many consonant intervals as desired while the other remains on the same degree, provided, of course, that the parts always agree harmonically.", "sources": [ { "pdf_page": 332, "source_image": "source-pages/bnf-332.png", "printed_page": 300, "bbox_pixels": [ 405, 1607, 2165, 286 ], "crop_image": "assets/III.36-015.png" } ] }, { "id": "III.36-016", "type": "paragraph", "section": "III.36", "lesson": 80, "exercise": 80, "reading_order": 2093, "original": "3°. L’on peut dire que tous les passages de l’Octave à la Tierce, de la Quinte à la Tierce, & à la Sixte, de la Sixte à la Tierce, & de la Tierce à la Sixte, sont bons.", "english": "3. All passages from octave to third, fifth to third or sixth, sixth to third, and third to sixth may be called good.", "sources": [ { "pdf_page": 332, "source_image": "source-pages/bnf-332.png", "printed_page": 300, "bbox_pixels": [ 405, 1894, 2165, 218 ], "crop_image": "assets/III.36-016.png" } ] }, { "id": "III.36-017", "type": "paragraph", "section": "III.36", "lesson": 80, "exercise": 80, "reading_order": 2094, "original": "4°. Les passages de l’Octave à la Quinte sont bons, pourvû que la progression des Parties soit contraire ; cependant celui où la Basse descend diatoniquement, ne vaut rien.", "english": "4. Passages from octave to fifth are good provided the parts move in contrary motion. The one in which the bass descends diatonically is nevertheless bad.", "sources": [ { "pdf_page": 332, "source_image": "source-pages/bnf-332.png", "printed_page": 300, "bbox_pixels": [ 405, 2112, 2165, 232 ], "crop_image": "assets/III.36-017.png" } ] }, { "id": "III.36-018", "type": "paragraph", "section": "III.36", "lesson": 80, "exercise": 80, "reading_order": 2095, "original": "5°. Ceux de l’Octave à la Sixte sont bons, pourvû que la progression des Parties soit contraire, lorsqu’elles font chacune un Intervale consonant, bien que tout soit bon quand la Basse descend de Tierce.", "english": "5. Passages from octave to sixth are good provided that, when both parts move by consonant intervals, they move in contrary directions; although all is good when the bass descends a third.", "sources": [ { "pdf_page": 332, "source_image": "source-pages/bnf-332.png", "printed_page": 300, "bbox_pixels": [ 405, 2343, 2165, 300 ], "crop_image": "assets/III.36-018.png" } ] }, { "id": "III.36-019", "type": "paragraph", "section": "III.36", "lesson": 80, "exercise": 80, "reading_order": 2096, "original": "6°. Ceux de la Sixte à l’Octave sont bons, excepté lorsque la Basse monte diatoniquement, lorsque le Dessus descend de même, ou lorsque les deux Parties font chacune un Intervale consonant.", "english": "6. Passages from sixth to octave are good except when the bass ascends diatonically, the upper part descends diatonically, or both parts move by consonant intervals.", "sources": [ { "pdf_page": 332, "source_image": "source-pages/bnf-332.png", "printed_page": 300, "bbox_pixels": [ 405, 2643, 2165, 232 ], "crop_image": "assets/III.36-019.png" } ] }, { "id": "III.36-020", "type": "paragraph", "section": "III.36", "lesson": 80, "exercise": 80, "reading_order": 2097, "original": "7°. Ceux de la Sixte à la Quinte sont bons, excepté lorsque le Dessus monte diatoniquement, lorsque la Basse descend de même, ou lorsque les deux Parties font chacune un Intervale consonant.", "english": "7. Passages from sixth to fifth are good except when the upper part ascends diatonically, the bass descends diatonically, or both parts move by consonant intervals.", "sources": [ { "pdf_page": 332, "source_image": "source-pages/bnf-332.png", "printed_page": 300, "bbox_pixels": [ 405, 2874, 2165, 218 ], "crop_image": "assets/III.36-020.png" } ] }, { "id": "III.36-021", "type": "paragraph", "section": "III.36", "lesson": 80, "exercise": 80, "reading_order": 2098, "original": "8°. Ceux de la Quinte à l’Octave sont bons, excepté lorsque la Basse monte diatoniquement, ou lorsque les deux parties font chacune un Intervale consonant.", "english": "8. Passages from fifth to octave are good except when the bass ascends diatonically or both parts move by consonant intervals.", "sources": [ { "pdf_page": 332, "source_image": "source-pages/bnf-332.png", "printed_page": 300, "bbox_pixels": [ 405, 3092, 2165, 218 ], "crop_image": "assets/III.36-021.png" } ] }, { "id": "III.36-022", "type": "paragraph", "section": "III.36", "lesson": 80, "exercise": 80, "reading_order": 2099, "original": "9°. Ceux de la Tierce à l’Octave sont bons, excepté lorsque la Basse descend diatoniquement ; en observant encore que la progression des Parties soit contraire, lorsque la Basse monte de Quinte.", "english": "9. Passages from third to octave are good except when the bass descends diatonically. Also observe contrary motion when the bass ascends a fifth.", "sources": [ { "pdf_page": 332, "source_image": "source-pages/bnf-332.png", "printed_page": 300, "bbox_pixels": [ 405, 3310, 2165, 232 ], "crop_image": "assets/III.36-022.png" } ] }, { "id": "III.36-023", "type": "paragraph", "section": "III.36", "lesson": 80, "exercise": 80, "reading_order": 2100, "original": "10°. Ceux de la Tierce à la Quinte sont encore bons, pourvû que la progression des Parties soit contraire aux endroits où la Basse monte de Seconde, de Tierce & de Quarte ; & il faut même la faire monter de Quarte, plûtôt que de la faire descendre de Quinte, autrement cette progression ne vaudroit rien.", "english": "10. Passages from third to fifth are also good, provided the parts move in contrary motion where the bass ascends a second, third, or fourth. Indeed, make it ascend a fourth rather than descend a fifth, otherwise this progression would be bad.", "sources": [ { "pdf_page": 333, "source_image": "source-pages/bnf-333.png", "printed_page": 301, "bbox_pixels": [ 405, 341, 2165, 395 ], "crop_image": "assets/III.36-023.png" } ] }, { "id": "III.36-024", "type": "paragraph", "section": "III.36", "lesson": 80, "exercise": 80, "reading_order": 2101, "original": "11°. Pour ce qui est de la Quarte ; voici un Exemple de toutes les Consonances qui peuvent la préceder, & la suivre.", "english": "11. As for the fourth, here is an example of every consonance that may precede and follow it.", "sources": [ { "pdf_page": 333, "source_image": "source-pages/bnf-333.png", "printed_page": 301, "bbox_pixels": [ 405, 736, 2165, 150 ], "crop_image": "assets/III.36-024.png" } ] }, { "id": "III.36-025", "type": "music", "section": "III.36", "lesson": 80, "exercise": 80, "reading_order": 2102, "original": "Consonances qui peuvent précéder et suivre la Quarte", "english": "Consonances that may precede and follow the fourth", "sources": [ { "pdf_page": 333, "source_image": "source-pages/bnf-333.png", "printed_page": 301, "bbox_pixels": [ 405, 921, 2165, 695 ], "crop_image": "assets/III.36-025.png" } ], "original_title": "Consonances qui peuvent précéder et suivre la Quarte", "english_title": "Consonances that may precede and follow the fourth", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.36-025" ], "music_asset_refs": [ "III.36-025" ] }, { "id": "III.36-026", "type": "paragraph", "section": "III.36", "lesson": 80, "exercise": 80, "reading_order": 2103, "original": "Les Guidons marquent les differentes Consonances, & même les Dissonances qui peuvent suivre cette Quarte ; les chiffres qui sont entre les deux Parties marquent la même chose ; & ceux qui sont au dessous de la Basse marquent les Accords qui doivent être employez en ce cas.", "english": "The cue signs show the different consonances, and even dissonances, that may follow the fourth. The figures between the two parts indicate the same thing; those beneath the bass indicate the chords to be used in each case.", "sources": [ { "pdf_page": 333, "source_image": "source-pages/bnf-333.png", "printed_page": 301, "bbox_pixels": [ 405, 1629, 2165, 381 ], "crop_image": "assets/III.36-026.png" } ] }, { "id": "III.36-027", "type": "paragraph", "section": "III.36", "lesson": 80, "exercise": 80, "reading_order": 2104, "original": "Prenez garde que les Guidons des Exemples A, & B, marquent deux Accords differens, celui du Tri-Ton ou celui de la grande Sixte, l’un ne pouvant être employé, quand l’autre a lieu.", "english": "Notice that the cue signs in examples A and B indicate two different chords, the tritone or great-sixth chord; one cannot be used when the other occurs.", "sources": [ { "pdf_page": 333, "source_image": "source-pages/bnf-333.png", "printed_page": 301, "bbox_pixels": [ 405, 2011, 2165, 232 ], "crop_image": "assets/III.36-027.png" } ] }, { "id": "III.36-028", "type": "paragraph", "section": "III.36", "lesson": 80, "exercise": 80, "reading_order": 2105, "original": "Toute autre progression que celles qui viennent d’être prescrites, n’est point bonne ; & sur tout, remarquez qu’elles sont fondées sur la preference que l’on doit donner naturellement aux plus petits Intervales, c’est à dire, que comme monter de Sixte ou descendre de Tierce, c’est la même chose, l’on doit preferer la progression de Tierce en descendant, ainsi des autres progressions qui ont un même rapport, excepté que le bon goût ne demandât le contraire aux endroits où l’on appercevroit que cela n’attaqueroit point le fond de nos Regles.", "english": "Any progression other than those just prescribed is not good. Above all, observe that these rules rest on the natural preference for smaller intervals. Ascending a sixth and descending a third amount to the same thing, so prefer the descending third; likewise for other equivalent progressions, unless good taste demands otherwise where the substance of our rules would remain intact.", "sources": [ { "pdf_page": 333, "source_image": "source-pages/bnf-333.png", "printed_page": 301, "bbox_pixels": [ 405, 2242, 2165, 668 ], "crop_image": "assets/III.36-028.png" } ] }, { "id": "III.36-029", "type": "paragraph", "section": "III.36", "lesson": 80, "exercise": 80, "reading_order": 2106, "original": "Ces Regles sont également justes pour tous les Tons, soit qu’une Tierce ou une Sixte se trouvent majeures ou mineures.", "english": "These rules are equally valid in every key, whether a third or sixth is major or minor.", "sources": [ { "pdf_page": 333, "source_image": "source-pages/bnf-333.png", "printed_page": 301, "bbox_pixels": [ 405, 2910, 2165, 150 ], "crop_image": "assets/III.36-029.png" } ] }, { "id": "III.36-030", "type": "paragraph", "section": "III.36", "lesson": 80, "exercise": 80, "reading_order": 2107, "original": "Les autres Regles qui concernent les quatre Parties, tant à l’égard de la progression naturelle aux Tierces majeures & mineures, que de celles des Dissonances, doivent être également observées par tout.", "english": "The other rules concerning four parts, both for the natural progression of major and minor thirds and for that of dissonances, must equally be observed everywhere.", "sources": [ { "pdf_page": 333, "source_image": "source-pages/bnf-333.png", "printed_page": 301, "bbox_pixels": [ 405, 3060, 2165, 218 ], "crop_image": "assets/III.36-030.png" } ] }, { "id": "III.36-031", "type": "paragraph", "section": "III.36", "lesson": 80, "exercise": 80, "reading_order": 2108, "original": "Quand on posséde une fois la connoissance de la bonne Modulation, l’on observe presque toutes ces Regles, sans être obligé d’y donner une grande attention.", "english": "Once good modulation is thoroughly understood, nearly all these rules are observed without much conscious attention.", "sources": [ { "pdf_page": 333, "source_image": "source-pages/bnf-333.png", "printed_page": 301, "bbox_pixels": [ 405, 3278, 2165, 232 ], "crop_image": "assets/III.36-031.png" } ] }, { "id": "III.37-001", "type": "heading", "section": "III.37", "lesson": 81, "exercise": 81, "reading_order": 2109, "original": "CHAPITRE TRENTE-SEPTIÉME.", "english": "CHAPTER THIRTY-SEVEN.", "sources": [ { "pdf_page": 334, "source_image": "source-pages/bnf-334.png", "printed_page": 302, "bbox_pixels": [ 405, 545, 2165, 150 ], "crop_image": "assets/III.37-001.png" } ] }, { "id": "III.37-002", "type": "heading", "section": "III.37", "lesson": 81, "exercise": 81, "reading_order": 2110, "original": "Des fausses Relations.", "english": "On False Relations.", "sources": [ { "pdf_page": 334, "source_image": "source-pages/bnf-334.png", "printed_page": 302, "bbox_pixels": [ 405, 687, 2165, 150 ], "crop_image": "assets/III.37-002.png" } ] }, { "id": "III.37-003", "type": "paragraph", "section": "III.37", "lesson": 81, "exercise": 81, "reading_order": 2111, "original": "POur éviter les fausses Relations dans la progression d’une seule Partie, il n’y a qu’à la faire proceder par des Intervales diatoniques ou consonans ; ceux de fausse-Quinte, de Septiéme diminuée, & de Quarte diminuée étant encore permis en descendant, mais non pas en montant ; cependant la bonne Modulation étant une fois observée, l’on peut se servir de tous les Intervales connus, pourvû qu’ils n’excedent point l’étenduë de l’Octave, mais avec un peu plus de circonspection à l’égard de ceux que nous n’avions pas nommez, qu’à l’égard des autres ; les Italiens y ajoûtent encore la Tierce diminuée en descendant, comme de Mi B-mol à Ut Dieze, ce que nous laisserons à la discretion des Compositeurs.", "english": "To avoid false relations in the progression of a single part, simply make it move by diatonic or consonant intervals. The diminished fifth, diminished seventh, and diminished fourth are also allowed descending, but not ascending. Nevertheless, once good modulation is observed, any known interval may be used provided it does not exceed an octave, though with somewhat more caution for those not named above than for the others. The Italians also add the descending diminished third, for instance E-flat to C-sharp, which we leave to composers’ discretion.", "sources": [ { "pdf_page": 334, "source_image": "source-pages/bnf-334.png", "printed_page": 302, "bbox_pixels": [ 405, 831, 2165, 858 ], "crop_image": "assets/III.37-003.png" } ] }, { "id": "III.37-004", "type": "paragraph", "section": "III.37", "lesson": 81, "exercise": 81, "reading_order": 2112, "original": "A l’égard des fausses Relations qui peuvent se rencontrer entre-deux Parties, il est impossible d’y tomber, quand on possede parfaitement la Modulation.", "english": "As for false relations between two parts, it is impossible to fall into them when modulation is perfectly understood.", "sources": [ { "pdf_page": 334, "source_image": "source-pages/bnf-334.png", "printed_page": 302, "bbox_pixels": [ 405, 1689, 2165, 218 ], "crop_image": "assets/III.37-004.png" } ] }, { "id": "III.37-005", "type": "heading", "section": "III.37", "lesson": 81, "exercise": 81, "reading_order": 2113, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 334, "source_image": "source-pages/bnf-334.png", "printed_page": 302, "bbox_pixels": [ 405, 1907, 2165, 150 ], "crop_image": "assets/III.37-005.png" } ] }, { "id": "III.37-006", "type": "music", "section": "III.37", "lesson": 81, "exercise": 81, "reading_order": 2114, "original": "Fausses Relations — Modes majeur et mineur", "english": "False relations — major and minor modes", "sources": [ { "pdf_page": 334, "source_image": "source-pages/bnf-334.png", "printed_page": 302, "bbox_pixels": [ 405, 2030, 2165, 722 ], "crop_image": "assets/III.37-006.png" } ], "original_title": "Fausses Relations — Modes majeur et mineur", "english_title": "False relations — major and minor modes", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.37-006" ], "music_asset_refs": [ "III.37-006" ] }, { "id": "III.37-007", "type": "paragraph", "section": "III.37", "lesson": 81, "exercise": 81, "reading_order": 2115, "original": "L’on voit que les Nottes A, nous representent un Mode majeur ; & que les Nottes B, nous en representent un mineur ; de sorte que l’on ne peut pas moduler dans un Ton moitié majeur moitié mineur, ni passer du majeur au mineur, ou de celui-ci à l’autre sur une même Notte tonique, qu’après une Cadence parfaite dans le Ton majeur ou mineur, par lequel on a commencé, encore même cela ne se fait-il qu’avec beaucoup de prudence ; ainsi la connoissance de la Modulation, nous met au-dessus de ces regles qui sont presque inutiles, quand on la possede bien ; c’est pourquoi nous n’en disons pas davantage là-dessus.", "english": "The notes at A represent a major mode, and those at B a minor one. One cannot therefore modulate in a key half major and half minor, nor pass from major to minor or vice versa on the same tonic until after a perfect cadence in the opening major or minor key. Even then this must be done with great caution. Knowledge of modulation thus raises us above these rules, which become almost unnecessary once it is well mastered; for this reason we say no more on the subject.", "sources": [ { "pdf_page": 334, "source_image": "source-pages/bnf-334.png", "printed_page": 302, "bbox_pixels": [ 405, 2765, 2165, 749 ], "crop_image": "assets/III.37-007.png" } ] }, { "id": "III.38-001", "type": "heading", "section": "III.38", "lesson": 82, "exercise": 82, "reading_order": 2116, "original": "CHAPITRE TRENTE-HUITIÉME.", "english": "CHAPTER THIRTY-EIGHT.", "sources": [ { "pdf_page": 335, "source_image": "source-pages/bnf-335.png", "printed_page": 303, "bbox_pixels": [ 405, 537, 2165, 150 ], "crop_image": "assets/III.38-001.png" } ] }, { "id": "III.38-002", "type": "heading", "section": "III.38", "lesson": 82, "exercise": 82, "reading_order": 2117, "original": "De la maniere de faire un Chant au-dessus d’une Basse.", "english": "On Making a Melody Above a Bass.", "sources": [ { "pdf_page": 335, "source_image": "source-pages/bnf-335.png", "printed_page": 303, "bbox_pixels": [ 405, 681, 2165, 150 ], "crop_image": "assets/III.38-002.png" } ] }, { "id": "III.38-003", "type": "paragraph", "section": "III.38", "lesson": 82, "exercise": 82, "reading_order": 2118, "original": "POur faire un Chant au-dessus d’une Basse, il ne faut la composer d’abord que dans un seul Ton, dont on sçait déja la Modulation : Sçachant de plus la suite des Consonances & des Dissonances, (la maniere de preparer & de sauver ces Dissonances ayant été expliquée) il ne sera pas difficile de faire sans faute un Chant au-dessus de cette Basse composée.", "english": "To make a melody above a bass, first compose the bass in just one key whose modulation is already known. Knowing also the succession of consonances and dissonances, whose preparation and resolution have been explained, it will not be difficult to write a faultless melody above this bass.", "sources": [ { "pdf_page": 335, "source_image": "source-pages/bnf-335.png", "printed_page": 303, "bbox_pixels": [ 405, 845, 2165, 452 ], "crop_image": "assets/III.38-003.png" } ] }, { "id": "III.38-004", "type": "paragraph", "section": "III.38", "lesson": 82, "exercise": 82, "reading_order": 2119, "original": "Cependant pour donner un plus grand essort à son genie, lorsque l’on sçait les Accords que chaque Notte d’une Basse doit porter, l’on peut choisir dans chaque Accord l’un des Sons dont il est composé, pour en former un Chant à son gré. Ainsi dans l’Accord parfait, je choisis la Tierce, la Quinte ou l’Octave ; & dans celui de la Septiéme, je la choisis parmi les autres, si je veux, & si je puis ; car je ne puis choisir cette Septiéme qu’elle ne soit preparée, excepté lorsque la Basse monte de Tierce ou de Quinte, pendant que le Dessus descend diatoniquement, ou monte & descend ensuite diatoniquement. (Voyez l’Exemple du Chap. XIX.) Si même la Septiéme ne pouvoit être sauvée en descendant diatoniquement sur une Consonance de l’Accord suivant, il faudroit ou ne pas s’en servir, ou changer la Basse, excepté que l’on eût reconnu que les Nottes de la Basse, qui suivent, sont comprises dans l’Accord de la Septiéme que l’on fait entendre, & qu’après elles suit une Notte où cette Septiéme sera sauvée sur l’une des Consonances de son Accord ; & pour lors cette Septiéme avant que d’être sauvée, reste toûjours sur le même degré, au cas que l’une de ces Nottes comprises dans le même Accord, & qui se trouve dans la suite de la Basse, ne fasse point Octave avec cette Septiéme que l’on entend ; car il faudroit pour lors faire descendre cette Septiéme d’une Tierce, en faisant monter ensuite cette derniere Notte sur la Consonance qui devoit suivre naturellement la Septiéme ; l’on pourroit encore faire descendre en pareil cas la Septiéme sur la Notte sensible, supposé que cette Notte sensible soit comprise dans le même Accord ; de sorte que la Notte où l’on pourra descendre de Tierce après la Septiéme, sera la Sixte de celle qui dans la Basse fera l’Octave de cette Septiéme, & la Notte sensible en formera le Tri-Ton.", "english": "To give greater scope to one’s invention, however, once the chord belonging to each bass note is known, choose one sound from each chord to form a melody as desired. In the perfect chord I choose the third, fifth, or octave; in the seventh chord I may choose the seventh among the others, if I wish and if I can. For I cannot choose the seventh unless prepared, except when the bass ascends a third or fifth while the upper part descends diatonically, or ascends and then descends diatonically. (See the example in Chapter XIX.) If the seventh could not resolve by descending diatonically to a consonance of the next chord, it would have to be omitted or the bass changed—unless the following bass notes are contained in the seventh chord being sounded and are followed by a note whose chord supplies a consonance resolving the seventh. The seventh then stays on the same degree until resolved, provided none of these intervening chord notes in the bass forms an octave with it. If one does, the seventh must descend a third, and that new note then ascend to the consonance that should naturally have followed the seventh. In the same case the seventh could instead descend to the leading note, provided that leading note belongs to the same chord. Thus the note reached by descending a third from the seventh will form a sixth above the bass note doubling that seventh at the octave, while the leading note will form its tritone.", "sources": [ { "pdf_page": 335, "source_image": "source-pages/bnf-335.png", "printed_page": 303, "bbox_pixels": [ 405, 1297, 2165, 2103 ], "crop_image": "assets/III.38-004.png" } ] }, { "id": "III.38-005", "type": "heading", "section": "III.38", "lesson": 82, "exercise": 82, "reading_order": 2120, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 336, "source_image": "source-pages/bnf-336.png", "printed_page": 304, "bbox_pixels": [ 405, 395, 2165, 150 ], "crop_image": "assets/III.38-005.png" } ] }, { "id": "III.38-006", "type": "music", "section": "III.38", "lesson": 82, "exercise": 82, "reading_order": 2121, "original": "Septiéme non préparée ou préparée par la Tierce", "english": "Seventh unprepared or prepared by the third", "sources": [ { "pdf_page": 336, "source_image": "source-pages/bnf-336.png", "printed_page": 304, "bbox_pixels": [ 405, 482, 2165, 654 ], "crop_image": "assets/III.38-006.png" } ], "original_title": "Septiéme non préparée ou préparée par la Tierce", "english_title": "Seventh unprepared or prepared by the third", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.38-006" ], "music_asset_refs": [ "III.38-006" ] }, { "id": "III.38-007", "type": "paragraph", "section": "III.38", "lesson": 82, "exercise": 82, "reading_order": 2122, "original": "A. Je commence par la Quinte, quoique j’eusse pû commencer par l’Octave ou par la Tierce ; mais il vaut mieux commencer ainsi, pour faire entendre ensuite la Septiéme sans être preparée, comme nous venons de le dire.", "english": "A. I begin with the fifth, though I could have begun with the octave or third. This beginning is preferable, however, so that the seventh may follow unprepared, as just explained.", "sources": [ { "pdf_page": 336, "source_image": "source-pages/bnf-336.png", "printed_page": 304, "bbox_pixels": [ 405, 1185, 2165, 313 ], "crop_image": "assets/III.38-007.png" } ] }, { "id": "III.38-008", "type": "paragraph", "section": "III.38", "lesson": 82, "exercise": 82, "reading_order": 2123, "original": "B. La Septiéme reste jusqu’à C, où son Octave paroît dans la Basse ; & pour lors je la fais descendre de Tierce, pour remonter ensuite sur la Consonance qui devoit la sauver naturellement, quoi qu’absolument parlant, j’eusse pû la faire descendre sur le Guidon.", "english": "B. The seventh remains until C, where its octave appears in the bass. I then make it descend a third and ascend afterward to the consonance that should naturally have resolved it, although, strictly speaking, I could have made it descend to the cue sign.", "sources": [ { "pdf_page": 336, "source_image": "source-pages/bnf-336.png", "printed_page": 304, "bbox_pixels": [ 405, 1498, 2165, 376 ], "crop_image": "assets/III.38-008.png" } ] }, { "id": "III.38-009", "type": "paragraph", "section": "III.38", "lesson": 82, "exercise": 82, "reading_order": 2124, "original": "D. La Septiéme est preparée ici par la Tierce, & reste jusqu’à F, où son Octave paroît dans la Basse, & pour lors je puis la faire descendre sur la Notte sensible F, qui a lieu dans le même Accord.", "english": "D. Here the third prepares the seventh, which remains until F, where its octave appears in the bass. I may then make it descend to the leading note at F, belonging to the same chord.", "sources": [ { "pdf_page": 336, "source_image": "source-pages/bnf-336.png", "printed_page": 304, "bbox_pixels": [ 405, 1874, 2165, 232 ], "crop_image": "assets/III.38-009.png" } ] }, { "id": "III.38-010", "type": "paragraph", "section": "III.38", "lesson": 82, "exercise": 82, "reading_order": 2125, "original": "Il est facile de reconnoître qu’une Septiéme peut rester sur le même degré, pendant que la Basse fait plusieurs Intervales, parce qu’il faut que ces Intervales puissent former la Tierce, la Quinte, la fausse-Quinte ou l’Octave de cette Septiéme, ou bien que cette Septiéme puisse former la Tierce, la Quinte ou la fausse-Quinte de l’une de ces Nottes de la Basse. Il en sera de même de toutes les autres Dissonances, si l’on veut les rapporter à leur fondement, sinon l’on sçait les limites de la progression des Consonances & des Dissonances ; de sorte que l’on ne peut se tromper.", "english": "It is easy to recognize when a seventh can stay on the same degree while the bass moves through several intervals. Those bass notes must form the third, fifth, diminished fifth, or octave of that seventh, or the seventh must form the third, fifth, or diminished fifth of one of those bass notes. The same applies to other dissonances when referred to their foundation. Otherwise, knowing the limits of consonant and dissonant progression prevents mistakes.", "sources": [ { "pdf_page": 336, "source_image": "source-pages/bnf-336.png", "printed_page": 304, "bbox_pixels": [ 405, 2106, 2165, 668 ], "crop_image": "assets/III.38-010.png" } ] }, { "id": "III.38-011", "type": "paragraph", "section": "III.38", "lesson": 82, "exercise": 82, "reading_order": 2126, "original": "Si une Notte peut rester sur le même degré dans le Dessus, pendant que la Basse procéde par tous les Intervales contenus dans le même Accord, comme on vient de le voir ; une Notte de la Basse peut rester aussi sur le même degré, pendant que le Dessus passera par tous les Intervales compris dans l’Accord de cette Notte de la Basse.", "english": "Just as an upper note may remain on the same degree while the bass moves through all intervals contained in one chord, as just seen, a bass note may likewise remain while the upper part passes through all the intervals in that bass note’s chord.", "sources": [ { "pdf_page": 336, "source_image": "source-pages/bnf-336.png", "printed_page": 304, "bbox_pixels": [ 405, 2774, 2165, 381 ], "crop_image": "assets/III.38-011.png" } ] }, { "id": "III.38-012", "type": "paragraph", "section": "III.38", "lesson": 82, "exercise": 82, "reading_order": 2127, "original": "Si une même Notte de la Basse peut porter plusieurs Accords, & que la Tierce, la Quinte, la Sixte, &c. se trouvent dans chaque Accord, on peut les faire entendre indifferemment dans l’un & dans l’autre Accord ; mais si l’un de ces Intervales n’a pas lieu dans l’un des Accords, on ne peut le faire entendre lorsqu’il ne convient pas.", "english": "If one bass note may bear several chords, and the third, fifth, sixth, and so forth occur in each, they may be sounded indifferently in either chord. But if an interval is absent from one chord, it cannot be sounded where it does not belong.", "sources": [ { "pdf_page": 336, "source_image": "source-pages/bnf-336.png", "printed_page": 304, "bbox_pixels": [ 405, 3155, 2165, 354 ], "crop_image": "assets/III.38-012.png" } ] }, { "id": "III.38-013", "type": "paragraph", "section": "III.38", "lesson": 82, "exercise": 82, "reading_order": 2128, "original": "Lorsque le goût n’est pas bien formé, & que l’on sçait les Accords que doit porter chaque Notte de la Basse, il n’y a qu’à les chiffrer, & choisir dans l’Accord la Notte que l’on voudra, pour en former un Chant dans le Dessus, sans s’écarter neanmoins des regles prescrites, parce que ces regles nous obligent souvent à preferer certaines Nottes d’un Accord, par rapport à celles qui les précedent ou qui les suivent.", "english": "If taste is not well formed but the chords belonging to each bass note are known, simply figure them and choose whichever chord note you wish to form the upper melody, without departing from the prescribed rules. Those rules often require certain chord notes in preference to others because of the notes preceding or following them.", "sources": [ { "pdf_page": 337, "source_image": "source-pages/bnf-337.png", "printed_page": 305, "bbox_pixels": [ 405, 327, 2165, 526 ], "crop_image": "assets/III.38-013.png" } ] }, { "id": "III.38-014", "type": "paragraph", "section": "III.38", "lesson": 82, "exercise": 82, "reading_order": 2129, "original": "Lorsque l’on compose à deux Parties seulement, le Dessus doit toûjours finir par l’Octave, rarement par la Tierce, & jamais par la Quinte.", "english": "In two-part composition, the upper part must always end on the octave, rarely on the third, and never on the fifth.", "sources": [ { "pdf_page": 337, "source_image": "source-pages/bnf-337.png", "printed_page": 305, "bbox_pixels": [ 405, 853, 2165, 218 ], "crop_image": "assets/III.38-014.png" } ] }, { "id": "III.38-015", "type": "heading", "section": "III.38", "lesson": 82, "exercise": 82, "reading_order": 2130, "original": "EXEMPLE GENERAL.", "english": "GENERAL EXAMPLE.", "sources": [ { "pdf_page": 337, "source_image": "source-pages/bnf-337.png", "printed_page": 305, "bbox_pixels": [ 405, 1071, 2165, 150 ], "crop_image": "assets/III.38-015.png" } ] }, { "id": "III.38-016", "type": "music", "section": "III.38", "lesson": 82, "exercise": 82, "reading_order": 2131, "original": "Exemple général — Dessus, Basse-continuë et preuve fondamentale", "english": "General example — upper part, continuo bass, and fundamental proof", "sources": [ { "pdf_page": 337, "source_image": "source-pages/bnf-337.png", "printed_page": 305, "bbox_pixels": [ 405, 1185, 2165, 2207 ], "crop_image": "assets/III.38-016.png" } ], "original_title": "Exemple général — Dessus, Basse-continuë et preuve fondamentale", "english_title": "General example — upper part, continuo bass, and fundamental proof", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.38-016" ], "music_asset_refs": [ "III.38-016" ] }, { "id": "III.38-017", "type": "paragraph", "section": "III.38", "lesson": 82, "exercise": 82, "reading_order": 2132, "original": "Le Dessus que nous n’avions composé que sur la Basse-continuë est rempli de fautes à l’égard de la Basse fondamentale ; fautes qui ne sont pas contre le fond de l’Harmonie, mais seulement contre la progression des Parties. Cette Basse-fondamentale n’étant ici que pour preuve de la parfaite Harmonie, dont on tire les Sons convenables aux Chants que l’on veut faire entendre.", "english": "The upper part, composed only against the continuo bass, is full of faults against the fundamental bass. These concern not the foundation of harmony but only the progression of the parts. The fundamental bass is present solely to demonstrate the perfect harmony from which we draw the sounds suited to the melodies desired.", "sources": [ { "pdf_page": 337, "source_image": "source-pages/bnf-337.png", "printed_page": 305, "bbox_pixels": [ 405, 3392, 2165, 109 ], "crop_image": "assets/III.38-017.png" }, { "pdf_page": 338, "source_image": "source-pages/bnf-338.png", "printed_page": 306, "bbox_pixels": [ 405, 395, 2165, 381 ], "crop_image": "assets/III.38-018.png" } ] }, { "id": "III.38-019", "type": "paragraph", "section": "III.38", "lesson": 82, "exercise": 82, "reading_order": 2133, "original": "A. Je passe à mon gré par tous les Sons de l’Accord.", "english": "A. I pass freely through all the chord’s sounds.", "sources": [ { "pdf_page": 338, "source_image": "source-pages/bnf-338.png", "printed_page": 306, "bbox_pixels": [ 405, 776, 2165, 76 ], "crop_image": "assets/III.38-019.png" } ] }, { "id": "III.38-020", "type": "paragraph", "section": "III.38", "lesson": 82, "exercise": 82, "reading_order": 2134, "original": "De la Quinte je passe à la Sixte B, quoique j’eusse pû rester sur la Quarte, sans changer de lieu la Quinte qui précede, parce que cette Quarte fait partie de l’Accord de la petite Sixte B ; j’aurois pû passer aussi sur la Tierce.", "english": "From the fifth I pass to the sixth at B, though I could have stayed on the fourth without moving the preceding fifth, since this fourth belongs to B’s small-sixth chord. I could also have moved to the third.", "sources": [ { "pdf_page": 338, "source_image": "source-pages/bnf-338.png", "printed_page": 306, "bbox_pixels": [ 405, 853, 2165, 286 ], "crop_image": "assets/III.38-020.png" } ] }, { "id": "III.38-021", "type": "paragraph", "section": "III.38", "lesson": 82, "exercise": 82, "reading_order": 2135, "original": "B. C. D. E. Je fais passer quatre Sixtes de suite, parce qu’elles font partie des Accords, quoique j’eusse pû me servir de l’un des autres Intervales compris dans chacun de ces Accords.", "english": "B, C, D, E. I use four consecutive sixths because they belong to the chords, though any other interval in each chord could have been used.", "sources": [ { "pdf_page": 338, "source_image": "source-pages/bnf-338.png", "printed_page": 306, "bbox_pixels": [ 405, 1139, 2165, 232 ], "crop_image": "assets/III.38-021.png" } ] }, { "id": "III.38-022", "type": "paragraph", "section": "III.38", "lesson": 82, "exercise": 82, "reading_order": 2136, "original": "F. G. Au lieu de passer de la Notte sensible à la Tonique, je passe à la Mediante, parce que cela n’est pas contre les regles de la Progression des Consonances, outre que la Mediante represente la Notte tonique, & fait partie de son Accord.", "english": "F, G. Instead of passing from the leading note to the tonic, I pass to the mediant. This does not violate the rules for consonant progression; moreover, the mediant represents the tonic and belongs to its chord.", "sources": [ { "pdf_page": 338, "source_image": "source-pages/bnf-338.png", "printed_page": 306, "bbox_pixels": [ 405, 1370, 2165, 300 ], "crop_image": "assets/III.38-022.png" } ] }, { "id": "III.38-023", "type": "paragraph", "section": "III.38", "lesson": 82, "exercise": 82, "reading_order": 2137, "original": "H. Je fais entendre la Quarte, qui fait partie de l’Accord de la Seconde ; je passe ensuite à la Sixte J, & je tombe sur la Seconde, qui fait partie de l’Accord du Tri-Ton. K.", "english": "H. I sound the fourth, which belongs to the second chord; then I pass to the sixth at J and arrive at the second, belonging to the tritone chord at K.", "sources": [ { "pdf_page": 338, "source_image": "source-pages/bnf-338.png", "printed_page": 306, "bbox_pixels": [ 405, 1670, 2165, 226 ], "crop_image": "assets/III.38-023.png" } ] }, { "id": "III.38-024", "type": "paragraph", "section": "III.38", "lesson": 82, "exercise": 82, "reading_order": 2138, "original": "La Sixte que je fais entendre à L, prepare la Septiéme à M, qui est sauvée en descendant sur la Sixte N. Cette Sixte qui est la Notte sensible, montant comme elle le doit sur la Notte tonique O ; je passe ensuite sur la Tierce de cette même Notte tonique P, pour faire entendre la Seconde à Q.", "english": "The sixth sounded at L prepares the seventh at M, which resolves downward onto the sixth at N. This sixth is the leading note and duly rises to the tonic at O. I then pass to the third of that same tonic at P, to sound the second at Q.", "sources": [ { "pdf_page": 338, "source_image": "source-pages/bnf-338.png", "printed_page": 306, "bbox_pixels": [ 405, 1896, 2165, 368 ], "crop_image": "assets/III.38-024.png" } ] }, { "id": "III.38-025", "type": "paragraph", "section": "III.38", "lesson": 82, "exercise": 82, "reading_order": 2139, "original": "Les Secondes qui sont preparées & sauvées dans la Basse P, Q, R, S, T, sont précedées dans le Dessus de la Tierce à P, & de la Sixte à R ; elles pourroient l’être également de l’Octave, de la Quinte ou de la Quarte, parce que la Seconde peut être précedée & suivie indifferemment d’une Consonance quelconque, dont un Accord est composé ; car nous voyons qu’elle est suivie de la Quarte à T, qui fait partie de l’Accord de la petite Sixte ; bien entendu que la progression limitée à la Basse, ne change point en pareils cas.", "english": "The seconds prepared and resolved in the bass at P, Q, R, S, T are preceded in the upper part by the third at P and sixth at R. The octave, fifth, or fourth could equally precede them, because a second may be preceded and followed by any consonance contained in a chord. We see it followed by the fourth at T, part of the small-sixth chord. Naturally, the prescribed bass progression does not change in these cases.", "sources": [ { "pdf_page": 338, "source_image": "source-pages/bnf-338.png", "printed_page": 306, "bbox_pixels": [ 405, 2264, 2165, 599 ], "crop_image": "assets/III.38-025.png" } ] }, { "id": "III.38-026", "type": "paragraph", "section": "III.38", "lesson": 82, "exercise": 82, "reading_order": 2140, "original": "Comme la Tierce est la Consonance la plus propre à preparer & à sauver la Seconde, il est bon de la faire entendre pour lors le plus souvent que l’on peut ; la Quarte que nous mettons en sa place à T, & qui forme une Dissonance avec elle devant tomber sur la Notte où cette Tierce auroit dûë tomber en descendant, si elle eût frapé avec cette Quarte, comme nous le faisons à V ; car ce doit être pour nous une regle generale, que quand au lieu d’une Notte qui doit naturellement sauver une Dissonance dans le Dessus, on lui en substituë une autre, qui fait avec elle une Septiéme ou une Seconde, pour lors on doit faire passer la Notte substituée sur la Notte qui auroit dû suivre celle qui ne paroît point, & qui auroit formé une Dissonance mineure avec cette Notte substituée à la place ; ce qui peut se rencontrer dans l’Accord de la petite Sixte, entre la Tierce & la Quarte, & dans ceux de grande Sixte, & de fausse-Quinte entre la Quinte & la Sixte ; de sorte que si dans ces Accords, la Tierce ou la Quinte doivent servir à sauver une Dissonance, & si elles doivent descendre ensuite diatoniquement, la Quarte ou la Sixte qu’on leur substituë, doivent passer sur les Nottes qui auroient dû suivre naturellement cette Tierce ou cette Quinte.", "english": "Since the third is the consonance best suited to preparing and resolving the second, it is good to sound it as often as possible in that role. The fourth substituted at T, which forms a dissonance with that third, must fall onto the note to which the third should have descended had it sounded with the fourth, as we do at V. Let this be a general rule: when another note replaces the one that should naturally resolve a dissonance in the upper part, and forms a seventh or second with that absent note, the substitute must proceed to the note that should have followed the absent one, which would have formed a minor dissonance with it. This can occur between third and fourth in the small-sixth chord, and between fifth and sixth in great-sixth and diminished-fifth chords. Thus, if the third or fifth in these chords should resolve a dissonance and then descend diatonically, the substituted fourth or sixth must go to the notes that should naturally have followed that third or fifth.", "sources": [ { "pdf_page": 338, "source_image": "source-pages/bnf-338.png", "printed_page": 306, "bbox_pixels": [ 405, 2863, 2165, 681 ], "crop_image": "assets/III.38-026.png" }, { "pdf_page": 339, "source_image": "source-pages/bnf-339.png", "printed_page": 307, "bbox_pixels": [ 405, 349, 2165, 763 ], "crop_image": "assets/III.38-027.png" } ] }, { "id": "III.38-028", "type": "paragraph", "section": "III.38", "lesson": 82, "exercise": 82, "reading_order": 2141, "original": "Vous trouverez dans le reste une suite de tout ce que nous venons de dire, en remarquant que le Ton change à M, où nous donnons la Septiéme à la Notte tonique, au lieu de faire monter sur son Octave sa Notte sensible, qui lui sert pour lors de Septiéme ; cette Notte tonique devenant quatriéme Notte par les Accords de grande Sixte & de Tri-Ton qu’elle porte ensuite à N, & à O ; puis nous reprenons le Ton d’Ut à J, par rapport à la progression consonante de la Basse qui se termine à U, d’où nous connoissons que la Notte tonique est Ut ; ce qui nous oblige de preparer ce Ton en quittant le Dieze de Fa à Ré ; ensuite de quoi le B-mol qui se trouve sur la Notte Si, nous annonce le Ton de Fa, après lequel celui d’Ut se declare par le Dieze qui remet cette Notte Si dans son naturel.", "english": "The rest continues what we have just explained. Observe that the key changes at M, where we give the tonic a seventh instead of raising its leading note to its octave; that leading note now serves as its seventh. The tonic becomes a fourth note through the great-sixth and tritone chords it then bears at N and O. We return to C at J because of the consonant bass progression ending at U, which tells us that the tonic is C. This obliges us to prepare that key by removing F’s sharp at D. Next, the flat on B announces F as the key, after which C is declared by the sharp restoring B to its natural state.", "sources": [ { "pdf_page": 339, "source_image": "source-pages/bnf-339.png", "printed_page": 307, "bbox_pixels": [ 405, 1112, 2165, 899 ], "crop_image": "assets/III.38-028.png" } ] }, { "id": "III.38-029", "type": "paragraph", "section": "III.38", "lesson": 82, "exercise": 82, "reading_order": 2142, "original": "Ces observations que nous faisons par rapport à la Basse-continuë, peuvent s’éclaircir, en comparant l’un après l’autre le Dessus & cette Basse-continuë à la Basse-fondamentale ; où l’on trouvera que de chaque Accord parfait ou de Septiéme, que portent les Nottes de cette Basse-fondamentale, l’on choisit pour la Basse-continuë & pour le Dessus, la Tierce, la Quinte, l’Octave ou la Septiéme ; en conformant ensuite la progression de ces deux Parties à nos Regles precedentes : Remarquez bien que quand la progression de la Basse-continuë est diatonique, comme entre G. H. J. K. L, &c. celle du Dessus est souvent pareille à celle de la Basse-fondamentale ; d’où nous concluons, que la progression consonante d’une Partie, oblige souvent l’autre à en suivre une diatonique, de même que la progression diatonique d’une Partie en impose souvent une consonante à l’autre.", "english": "These observations concerning the continuo bass become clearer by comparing the upper part and then the continuo bass with the fundamental bass. From each perfect or seventh chord borne by the fundamental-bass notes, the third, fifth, octave, or seventh is selected for the continuo and upper parts, whose progressions are then conformed to our preceding rules. Observe carefully that when the continuo moves diatonically, as between G, H, J, K, L, and so forth, the upper part often moves like the fundamental bass. We conclude that consonant movement in one part often obliges the other to move diatonically, just as diatonic movement in one often imposes consonant movement on the other.", "sources": [ { "pdf_page": 339, "source_image": "source-pages/bnf-339.png", "printed_page": 307, "bbox_pixels": [ 405, 2011, 2165, 1049 ], "crop_image": "assets/III.38-029.png" } ] }, { "id": "III.39-001", "type": "heading", "section": "III.39", "lesson": 83, "exercise": 83, "reading_order": 2143, "original": "CHAPITRE TRENTE-NEUVIÉME.", "english": "CHAPTER THIRTY-NINE.", "sources": [ { "pdf_page": 340, "source_image": "source-pages/bnf-340.png", "printed_page": 308, "bbox_pixels": [ 405, 545, 2165, 150 ], "crop_image": "assets/III.39-001.png" } ], "correction_refs": [ "supplement-258", "supplement-260" ] }, { "id": "III.39-002", "type": "heading", "section": "III.39", "lesson": 83, "exercise": 83, "reading_order": 2144, "original": "Du Chant-figuré ou de la Supposition.", "english": "On Figured Melody, or Supposition.", "sources": [ { "pdf_page": 340, "source_image": "source-pages/bnf-340.png", "printed_page": 308, "bbox_pixels": [ 405, 681, 2165, 150 ], "crop_image": "assets/III.39-002.png" } ] }, { "id": "III.39-003", "type": "paragraph", "section": "III.39", "lesson": 83, "exercise": 83, "reading_order": 2145, "original": "NOus appellons Chant figuré, ce qu’on a appellé jusqu’à present Supposition ; & voici en quoi consistent les regles de ce Chant-figuré ou de cette Supposition.", "english": "We call figured melody what has until now been called supposition. Here are the rules of this figured melody, or supposition.", "sources": [ { "pdf_page": 340, "source_image": "source-pages/bnf-340.png", "printed_page": 308, "bbox_pixels": [ 405, 812, 2165, 218 ], "crop_image": "assets/III.39-003.png" } ] }, { "id": "III.39-004", "type": "paragraph", "section": "III.39", "lesson": 83, "exercise": 83, "reading_order": 2146, "original": "Etant d’une necessité absoluë que la perfection de l’Harmonie se manifeste dans chaque Temps de la mesure, ces Temps n’étant sensibles que dans le moment que l’on y tombe, soit en frapant, soit en levant ; l’on peut, entre le moment d’un Temps, & celui du Temps qui suit, faire passer autant de Nottes que le genie & le goût le permettent.", "english": "The perfection of harmony must necessarily manifest itself on each beat of the measure. Since beats are perceptible only at the instant one reaches them, whether beating down or lifting up, as many notes as invention and taste permit may pass between the instant of one beat and the next.", "sources": [ { "pdf_page": 340, "source_image": "source-pages/bnf-340.png", "printed_page": 308, "bbox_pixels": [ 405, 1030, 2165, 458 ], "crop_image": "assets/III.39-004.png" } ] }, { "id": "III.39-005", "type": "heading", "section": "III.39", "lesson": 83, "exercise": 83, "reading_order": 2147, "original": "ARTICLE PREMIER.", "english": "ARTICLE ONE.", "sources": [ { "pdf_page": 340, "source_image": "source-pages/bnf-340.png", "printed_page": 308, "bbox_pixels": [ 405, 1488, 2165, 150 ], "crop_image": "assets/III.39-005.png" } ] }, { "id": "III.39-006", "type": "heading", "section": "III.39", "lesson": 83, "exercise": 83, "reading_order": 2148, "original": "Du Chant-figuré par des Intervales Consonans.", "english": "On Figured Melody Through Consonant Intervals.", "sources": [ { "pdf_page": 340, "source_image": "source-pages/bnf-340.png", "printed_page": 308, "bbox_pixels": [ 405, 1618, 2165, 150 ], "crop_image": "assets/III.39-006.png" } ] }, { "id": "III.39-007", "type": "paragraph", "section": "III.39", "lesson": 83, "exercise": 83, "reading_order": 2149, "original": "Lorsque l’on veut faire passer des Nottes entre les Temps par des Intervales consonans, on ne peut en faire entendre d’autres que celles qui sont comprises dans l’Accord du premier Temps, pour tomber ensuite sur une Notte de l’Accord du Temps qui vient immediatement après, & ainsi d’un Temps à l’autre, jusqu’à la fin.", "english": "When inserting notes between beats by consonant intervals, use only notes contained in the first beat’s chord, then arrive on a note of the immediately following beat’s chord. Continue thus from beat to beat until the end.", "sources": [ { "pdf_page": 340, "source_image": "source-pages/bnf-340.png", "printed_page": 308, "bbox_pixels": [ 405, 1749, 2165, 381 ], "crop_image": "assets/III.39-007.png" } ] }, { "id": "III.39-008", "type": "heading", "section": "III.39", "lesson": 83, "exercise": 83, "reading_order": 2150, "original": "EXEMPLE d’un Dessus figuré.", "english": "EXAMPLE of a Figured Upper Part.", "sources": [ { "pdf_page": 340, "source_image": "source-pages/bnf-340.png", "printed_page": 308, "bbox_pixels": [ 405, 2144, 2165, 150 ], "crop_image": "assets/III.39-008.png" } ] }, { "id": "III.39-009", "type": "music", "section": "III.39", "lesson": 83, "exercise": 83, "reading_order": 2151, "original": "Chant figuré par des Intervales consonans — Dessus", "english": "Figured melody through consonant intervals — upper part", "sources": [ { "pdf_page": 340, "source_image": "source-pages/bnf-340.png", "printed_page": 308, "bbox_pixels": [ 405, 2248, 2165, 1172 ], "crop_image": "assets/III.39-009.png" } ], "original_title": "Chant figuré par des Intervales consonans — Dessus", "english_title": "Figured melody through consonant intervals — upper part", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.39-009" ], "music_asset_refs": [ "III.39-009" ] }, { "id": "III.39-010", "type": "paragraph", "section": "III.39", "lesson": 83, "exercise": 83, "reading_order": 2152, "original": "L’on voit dans le Dessus, que toutes les Nottes ne passent que sur des Sons convenables aux Accords chiffrez dans la Basse.", "english": "In the upper part, all notes pass only through sounds belonging to the chords figured in the bass.", "sources": [ { "pdf_page": 340, "source_image": "source-pages/bnf-340.png", "printed_page": 308, "bbox_pixels": [ 405, 3438, 2165, 95 ], "crop_image": "assets/III.39-010.png" }, { "pdf_page": 341, "source_image": "source-pages/bnf-341.png", "printed_page": 309, "bbox_pixels": [ 405, 327, 2165, 95 ], "crop_image": "assets/III.39-011.png" } ] }, { "id": "III.39-012", "type": "paragraph", "section": "III.39", "lesson": 83, "exercise": 83, "reading_order": 2153, "original": "Une mesure à deux Temps peut se partager en quatre Temps, au gré du Compositeur ; ce qui s’apperçoit dans la Notte A, dont la valeur est partagée en deux Temps par les deux differens Accords qu’elle porte ; de sorte que l’on peut faire entendre plusieurs Accords differens sur chaque Temps, à proportion de la lenteur ou de la vitesse du mouvement ; de même que l’on peut n’en faire entendre qu’un dans une ou dans plusieurs mesures consecutives.", "english": "A measure in two beats may be divided into four at the composer’s discretion. This is seen in note A, whose duration is divided into two beats by its two different chords. Thus several different chords may sound on each beat according to the slowness or speed of the tempo, just as a single chord may sound throughout one or several consecutive measures.", "sources": [ { "pdf_page": 341, "source_image": "source-pages/bnf-341.png", "printed_page": 309, "bbox_pixels": [ 405, 422, 2165, 526 ], "crop_image": "assets/III.39-012.png" } ] }, { "id": "III.39-013", "type": "heading", "section": "III.39", "lesson": 83, "exercise": 83, "reading_order": 2154, "original": "EXEMPLE d’une Basse-figurée.", "english": "EXAMPLE of a Figured Bass.", "sources": [ { "pdf_page": 341, "source_image": "source-pages/bnf-341.png", "printed_page": 309, "bbox_pixels": [ 405, 994, 2165, 150 ], "crop_image": "assets/III.39-013.png" } ] }, { "id": "III.39-014", "type": "music", "section": "III.39", "lesson": 83, "exercise": 83, "reading_order": 2155, "original": "Basse figurée et Basse fondamentale — Guidons conditionnels C, D", "english": "Figured bass and fundamental bass — conditional cue signs C, D", "sources": [ { "pdf_page": 341, "source_image": "source-pages/bnf-341.png", "printed_page": 309, "bbox_pixels": [ 300, 1133, 2350, 2106 ], "crop_image": "assets/III.39-014.png" } ], "original_title": "Basse figurée et Basse fondamentale — Guidons conditionnels C, D", "english_title": "Figured bass and fundamental bass — conditional cue signs C, D", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.39-014" ], "music_asset_refs": [ "III.39-014" ] }, { "id": "III.39-015", "type": "paragraph", "section": "III.39", "lesson": 83, "exercise": 83, "reading_order": 2156, "original": "Les chiffres qui sont au-dessous des Nottes de la Basse figurée marquent les Intervales qu’elle forme avec la Basse-fondamentale ; & ceux qui sont au-dessus marquent les Accords que ces Nottes portent en pareil cas.", "english": "The figures below the figured-bass notes show the intervals they form with the fundamental bass; those above show the chords borne by these notes in such cases.", "sources": [ { "pdf_page": 341, "source_image": "source-pages/bnf-341.png", "printed_page": 309, "bbox_pixels": [ 405, 3250, 2165, 300 ], "crop_image": "assets/III.39-015.png" } ] }, { "id": "III.39-016", "type": "paragraph", "section": "III.39", "lesson": 83, "exercise": 83, "reading_order": 2157, "original": "Pour faire une Basse figurée, l’on peut d’abord en composer une Fondamentale, au-dessus de laquelle l’on compose cette Basse figurée, à peu-près de même que l’on compose un Dessus figuré sur une Basse, je dis à peu-près, parce que loin d’éviter de se servir des mêmes Nottes dans l’une & dans l’autre Basse, l’on doit au contraire, faire entendre dans cette Basse figurée, autant que l’on peut, les Sons fondamentaux de la Basse-fondamentale, même dans le premier moment du Temps.", "english": "To write a figured bass, first compose a fundamental bass and write the figured bass above it, much as one writes a figured upper part above a bass. I say “much as,” because instead of avoiding the same notes in both basses, one should, on the contrary, sound the fundamental bass’s root notes in the figured bass as often as possible, even at the first instant of the beat.", "sources": [ { "pdf_page": 342, "source_image": "source-pages/bnf-342.png", "printed_page": 310, "bbox_pixels": [ 405, 395, 2165, 594 ], "crop_image": "assets/III.39-016.png" } ] }, { "id": "III.39-017", "type": "paragraph", "section": "III.39", "lesson": 83, "exercise": 83, "reading_order": 2158, "original": "Il faut toûjours conformer le Dessus à la Partie qui doit être entenduë avec elle ; & si ce Dessus devoit être entendu avec les deux Basses, il faudroit pour lors qu’il fût dans les regles avec l’une & l’autre Basses ; ainsi il faudroit changer ce Dessus à C, D, où il fait deux Quintes avec la Basse-fondamentale, & mettre des Nottes où sont les Guidons.", "english": "Always adapt the upper part to the part that will sound with it. If it is to sound with both basses, it must obey the rules against each. Thus this upper part would have to change at C and D, where it makes two fifths with the fundamental bass, placing notes where the cue signs stand.", "sources": [ { "pdf_page": 342, "source_image": "source-pages/bnf-342.png", "printed_page": 310, "bbox_pixels": [ 405, 989, 2165, 450 ], "crop_image": "assets/III.39-017.png" } ] }, { "id": "III.39-018", "type": "paragraph", "section": "III.39", "lesson": 83, "exercise": 83, "reading_order": 2159, "original": "L’on peut encore composer la Basse figurée la premiere ; & après en avoir distingué les temps, l’on doit mettre au-dessous, une Basse-fondamentale qui puisse se rapporter entierement aux regles prescrites pour la progression de cette derniere Basse, & pour les Accords qu’elle doit porter ; de sorte qu’après cela, l’on peut composer un Dessus plus ou moins figuré que cette Basse figurée.", "english": "One may instead compose the figured bass first. After distinguishing its beats, put beneath it a fundamental bass that conforms completely to the prescribed rules for that bass’s progression and chords. One may then compose an upper part with more or less figuration than the figured bass.", "sources": [ { "pdf_page": 342, "source_image": "source-pages/bnf-342.png", "printed_page": 310, "bbox_pixels": [ 405, 1439, 2165, 450 ], "crop_image": "assets/III.39-018.png" } ] }, { "id": "III.39-019", "type": "paragraph", "section": "III.39", "lesson": 83, "exercise": 83, "reading_order": 2160, "original": "Il se trouve souvent dans une Basse figurée des Nottes qui peuvent servir à deux Accords differens, & l’on ne peut se déterminer pour lors que par le Temps qui suit celui où l’on est incertain du choix de l’Accord ; la Basse-fondamentale pouvant nous servir encore de guide en cette occasion.", "english": "A figured bass often contains notes that can belong to two different chords. Then only the beat following the uncertain one can decide the choice; the fundamental bass may also guide us here.", "sources": [ { "pdf_page": 342, "source_image": "source-pages/bnf-342.png", "printed_page": 310, "bbox_pixels": [ 405, 1888, 2165, 373 ], "crop_image": "assets/III.39-019.png" } ] }, { "id": "III.39-020", "type": "paragraph", "section": "III.39", "lesson": 83, "exercise": 83, "reading_order": 2161, "original": "Il faut chercher la diversité autant que l’on peut, en évitant de faire entendre trop souvent les mêmes passages.", "english": "Seek variety as much as possible, avoiding too frequent repetition of the same passages.", "sources": [ { "pdf_page": 342, "source_image": "source-pages/bnf-342.png", "printed_page": 310, "bbox_pixels": [ 405, 2261, 2165, 150 ], "crop_image": "assets/III.39-020.png" } ] }, { "id": "III.39-021", "type": "paragraph", "section": "III.39", "lesson": 83, "exercise": 83, "reading_order": 2162, "original": "On est libre de figurer, ou non, tous les Temps d’une mesure ; on ne figure quelquefois que la moitié d’un Temps, tantôt dans la Basse, tantôt dans le Dessus, ou le tout ensemble, en suivant toûjours les Regles.", "english": "One may figure all the beats of a measure or leave some unfigured. Sometimes only half a beat is figured, now in the bass, now in the upper part, or in both together, always following the rules.", "sources": [ { "pdf_page": 342, "source_image": "source-pages/bnf-342.png", "printed_page": 310, "bbox_pixels": [ 405, 2411, 2165, 300 ], "crop_image": "assets/III.39-021.png" } ] }, { "id": "III.39-022", "type": "heading", "section": "III.39", "lesson": 83, "exercise": 83, "reading_order": 2163, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 342, "source_image": "source-pages/bnf-342.png", "printed_page": 310, "bbox_pixels": [ 405, 2711, 2165, 150 ], "crop_image": "assets/III.39-022.png" } ] }, { "id": "III.39-023", "type": "music", "section": "III.39", "lesson": 83, "exercise": 83, "reading_order": 2164, "original": "Deux Parties figurées — diversité des Temps", "english": "Two figured parts — variety of beats", "sources": [ { "pdf_page": 342, "source_image": "source-pages/bnf-342.png", "printed_page": 310, "bbox_pixels": [ 405, 2834, 2165, 613 ], "crop_image": "assets/III.39-023.png" } ], "original_title": "Deux Parties figurées — diversité des Temps", "english_title": "Two figured parts — variety of beats", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.39-023" ], "music_asset_refs": [ "III.39-023" ] }, { "id": "III.39-024", "type": "paragraph", "section": "III.39", "lesson": 83, "exercise": 83, "reading_order": 2165, "original": "L’on peut faire commencer l’une des Parties la premiere, & faire entrer l’autre, deux ou trois Temps après, & même une ou deux Mesures après, selon qu’il est dicté par le goût, ainsi des autres Parties, s’il y en avoit davantage.", "english": "One part may begin first and the other enter two or three beats later, or even one or two measures later, as taste dictates. The same applies to additional parts if there are more.", "sources": [ { "pdf_page": 342, "source_image": "source-pages/bnf-342.png", "printed_page": 310, "bbox_pixels": [ 405, 3452, 2165, 104 ], "crop_image": "assets/III.39-024.png" }, { "pdf_page": 343, "source_image": "source-pages/bnf-343.png", "printed_page": 311, "bbox_pixels": [ 405, 387, 2165, 218 ], "crop_image": "assets/III.39-025.png" } ] }, { "id": "III.39-026", "type": "paragraph", "section": "III.39", "lesson": 83, "exercise": 83, "reading_order": 2166, "original": "L’on peut commencer par telle partie de la mesure que l’on veut, même par le dernier quart de Temps ; l’on peut encore faire cesser l’une des Parties pendant quelque temps, mais si c’est la Basse, ce ne peut être que pendant une ou deux mesures au plus ; car la Basse-continuë doit toûjours être sous-entenduë, quoique l’on ne veüille faire entendre qu’une seule Partie.", "english": "One may begin at any point in the measure, even the last quarter of a beat. One part may also stop for a while, but if it is the bass, this may last no more than one or two measures, since the continuo bass must always be understood even when only one part is intended to sound.", "sources": [ { "pdf_page": 343, "source_image": "source-pages/bnf-343.png", "printed_page": 311, "bbox_pixels": [ 405, 605, 2165, 450 ], "crop_image": "assets/III.39-026.png" } ] }, { "id": "III.39-027", "type": "paragraph", "section": "III.39", "lesson": 83, "exercise": 83, "reading_order": 2167, "original": "Tous ces silences se marquent avec des soupirs & autres caracteres de cette nature, que nous avons expliquez au premier Chapitre.", "english": "All these silences are shown by quarter rests and other such signs, explained in Chapter I.", "sources": [ { "pdf_page": 343, "source_image": "source-pages/bnf-343.png", "printed_page": 311, "bbox_pixels": [ 405, 1054, 2165, 150 ], "crop_image": "assets/III.39-027.png" } ] }, { "id": "III.39-028", "type": "paragraph", "section": "III.39", "lesson": 83, "exercise": 83, "reading_order": 2168, "original": "Au reste, le Point mis après une Notte, lequel doit être pris pour cette Notte même, forme ordinairement Accord avec les autres Parties, parce qu’il se trouve presque toûjours dans un Temps bon, & comme il vaut la moitié de la Notte qui le précéde, si par hazard sa valeur ne contient qu’un demi Temps, ou moins, la Notte qui le suit n’est admise pour lors que pour le goût du Chant.", "english": "Moreover, a dot after a note must be understood as that same note. It ordinarily forms a chord with the other parts, since it nearly always falls on a strong beat. As it is worth half the preceding note, if its duration happens to be only half a beat or less, the note following it is then admitted solely for melodic taste.", "sources": [ { "pdf_page": 343, "source_image": "source-pages/bnf-343.png", "printed_page": 311, "bbox_pixels": [ 405, 1204, 2165, 463 ], "crop_image": "assets/III.39-028.png" } ] }, { "id": "III.39-029", "type": "heading", "section": "III.39", "lesson": 83, "exercise": 83, "reading_order": 2169, "original": "ARTICLE SECOND.", "english": "ARTICLE TWO.", "sources": [ { "pdf_page": 343, "source_image": "source-pages/bnf-343.png", "printed_page": 311, "bbox_pixels": [ 405, 1706, 2165, 150 ], "crop_image": "assets/III.39-029.png" } ] }, { "id": "III.39-030", "type": "heading", "section": "III.39", "lesson": 83, "exercise": 83, "reading_order": 2170, "original": "Du Chant-figuré par des Intervales diatoniques.", "english": "On Figured Melody Through Diatonic Intervals.", "sources": [ { "pdf_page": 343, "source_image": "source-pages/bnf-343.png", "printed_page": 311, "bbox_pixels": [ 405, 1839, 2165, 150 ], "crop_image": "assets/III.39-030.png" } ] }, { "id": "III.39-031", "type": "paragraph", "section": "III.39", "lesson": 83, "exercise": 83, "reading_order": 2171, "original": "L’on peut faire passer autant de Nottes que l’on veut entre les Temps ; & si-tôt qu’elles procedent par des Intervales diatoniques, il n’importe pas qu’elles soient du nombre de celles qui composent l’Accord, pourvû que la premiere en soit ; mais si après plusieurs Nottes en pareille progression, l’on procede par un Intervale consonant de la derniere Notte d’un Temps à la premiere du Temps qui suit, il faut que cette derniere Notte soit aussi comprise dans l’Accord qui subsiste pendant la valeur du Temps où elle a lieu.", "english": "As many notes as desired may pass between beats. When they move diatonically, they need not belong to the chord, provided the first does. But if, after several such notes, the final note of one beat moves by a consonant interval to the first note of the next, that final note must also belong to the chord prevailing during its beat.", "sources": [ { "pdf_page": 343, "source_image": "source-pages/bnf-343.png", "printed_page": 311, "bbox_pixels": [ 405, 1962, 2165, 599 ], "crop_image": "assets/III.39-031.png" } ] }, { "id": "III.39-032", "type": "paragraph", "section": "III.39", "lesson": 83, "exercise": 83, "reading_order": 2172, "original": "Si les Temps entre lesquels on fait passer plusieurs Nottes, sont assez lents pour qu’ils puissent se partager en deux Temps égaux, on fera toûjours bien de partager aussi en valeur égale les Nottes qui passent dans un même Temps, en observant que la premiere Notte de chaque valeur soit du nombre de celles qui composent l’Accord pendant lequel on fait ce passage.", "english": "If beats containing several intervening notes are slow enough to divide into two equal beats, it is always advisable to divide the notes within each beat into equal values too, ensuring that the first note of each division belongs to the chord over which the passage occurs.", "sources": [ { "pdf_page": 343, "source_image": "source-pages/bnf-343.png", "printed_page": 311, "bbox_pixels": [ 405, 2561, 2165, 450 ], "crop_image": "assets/III.39-032.png" } ] }, { "id": "III.39-033", "type": "paragraph", "section": "III.39", "lesson": 83, "exercise": 83, "reading_order": 2173, "original": "Le goût nous oblige quelquefois à transgresser ces regles, en ce que dans une progression diatonique, la premiere Notte d’un Temps n’est pas toûjours comprise dans l’Accord qui doit être entendu ; mais l’on peut remarquer que cette premiere Notte n’est admise pour lors dans le Chant, que comme une espece de coulé, qui vous conduit immediatement après, sur la Notte comprise dans l’Accord, avant que la valeur du Temps où cet Accord a lieu, soit expirée.", "english": "Taste sometimes requires these rules to be broken: in diatonic movement, the first note of a beat does not always belong to the sounding chord. That first note is then admitted only as a kind of coulée, or sliding approach, leading immediately afterward to a chord note before the beat’s duration ends.", "sources": [ { "pdf_page": 343, "source_image": "source-pages/bnf-343.png", "printed_page": 311, "bbox_pixels": [ 405, 3011, 2165, 537 ], "crop_image": "assets/III.39-033.png" } ] }, { "id": "III.39-034", "type": "heading", "section": "III.39", "lesson": 83, "exercise": 83, "reading_order": 2174, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 344, "source_image": "source-pages/bnf-344.png", "printed_page": 312, "bbox_pixels": [ 405, 409, 2165, 150 ], "alternate_image": "source-pages/alternate/bne-348-native.png", "crop_image": "assets/III.39-034.png" } ] }, { "id": "III.39-035", "type": "music", "section": "III.39", "lesson": 83, "exercise": 83, "reading_order": 2175, "original": "Chant figuré par des Intervales diatoniques", "english": "Figured melody through diatonic intervals", "sources": [ { "pdf_page": 344, "source_image": "source-pages/bnf-344.png", "printed_page": 312, "bbox_pixels": [ 405, 553, 2165, 2158 ], "alternate_image": "source-pages/alternate/bne-348-native.png", "crop_image": "assets/III.39-035.png" } ], "original_title": "Chant figuré par des Intervales diatoniques", "english_title": "Figured melody through diatonic intervals", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.39-035" ], "music_asset_refs": [ "III.39-035" ] }, { "id": "III.39-036", "type": "paragraph", "section": "III.39", "lesson": 83, "exercise": 83, "reading_order": 2176, "original": "Cette mesure, quoi qu’à deux Temps, est partagée en quatre, presque par tout, où l’on voit que la premiere des deux Croches est toûjours comprise dans l’Accord.", "english": "Although this meter has two beats, it is divided into four almost everywhere. The first of each pair of eighth notes is always seen to belong to the chord.", "sources": [ { "pdf_page": 344, "source_image": "source-pages/bnf-344.png", "printed_page": 312, "bbox_pixels": [ 405, 2752, 2165, 232 ], "alternate_image": "source-pages/alternate/bne-348-native.png", "crop_image": "assets/III.39-036.png" } ] }, { "id": "III.39-037", "type": "paragraph", "section": "III.39", "lesson": 83, "exercise": 83, "reading_order": 2177, "original": "Dans le Temps A, la premiere des deux dernieres Croches n’est point comprise dans l’Accord, parce que le Chant est conduit en progression diatonique d’un Temps à l’autre, où l’on voit que les deux premieres Croches qui ne participent point de cette progression sont comprises dans l’Accord.", "english": "At beat A, the first of the last two eighth notes does not belong to the chord, because the melody moves diatonically from one beat to the next. The first two eighth notes, which do not take part in this progression, do belong to the chord.", "sources": [ { "pdf_page": 344, "source_image": "source-pages/bnf-344.png", "printed_page": 312, "bbox_pixels": [ 405, 2983, 2165, 368 ], "alternate_image": "source-pages/alternate/bne-348-native.png", "crop_image": "assets/III.39-037.png" } ] }, { "id": "III.39-038", "type": "paragraph", "section": "III.39", "lesson": 83, "exercise": 83, "reading_order": 2178, "original": "Chaque Notte du Temps B, doit porter un Accord, en partageant ce Temps en quatre, parce que dès que la Notte tonique paroît après la sensible, elle doit porter son Accord naturel. Si cette Notte tonique paroissoit incontinent dans la mesure suivante, & que le Chant s’y reposât, le Temps B, ne devroit point être partagé ; mais le Chant qui va se reposer sur la Dominante, nous fait sentir pour lors une Cadence irreguliere de la derniere Croche du Temps B, à la Notte qui suit.", "english": "Each note of beat B must bear a chord, dividing the beat into four, because as soon as the tonic appears after the leading note it must bear its natural chord. If that tonic appeared immediately in the following measure and the melody rested there, beat B should not be divided. But the melody rests on the dominant, making us feel an irregular cadence from B’s last eighth note to the following note.", "sources": [ { "pdf_page": 344, "source_image": "source-pages/bnf-344.png", "printed_page": 312, "bbox_pixels": [ 405, 3351, 2165, 177 ], "alternate_image": "source-pages/alternate/bne-348-native.png", "crop_image": "assets/III.39-038.png" }, { "pdf_page": 345, "source_image": "source-pages/bnf-345.png", "printed_page": 313, "bbox_pixels": [ 405, 346, 2165, 463 ], "crop_image": "assets/III.39-039.png" } ] }, { "id": "III.39-040", "type": "paragraph", "section": "III.39", "lesson": 83, "exercise": 83, "reading_order": 2179, "original": "La premiere & la troisiéme Croche du Temps C, ne sont point du nombre de l’Accord, parce qu’elles y forment une espece de coulé, en tombant sur la seconde & sur la quatriéme Croche, qui sont comprises dans l’Accord ; car il falloit que cette quatriéme Croche fût comprise dans l’Accord, puisqu’elle passe à l’autre Temps par un Intervale consonant ; l’on trouvera de pareils coulez dans les Temps F, & D.", "english": "The first and third eighth notes of beat C are not chord members, since they act as a kind of coulée toward the second and fourth eighths, which are. The fourth must belong to the chord because it passes to the next beat by a consonant interval. Similar coulées occur at F and D.", "sources": [ { "pdf_page": 345, "source_image": "source-pages/bnf-345.png", "printed_page": 313, "bbox_pixels": [ 405, 809, 2165, 526 ], "crop_image": "assets/III.39-040.png" } ] }, { "id": "III.39-041", "type": "paragraph", "section": "III.39", "lesson": 83, "exercise": 83, "reading_order": 2180, "original": "Le Point D, represente la Notte qui le précéde ; & l’Accord du Tri-Ton qui y est chiffré, a lieu jusqu’à l’expiration de la valeur de ce point, ainsi le Tri-Ton ne se sauve que dans le Temps qui suit ce point.", "english": "The dot at D represents the preceding note. The tritone chord figured there lasts until the dot’s duration expires, so the tritone resolves only on the beat after that dot.", "sources": [ { "pdf_page": 345, "source_image": "source-pages/bnf-345.png", "printed_page": 313, "bbox_pixels": [ 405, 1335, 2165, 300 ], "crop_image": "assets/III.39-041.png" } ] }, { "id": "III.39-042", "type": "paragraph", "section": "III.39", "lesson": 83, "exercise": 83, "reading_order": 2181, "original": "Voilà comme nous avons crû devoir expliquer ce qui n’a paru jusqu’à present que sous des regles fort abstraites.", "english": "This is how we thought it necessary to explain what has hitherto appeared only under very abstract rules.", "sources": [ { "pdf_page": 345, "source_image": "source-pages/bnf-345.png", "printed_page": 313, "bbox_pixels": [ 405, 1635, 2165, 150 ], "crop_image": "assets/III.39-042.png" } ] }, { "id": "III.39-043", "type": "paragraph", "section": "III.39", "lesson": 83, "exercise": 83, "reading_order": 2182, "original": "C’est de cette facilité de figurer le Chant, & du renversement des Accords que provient cette diversité incomprehensible dans la Musique.", "english": "This ease of figuring melody, together with chord inversion, gives rise to music’s incomprehensible variety.", "sources": [ { "pdf_page": 345, "source_image": "source-pages/bnf-345.png", "printed_page": 313, "bbox_pixels": [ 405, 1785, 2165, 223 ], "crop_image": "assets/III.39-043.png" } ] }, { "id": "III.40-001", "type": "heading", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2183, "original": "CHAPITRE QUARANTIÉME.", "english": "CHAPTER FORTY.", "sources": [ { "pdf_page": 345, "source_image": "source-pages/bnf-345.png", "printed_page": 313, "bbox_pixels": [ 405, 2139, 2165, 150 ], "crop_image": "assets/III.40-001.png" } ], "correction_refs": [ "supplement-261", "supplement-262", "supplement-263" ] }, { "id": "III.40-002", "type": "heading", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2184, "original": "De la maniere de faire une Basse-fondamentale sous un Dessus.", "english": "On Making a Fundamental Bass Beneath an Upper Part.", "sources": [ { "pdf_page": 345, "source_image": "source-pages/bnf-345.png", "printed_page": 313, "bbox_pixels": [ 405, 2289, 2165, 150 ], "crop_image": "assets/III.40-002.png" } ] }, { "id": "III.40-003", "type": "paragraph", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2185, "original": "LA Basse-fondamentale est le plus sûr moyen pour trouver celle qui convient à un Dessus déja composé, quand on n’a pas le goût assez formé, pour sentir cette Basse en même temps que l’on compose le Dessus ; car un Chant quelconque a toûjours sa Basse naturelle, qui lui convient mieux qu’aucune autre, & qui nous prévient ; pour peu que nous soyons sensibles à la parfaite Harmonie, nous chantons naturellement la Basse de toutes les Cadences quand nous en entendons le Dessus ; ce qui doit nous faire connoître déja le Ton dans lequel nous chantons, ainsi de Cadence en Cadence, soit parfaite ou irreguliere (car la rompue n’est point differente dans le Dessus, de la parfaite) nous connoissons les changemens de Tons ; & la Basse fondamentale, qui ne peut souffrir que des Accords parfaits ou de Septiéme, nous détermine encore plus vite.", "english": "The fundamental bass is the surest means of finding a bass suited to an already composed upper part when taste is not sufficiently developed to sense that bass while composing the upper part. Every melody has its natural bass, better suited than any other, which anticipates our thought. With even a little sensitivity to perfect harmony, we naturally sing the bass of every cadence on hearing its upper part. This already tells us the key in which we sing. Thus, from cadence to cadence, perfect or irregular—for an interrupted cadence does not differ from a perfect one in the upper part—we recognize key changes. The fundamental bass, allowing only perfect or seventh chords, determines them still more quickly.", "sources": [ { "pdf_page": 345, "source_image": "source-pages/bnf-345.png", "printed_page": 313, "bbox_pixels": [ 405, 2438, 2165, 1057 ], "crop_image": "assets/III.40-003.png" } ] }, { "id": "III.40-004", "type": "heading", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2186, "original": "EXEMPLES. Des differentes Progressions d’un Dessus dans les Cadences.", "english": "EXAMPLES. Different Upper-Part Progressions in Cadences.", "sources": [ { "pdf_page": 346, "source_image": "source-pages/bnf-346.png", "printed_page": 314, "bbox_pixels": [ 405, 444, 2165, 150 ], "crop_image": "assets/III.40-004.png" } ] }, { "id": "III.40-005", "type": "music", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2187, "original": "Cadences parfaites ou irrégulières dans les Tons majeurs et mineurs", "english": "Perfect or irregular cadences in major and minor keys", "sources": [ { "pdf_page": 346, "source_image": "source-pages/bnf-346.png", "printed_page": 314, "bbox_pixels": [ 300, 708, 2350, 926 ], "crop_image": "assets/III.40-005.png" } ], "original_title": "Cadences parfaites ou irrégulières dans les Tons majeurs et mineurs", "english_title": "Perfect or irregular cadences in major and minor keys", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.40-005" ], "music_asset_refs": [ "III.40-005" ] }, { "id": "III.40-006", "type": "paragraph", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2188, "original": "Toutes ces Cadences sont établies sur le Ton d’Ut, seulement ; quoiqu’elles ayent rapport à d’autres Tons.", "english": "All these cadences are established in C alone, although they relate to other keys.", "sources": [ { "pdf_page": 346, "source_image": "source-pages/bnf-346.png", "printed_page": 314, "bbox_pixels": [ 405, 1659, 2165, 155 ], "crop_image": "assets/III.40-006.png" } ] }, { "id": "III.40-007", "type": "paragraph", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2189, "original": "La Cadence parfaite A, monte de la Notte sensible à la Tonique dans les Tons majeurs & mineurs, quoiqu’elle pût monter de la seconde Notte à la Mediante dans les Tons mineurs, conformément à l’Exemple F.", "english": "Perfect cadence A ascends from the leading note to the tonic in major and minor keys, although it could ascend from the second note to the mediant in minor keys, as in example F.", "sources": [ { "pdf_page": 346, "source_image": "source-pages/bnf-346.png", "printed_page": 314, "bbox_pixels": [ 405, 1815, 2165, 300 ], "crop_image": "assets/III.40-007.png" } ] }, { "id": "III.40-008", "type": "paragraph", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2190, "original": "La Cadence parfaite B, descend de la seconde Notte sur la Tonique dans les Tons majeurs & mineurs, quoique dans les mineurs elle pût descendre de la quatriéme Notte à la Mediante, conformément à l’Exemple G, ainsi le Ton majeur d’UT, & le mineur de LA, ont beaucoup de rapport dans ces deux premieres Cadences ; & pour parler plus en general, ces deux Cadences ont également lieu dans un Ton majeur & dans un mineur, dont la distance n’est que d’une Tierce mineure, conformément à la distance d’UT Ton majeur, à LA Ton mineur, de FA Ton majeur, à RE Ton mineur, de SOL Ton majeur, à MI Ton mineur, &c.", "english": "Perfect cadence B descends from the second note to the tonic in major and minor keys, although in minor it could descend from the fourth note to the mediant, as in G. Thus C major and A minor have much in common in these first two cadences. More generally, both cadences occur equally in a major key and a minor key whose tonics are a minor third apart, as with C major and A minor, F major and D minor, G major and E minor, and so on.", "sources": [ { "pdf_page": 346, "source_image": "source-pages/bnf-346.png", "printed_page": 314, "bbox_pixels": [ 405, 2114, 2165, 741 ], "crop_image": "assets/III.40-008.png" } ] }, { "id": "III.40-009", "type": "paragraph", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2191, "original": "Les Cadences C, D, F, G, qui sont arbitraires entre les Parfaites & les Irregulieres, ne se distinguent que par la differente progression que l’on est libre d’y donner à la Basse, soit en montant de quarte sur la Notte tonique pour former une Cadence parfaite, soit en descendant de quarte sur cette même Notte, ou sur la Dominante, pour former une Cadence irreguliere : Quand nous disons, ou sur la Dominante, c’est en supposant que ces Cadences peuvent nous representer un autre Ton que celui d’Ut ; car celles de C, & de D, peuvent être prises pour irregulieres dans le Ton de Ré, & celle de D, peut être prise encore de même dans le Ton de Fa ; celles d’F, & de G, peuvent être prises pour parfaites dans le Ton de Mi B-mol ; & celle de G, peut être prise encore pour irreguliere dans le Ton de La B-mol ; mais les veritables Cadences irregulieres sur la Dominante d’Ut, sont celles des Exemples H, J, L, M, quoique l’Exemple H, puisse nous representer une Cadence parfaite ou irreguliere dans le Ton de Si B-mol ; que celui d’J, puisse nous en representer une irreguliere dans le Ton mineur de La, que celui d’L, puisse nous en representer une parfaite dans le Ton de Ré ; & qu’enfin celui d’M, puisse nous en representer une irreguliere dans le Ton majeur, de Si B-mol, dans le mineur de Sol, & dans l’un & l’autre de Mi B-mol. Or voici le fruit que nous pouvons tirer de ces Cadences arbitraires dans le Dessus.", "english": "Cadences C, D, F, and G may be perfect or irregular, distinguished only by the freely chosen bass motion: ascending a fourth to the tonic for a perfect cadence, or descending a fourth to that tonic or the dominant for an irregular cadence. “Or the dominant” assumes that these cadences may represent keys other than C. C and D can be irregular cadences in D, and D also in F; F and G can be perfect cadences in E-flat, and G also irregular in A-flat. But the true irregular cadences on C’s dominant are H, J, L, and M. Nevertheless, H may represent a perfect or irregular cadence in B-flat; J an irregular cadence in A minor; L a perfect cadence in D; and M an irregular cadence in B-flat major, G minor, or either major or minor E-flat. Here is the use we may make of these cadences whose upper parts admit different interpretations.", "sources": [ { "pdf_page": 346, "source_image": "source-pages/bnf-346.png", "printed_page": 314, "bbox_pixels": [ 405, 2855, 2165, 689 ], "crop_image": "assets/III.40-009.png" }, { "pdf_page": 347, "source_image": "source-pages/bnf-347.png", "printed_page": 315, "bbox_pixels": [ 405, 351, 2165, 915 ], "crop_image": "assets/III.40-010.png" } ] }, { "id": "III.40-011", "type": "paragraph", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2192, "original": "1°. Il ne faut composer vôtre Dessus que dans le Ton majeur d’Ut, ou dans le mineur de Ré, supposé que la connoissance des autres Tons ne vous soit pas aussi familiere ; & pour connoître si ce Dessus est veritablement composé dans l’un de ces deux Tons, ne pouvant le faire commencer que par l’Octave, la Tierce, ou la Quinte ; vous remarquerez où va se terminer la premiere Cadence, qui se trouve ordinairement dans la seconde ou dans la quatriéme Mesure : Ayant donc commencé par Ut, par Mi ou par Sol, qui sont l’Octave, la Tierce & la Quinte d’Ut, si vôtre premiere Cadence se termine en Ré, vous ne serez pas pour cela dans le Ton de Ré, car il faudroit avoir commencé par Ré, Fa ou La, qui sont l’Octave, la Tierce & la Quinte de ce Ré. De plus, si vous êtes obligé d’ajoûter quelques Diezes, ou quelques B-mols aux Nottes, par rapport à certains semi-Tons, où le goût du Chant vous conduit, ces signes vous déterminent d’abord le Ton, conformément à l’explication que nous en avons donnée. (Chap. XXIV. & XXV.) Car si vous avez commencé par Ut, cet Ut fait la Tierce mineure de La, & la Quinte de Fa, de même qu’il fait l’Octave d’Ut ; & ce ne peut être que par les Diezes ou les B-mols, ou encore par les Cadences que l’on distingue le Ton ; quoique si l’Air est composé dans le goût naturel, il n’y a qu’à s’en rapporter à la derniere Notte, qui doit être naturellement la Tonique.", "english": "1. Compose the upper part only in C major or D minor if other keys are not equally familiar. To know whether it truly belongs to one of those keys, since it may begin only on the octave, third, or fifth, observe where the first cadence ends, ordinarily in the second or fourth measure. If you began with C, E, or G, the octave, third, and fifth of C, a first cadence ending on D does not put you in D: you would have had to begin with D, F, or A, its octave, third, and fifth. Moreover, if melodic taste leads to semitones requiring sharps or flats, those signs immediately determine the key as explained in Chapters XXIV and XXV. An opening C is the minor third of A and fifth of F as well as the octave of C; only sharps, flats, or cadences distinguish the key. If the air is composed with natural taste, however, one need only consult the final note, which should naturally be the tonic.", "sources": [ { "pdf_page": 347, "source_image": "source-pages/bnf-347.png", "printed_page": 315, "bbox_pixels": [ 405, 1267, 2165, 1569 ], "crop_image": "assets/III.40-011.png" } ] }, { "id": "III.40-012", "type": "paragraph", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2193, "original": "2°. Si-tôt que vous êtes certain du Ton que vous traitez, il faut lui approprier toutes les Cadences qui peuvent lui convenir ; & quand il s’en trouve quelques-unes d’étrangeres, il faut les rapporter à celles de l’Exemple précedent, en remarquant ce qui suit.", "english": "2. Once certain of your key, assign to it every cadence that can belong to it. If foreign cadences appear, compare them with those in the preceding example, observing the following.", "sources": [ { "pdf_page": 347, "source_image": "source-pages/bnf-347.png", "printed_page": 315, "bbox_pixels": [ 405, 2836, 2165, 300 ], "crop_image": "assets/III.40-012.png" } ] }, { "id": "III.40-013", "type": "paragraph", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2194, "original": "1°. Le Dessus doit toûjours faire la Tierce, la Quinte, l’Octave, ou la Septiéme avec la Basse-fondamentale.", "english": "1. The upper part must always form the third, fifth, octave, or seventh with the fundamental bass.", "sources": [ { "pdf_page": 347, "source_image": "source-pages/bnf-347.png", "printed_page": 315, "bbox_pixels": [ 405, 3136, 2165, 150 ], "crop_image": "assets/III.40-013.png" } ] }, { "id": "III.40-014", "type": "paragraph", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2195, "original": "2°. Dans la Basse-fondamentale, il faut toûjours donner la preference aux Progressions les plus parfaites ; ainsi celle de la Quinte en descendant doit être preferée à celle de la Quarte, celle-ci à celle de la Tierce, & celle-ci à celle de la Septiéme, en se souvenant que monter de Deuxiéme est de même que descendre de Septiéme, &c. Cependant si le Dessus ne pouvoit s’accorder avec la Basse, en la faisant descendre de Quinte, il faudroit chercher cet Accord dans une Progression de Quarte, de Tierce ou de Septiéme, en preferant toûjours la plus parfaite.", "english": "2. Always prefer the most perfect fundamental-bass progressions: a descending fifth over a fourth, a fourth over a third, and a third over a seventh. Remember that ascending a second amounts to descending a seventh, and so forth. If a descending fifth in the bass cannot agree with the upper part, seek agreement through a fourth, third, or seventh, always preferring the most perfect.", "sources": [ { "pdf_page": 347, "source_image": "source-pages/bnf-347.png", "printed_page": 315, "bbox_pixels": [ 405, 3286, 2165, 240 ], "crop_image": "assets/III.40-014.png" }, { "pdf_page": 348, "source_image": "source-pages/bnf-348.png", "printed_page": 316, "bbox_pixels": [ 405, 401, 2165, 450 ], "crop_image": "assets/III.40-015.png" } ] }, { "id": "III.40-016", "type": "paragraph", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2196, "original": "3°. Il ne faut point figurer le Dessus, lorsque l’on veut se stiler parfaitement sur la Basse-fondamentale, parce que le Chant-figuré ne peut qu’embarrasser les Commençans ; de sorte qu’il faut que chaque Notte du Dessus vaille au moins un Temps.", "english": "3. Do not figure the upper part when seeking thorough practice in fundamental bass, since figured melody only confuses beginners. Each upper note must therefore last at least one beat.", "sources": [ { "pdf_page": 348, "source_image": "source-pages/bnf-348.png", "printed_page": 316, "bbox_pixels": [ 405, 850, 2165, 297 ], "crop_image": "assets/III.40-016.png" } ] }, { "id": "III.40-017", "type": "paragraph", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2197, "original": "4°. Il faut s’attacher d’abord à composer des Airs de caractére, comme Gavottes, Sarabandes, &c. parce que les Cadences s’y apperçoivent presque toûjours de 2. en 2. Mesures ; ce qui détermine plus vite. Voyez le second Livre, Chap. XXV. XXVI. XXVII & XXVIII. où vous trouverez le mouvement de ces Airs, la quantité des Mesures dont ils doivent être composez, les sortes de Vers qui leur sont propres, & ce que l’on doit observer pour mettre des Paroles en chant.", "english": "4. Begin by composing characteristic airs such as gavottes and sarabandes, because their cadences are nearly always perceptible every two measures, deciding the matter more quickly. See Book II, Chapters XXV, XXVI, XXVII, and XXVIII, for their tempo, required number of measures, suitable verse forms, and rules for setting words to music.", "sources": [ { "pdf_page": 348, "source_image": "source-pages/bnf-348.png", "printed_page": 316, "bbox_pixels": [ 405, 1147, 2165, 599 ], "crop_image": "assets/III.40-017.png" } ] }, { "id": "III.40-018", "type": "paragraph", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2198, "original": "5°. Si vous appercevez dans vos Airs quelques Cadences étrangeres au Ton que vous traitez, il faut remarquer si elles terminent le Chant, ou non ; ce que vous connoîtrez plus facilement par le sens des Paroles. Si elles terminent le Chant, le Ton change pour lors, & il passe ordinairement dans celui de la Dominante, de la Mediante, de la quatriéme ou de la sixiéme Notte du Ton que vous quittez immediatement ; ce qui se distingue, en rapportant ces Cadences à celles de l’Exemple précedent, où vous remarquerez que, si l’une de ces Cadences se termine ;", "english": "5. If your air contains cadences foreign to its key, observe whether they end the melody, which the meaning of the words will clarify. If they do, the key changes, ordinarily to the dominant, mediant, fourth, or sixth of the key just left. Compare these cadences with the preceding example. If one ends thus:", "sources": [ { "pdf_page": 348, "source_image": "source-pages/bnf-348.png", "printed_page": 316, "bbox_pixels": [ 405, 1746, 2165, 668 ], "crop_image": "assets/III.40-018.png" } ] }, { "id": "III.40-019", "type": "music", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2199, "original": "Ainsi — Cadences dans les Tons de Fa, Sol, Ré, Mi et La", "english": "Thus — cadences in F, G, D, E, and A", "sources": [ { "pdf_page": 348, "source_image": "source-pages/bnf-348.png", "printed_page": 316, "bbox_pixels": [ 405, 2298, 2165, 383 ], "crop_image": "assets/III.40-019.png" } ], "original_title": "Ainsi — Cadences dans les Tons de Fa, Sol, Ré, Mi et La", "english_title": "Thus — cadences in F, G, D, E, and A", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.40-019" ], "music_asset_refs": [ "III.40-019" ] }, { "id": "III.40-020", "type": "paragraph", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2200, "original": "Elle nous represente une Cadence parfaite dans l’un de ces Tons, de même que celle-ci,", "english": "represents a perfect cadence in one of these keys, just as this one", "sources": [ { "pdf_page": 348, "source_image": "source-pages/bnf-348.png", "printed_page": 316, "bbox_pixels": [ 405, 2697, 2165, 169 ], "crop_image": "assets/III.40-020.png" } ] }, { "id": "III.40-021", "type": "music", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2201, "original": "Cadence parfaite dans le Ton d’Ut", "english": "Perfect cadence in C", "sources": [ { "pdf_page": 348, "source_image": "source-pages/bnf-348.png", "printed_page": 316, "bbox_pixels": [ 1160, 2790, 425, 230 ], "crop_image": "assets/III.40-021.png" } ], "original_title": "Cadence parfaite dans le Ton d’Ut", "english_title": "Perfect cadence in C", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.40-021" ], "music_asset_refs": [ "III.40-021" ] }, { "id": "III.40-022", "type": "paragraph", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2202, "original": "nous en represente une dans le Ton d’Ut, ainsi des autres Cadences qui ont un même rapport à proportion ; mais si le Chant n’est point absolument terminé, il faut laisser suivre à la Basse sa route naturelle, en preferant (comme nous l’avons dit,) les Progressions les plus parfaites aux autres, autant que cela se peut.", "english": "represents one in C; likewise with other proportionally related cadences. But if the melody has not fully ended, let the bass follow its natural course, preferring the most perfect progressions as far as possible, as already stated.", "sources": [ { "pdf_page": 348, "source_image": "source-pages/bnf-348.png", "printed_page": 316, "bbox_pixels": [ 405, 2866, 2165, 436 ], "crop_image": "assets/III.40-022.png" } ] }, { "id": "III.40-023", "type": "paragraph", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2203, "original": "6°. Tant que le Dessus fait la Tierce, la Quinte ou l’Octave d’une Notte déja placée dans la Basse, l’on peut ne point changer cette Notte, excepté que l’on ne voye que cela peut se faire sans interrompre la Progression naturelle de la Basse ; & pour lors la varieté, qui fait une des principales parties de la beauté de l’Harmonie, le demande.", "english": "6. As long as the upper part forms the third, fifth, or octave of a bass note already in place, that note need not change, unless a change can be made without interrupting the natural bass progression. Variety, one of harmony’s principal beauties, then calls for it.", "sources": [ { "pdf_page": 348, "source_image": "source-pages/bnf-348.png", "printed_page": 316, "bbox_pixels": [ 405, 3302, 2165, 234 ], "crop_image": "assets/III.40-023.png" }, { "pdf_page": 349, "source_image": "source-pages/bnf-349.png", "printed_page": 317, "bbox_pixels": [ 405, 395, 2165, 163 ], "crop_image": "assets/III.40-024.png" } ] }, { "id": "III.40-025", "type": "paragraph", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2204, "original": "7°. Il faut toûjours regarder le premier Temps de chaque Mesure comme le principal ; de sorte que si l’on apperçoit que la Notte de la Basse, que l’on peut mettre dans un autre Temps, convient dans le premier Temps qui précede, ou qui suit, il vaut mieux faire devancer ou faire retarder cette Notte, pour qu’elle soit entenduë dans le premier Temps, en remarquant deux choses : La premiere, si la Notte qui suit le premier Temps peut être la même dans ce premier Temps, c’est pour lors qu’il faut faire entendre dans le premier Temps cette Notte que vous ne vouliez mettre qu’après : La seconde, si la Notte que vous mettez dans un Temps faux est la même que celle qui se fait entendre dans le premier Temps suivant, sans que vous puissiez mettre une ou plusieurs autres Nottes entre deux, il vaut mieux laisser à la Basse la Notte qui a été entenduë dans le premier Temps précedent, si cela se peut, ou en chercher une autre qui ne soit point la même que celle qui doit paroître immediatement dans le premier Temps suivant.", "english": "7. Always regard the first beat of each measure as principal. If a bass note intended for another beat also suits the preceding or following first beat, it is better to advance or delay it so it sounds on that first beat. Observe two things. First, if the note after the first beat could also serve on the first, sound it there rather than waiting. Second, if a note on a weak beat is the same as the one immediately following on the next first beat, with no other notes possible between them, it is better to retain the bass note from the previous first beat if possible, or find another different from the note about to sound on the next first beat.", "sources": [ { "pdf_page": 349, "source_image": "source-pages/bnf-349.png", "printed_page": 317, "bbox_pixels": [ 405, 559, 2165, 1191 ], "crop_image": "assets/III.40-025.png" } ] }, { "id": "III.40-026", "type": "heading", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2205, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 349, "source_image": "source-pages/bnf-349.png", "printed_page": 317, "bbox_pixels": [ 405, 1749, 2165, 150 ], "crop_image": "assets/III.40-026.png" } ] }, { "id": "III.40-027", "type": "music", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2206, "original": "Premier Temps préféré — exemples H et J", "english": "First beat preferred — examples H and J", "sources": [ { "pdf_page": 349, "source_image": "source-pages/bnf-349.png", "printed_page": 317, "bbox_pixels": [ 405, 1845, 2165, 550 ], "crop_image": "assets/III.40-027.png" } ], "original_title": "Premier Temps préféré — exemples H et J", "english_title": "First beat preferred — examples H and J", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.40-027" ], "music_asset_refs": [ "III.40-027" ] }, { "id": "III.40-028", "type": "paragraph", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2207, "original": "L’Exemple H, est le meilleur, parce que la Notte que l’on entend dans le second Temps de la seconde Mesure pouvant servir au premier Temps de la même Mesure, doit y être préferée.", "english": "Example H is better because the note heard on the second beat of the second measure can serve on that measure’s first beat and should be preferred there.", "sources": [ { "pdf_page": 349, "source_image": "source-pages/bnf-349.png", "printed_page": 317, "bbox_pixels": [ 405, 2414, 2165, 234 ], "crop_image": "assets/III.40-028.png" } ] }, { "id": "III.40-029", "type": "heading", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2208, "original": "AUTRE EXEMPLE.", "english": "ANOTHER EXAMPLE.", "sources": [ { "pdf_page": 349, "source_image": "source-pages/bnf-349.png", "printed_page": 317, "bbox_pixels": [ 405, 2697, 2165, 150 ], "crop_image": "assets/III.40-029.png" } ] }, { "id": "III.40-030", "type": "music", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2209, "original": "Autre Exemple — Basse tenue ou variée", "english": "Another example — held or varied bass", "sources": [ { "pdf_page": 349, "source_image": "source-pages/bnf-349.png", "printed_page": 317, "bbox_pixels": [ 405, 2834, 2165, 594 ], "crop_image": "assets/III.40-030.png" } ], "original_title": "Autre Exemple — Basse tenue ou variée", "english_title": "Another example — held or varied bass", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.40-030" ], "music_asset_refs": [ "III.40-030" ] }, { "id": "III.40-031", "type": "paragraph", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2210, "original": "Je ne puis faire tenir la même Notte de la Basse dans la premiere Mesure de l’Exemple A, quoique je puisse la changer, comme dans l’Exemple B ; parce que je puis mettre une autre Notte entre celle du second Temps de la premiere Mesure & celle du premier Temps de la seconde Mesure ; au lieu que dans les Exemples C, & F, je ne dois pas me servir de la seconde Notte de la premiere Mesure dans la Basse, parce qu’elle doit être entenduë immediatement dans le premier Temps de la Mesure suivante : Ainsi je me sers de la Notte qui a déja été entenduë dans le premier Temps de la premiere Mesure D, parce qu’elle s’accorde toûjours avec le second Temps ; & j’en choisis une autre à G, parce que cette premiere ne peut s’accorder icy avec le second Temps.", "english": "I cannot hold the same bass note throughout the first measure of A, although I may change it as in B, because I can place another note between the second beat of the first measure and the first beat of the second. In C and F, however, I must not use the second bass note of the first measure, since it must sound immediately afterward on the next measure’s first beat. Thus at D I use the note already heard on the first beat of the first measure, since it still agrees with the second beat; at G I choose another, since the first cannot agree with the second beat there.", "sources": [ { "pdf_page": 349, "source_image": "source-pages/bnf-349.png", "printed_page": 317, "bbox_pixels": [ 405, 3460, 2165, 101 ], "crop_image": "assets/III.40-031.png" }, { "pdf_page": 350, "source_image": "source-pages/bnf-350.png", "printed_page": 318, "bbox_pixels": [ 405, 395, 2165, 823 ], "crop_image": "assets/III.40-032.png" } ] }, { "id": "III.40-033", "type": "paragraph", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2211, "original": "8°. Il est souvent necessaire de partager une Notte du Dessus, en deux valeurs égales, pour faire entendre avec elle deux differentes Nottes dans la Basse, qui puissent s’accorder toûjours avec cette même Notte du Dessus ; & cela, pour conserver la progression consonante dans la Basse, & pour que la plus parfaite progression se fasse entendre entre la derniere de ces deux Nottes de la Basse & celle qui les suit.", "english": "8. It is often necessary to divide an upper note into two equal durations so that two different bass notes, both agreeing with it, may sound beneath it. This preserves consonant bass motion and places the most perfect progression between the second of those bass notes and the one following.", "sources": [ { "pdf_page": 350, "source_image": "source-pages/bnf-350.png", "printed_page": 318, "bbox_pixels": [ 405, 1218, 2165, 518 ], "crop_image": "assets/III.40-033.png" } ] }, { "id": "III.40-034", "type": "heading", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2212, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 350, "source_image": "source-pages/bnf-350.png", "printed_page": 318, "bbox_pixels": [ 405, 1736, 2165, 150 ], "crop_image": "assets/III.40-034.png" } ] }, { "id": "III.40-035", "type": "music", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2213, "original": "Partage d’une Notte du Dessus et progression de la Basse", "english": "Dividing an upper note and progressing the bass", "sources": [ { "pdf_page": 350, "source_image": "source-pages/bnf-350.png", "printed_page": 318, "bbox_pixels": [ 405, 1880, 2165, 578 ], "crop_image": "assets/III.40-035.png" } ], "original_title": "Partage d’une Notte du Dessus et progression de la Basse", "english_title": "Dividing an upper note and progressing the bass", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.40-035" ], "music_asset_refs": [ "III.40-035" ] }, { "id": "III.40-036", "type": "paragraph", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2214, "original": "Ce partage se fait encore pour faire entendre dans les Temps principaux de la Basse-fondamentale les Nottes les plus convenables au Ton que l’on traite ; & ces Nottes sont sa Tonique, sa Dominante, sa quatriéme, sa sixiéme, & quelquefois sa seconde, ainsi par ordre de perfection. On se sert rarement de sa Mediante, & jamais de sa Septiéme dans quelque Temps de la Mesure que ce soit ; car lorsqu’on ne peut s’en dispenser, il est certain que le Ton change, comme on peut le connoître par quelques Diezes ou B-mols, ou par quelques Cadences étrangeres.", "english": "This division also places the notes most suitable to the key on the fundamental bass’s principal beats: tonic, dominant, fourth, sixth, and sometimes second, in that order of perfection. The mediant is rarely used, and the seventh never, on any beat of the measure. If it cannot be avoided, the key certainly changes, as sharps, flats, or foreign cadences reveal.", "sources": [ { "pdf_page": 350, "source_image": "source-pages/bnf-350.png", "printed_page": 318, "bbox_pixels": [ 405, 2488, 2165, 670 ], "crop_image": "assets/III.40-036.png" } ] }, { "id": "III.40-037", "type": "paragraph", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2215, "original": "9°. Les Temps principaux de la Mesure sont ceux où la premiere Dissonance doit être entenduë lorsqu’elle est préparée ; car s’il s’en trouve plusieurs de suite, on ne doit avoir égard qu’à la premiere ; & l’on ne peut faire entendre une Dissonance sans être preparée, que dans une progression diatonique du Dessus, en descendant de trois degrez, ou en montant & descendant immediatement après, pendant que la Basse monte de Tierce ou de Quinte, pour descendre ensuite de Quinte ; & la Dissonance se trouve pour lors au milieu de ces trois degrez.", "english": "9. Principal beats are where the first prepared dissonance must sound. If several occur consecutively, consider only the first. An unprepared dissonance is allowed only in a diatonic upper progression through three degrees downward, or upward and immediately downward, while the bass ascends a third or fifth and then descends a fifth. The dissonance then occupies the middle of those three degrees.", "sources": [ { "pdf_page": 350, "source_image": "source-pages/bnf-350.png", "printed_page": 318, "bbox_pixels": [ 405, 3158, 2165, 381 ], "crop_image": "assets/III.40-037.png" }, { "pdf_page": 351, "source_image": "source-pages/bnf-351.png", "printed_page": 319, "bbox_pixels": [ 405, 395, 2165, 294 ], "crop_image": "assets/III.40-038.png" } ] }, { "id": "III.40-039", "type": "heading", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2216, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 351, "source_image": "source-pages/bnf-351.png", "printed_page": 319, "bbox_pixels": [ 405, 744, 2165, 150 ], "crop_image": "assets/III.40-039.png" } ] }, { "id": "III.40-040", "type": "music", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2217, "original": "Septiéme non préparée et Guidons de Cadence", "english": "Unprepared seventh and cadence cue signs", "sources": [ { "pdf_page": 351, "source_image": "source-pages/bnf-351.png", "printed_page": 319, "bbox_pixels": [ 405, 888, 2165, 635 ], "crop_image": "assets/III.40-040.png" } ], "original_title": "Septiéme non préparée et Guidons de Cadence", "english_title": "Unprepared seventh and cadence cue signs", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.40-040" ], "music_asset_refs": [ "III.40-040" ] }, { "id": "III.40-041", "type": "paragraph", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2218, "original": "Au lieu de faire monter d’abord la Basse de Quinte en cet endroit, on peut ne la faire monter que de Quarte, où pour lors la dissonance n’a point lieu ; & c’est de cette façon que l’on peut transposer une Cadence parfaite en irreguliere, & une irreguliere en parfaite. Voyez les Nottes A, B, où l’on peut mettre une autre Notte sur le Guidon, au lieu de celle qui est marquée par un A, les Nottes A, B, formant une Cadence parfaite, & la Notte A, mise à la place du Guidon formant une Cadence irreguliere avec le B.", "english": "Instead of first making the bass ascend a fifth here, it may ascend only a fourth, removing the dissonance. This changes a perfect cadence into an irregular one or vice versa. See A and B: another note may replace A at the cue sign. A and B form a perfect cadence; A moved to the cue sign forms an irregular cadence with B.", "sources": [ { "pdf_page": 351, "source_image": "source-pages/bnf-351.png", "printed_page": 319, "bbox_pixels": [ 405, 1561, 2165, 599 ], "crop_image": "assets/III.40-041.png" } ] }, { "id": "III.40-042", "type": "paragraph", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2219, "original": "Les Guidons mis au-dessus de la premiere Notte de la Basse, font voir la progression que cette Basse pourroit encore tenir en pareille occasion, en mettant cette premiere Notte à la place où est l’un des Guidons.", "english": "The cue signs above the first bass note show other possible bass progressions in this situation, by moving that first note to either cue sign.", "sources": [ { "pdf_page": 351, "source_image": "source-pages/bnf-351.png", "printed_page": 319, "bbox_pixels": [ 405, 2161, 2165, 300 ], "crop_image": "assets/III.40-042.png" } ] }, { "id": "III.40-043", "type": "paragraph", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2220, "original": "Souvenez-vous qu’il n’y a de dissonance que la Septiéme à l’égard de la Basse-fondamentale, & que les autres Dissonances n’ont lieu que dans le renversement, c’est-à-dire, en prenant pour Basse l’une des Nottes qui sert à l’Accord de Septiéme, que la Basse-fondamentale doit porter ; où il faut observer tout ce que nous en avons dit aux Chap. XVII. XVIII. XX. XXI. XXII. & XXVI.", "english": "Remember that the seventh is the only dissonance against the fundamental bass. Other dissonances arise only by inversion, taking as bass one of the notes belonging to its required seventh chord. Observe all we said in Chapters XVII, XVIII, XX, XXI, XXII, and XXVI.", "sources": [ { "pdf_page": 351, "source_image": "source-pages/bnf-351.png", "printed_page": 319, "bbox_pixels": [ 405, 2460, 2165, 450 ], "crop_image": "assets/III.40-043.png" } ] }, { "id": "III.40-044", "type": "paragraph", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2221, "original": "Il y a des occasions où la Septiéme fait un bon effet contre la Basse-fondamentale, sans être preparée, pendant même que le Dessus fait un Intervale disjoint ; mais pour lors la Notte de cette Basse qui a été entenduë avant la Septiéme, reste sur le même degré ; de sorte que l’on fera toûjours bien de faire entendre ainsi la Septiéme, pourvû que le Dessus descende diatoniquement, immediatement après, & que la Basse puisse monter en cet endroit de Quarte, pour faire la Tierce avec le Dessus après cette Septiéme.", "english": "Sometimes an unprepared seventh sounds well against the fundamental bass even when the upper part leaps. The bass note heard before the seventh must then stay in place. Such a seventh is always good provided the upper part descends diatonically immediately afterward and the bass can then rise a fourth to form a third with the upper part after the seventh.", "sources": [ { "pdf_page": 351, "source_image": "source-pages/bnf-351.png", "printed_page": 319, "bbox_pixels": [ 405, 2910, 2165, 605 ], "crop_image": "assets/III.40-044.png" } ] }, { "id": "III.40-045", "type": "paragraph", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2222, "original": "Tournez, pour en voir l’Exemple.", "english": "Turn the page for the example.", "sources": [ { "pdf_page": 351, "source_image": "source-pages/bnf-351.png", "printed_page": 319, "bbox_pixels": [ 405, 3515, 2165, 101 ], "crop_image": "assets/III.40-045.png" } ] }, { "id": "III.40-046", "type": "heading", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2223, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 352, "source_image": "source-pages/bnf-352.png", "printed_page": 320, "bbox_pixels": [ 405, 387, 2165, 150 ], "crop_image": "assets/III.40-046.png" } ] }, { "id": "III.40-047", "type": "music", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2224, "original": "Intervalles disjoints du Dessus — exemples A, B, J et C, D, F", "english": "Upper-part leaps — examples A, B, J and C, D, F", "sources": [ { "pdf_page": 352, "source_image": "source-pages/bnf-352.png", "printed_page": 320, "bbox_pixels": [ 405, 490, 2165, 599 ], "crop_image": "assets/III.40-047.png" } ], "original_title": "Intervalles disjoints du Dessus — exemples A, B, J et C, D, F", "english_title": "Upper-part leaps — examples A, B, J and C, D, F", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.40-047" ], "music_asset_refs": [ "III.40-047" ] }, { "id": "III.40-048", "type": "paragraph", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2225, "original": "Le Dessus procede par degrez disjoints entre les Nottes A, & B, où la Septiéme se feroit entendre sur la Notte B, si l’on vouloit faire rester la premiere Notte de la Basse sur le même degré ; mais comme le Dessus ne descend point après cette Notte B, & que si la premiere Notte de la Basse eût resté, elle n’auroit pû faire la Tierce avec la Notte J, en montant de Quarte ; il faut changer la Basse, comme nous l’avons fait, en donnant la préference à sa progression la plus parfaite ; & ce que vous ne trouverez point entre ces Nottes A, B, J, vous le trouverez entre les Nottes C, D, F, selon l’explication que nous venons d’en donner ; c’est ce que l’on appelloit encore supposition, ou Dissonance pour le goût du Chant ; mais cette dissonance a lieu dès la premiere Notte du Dessus, pendant que celle de la Basse reste sur le même degré, pour recevoir cette dissonance, qui ne paroît qu’après, comme on peut le remarquer, en faisant entendre tous les Sons de l’Accord de la Septiéme sur la premiere Notte de la Basse qui frappe avec la Notte C ; par consequent le Dessus peut passer encore après cette Septiéme sur d’autres Nottes du même Accord, mais il retournera toûjours sur une Notte qui devra faire la Tierce de celle que l’on fera monter de Quarte dans la Basse G, ou du moins sur une Notte qui en fera l’Octave.", "english": "The upper part leaps from A to B, where a seventh would sound if the first bass note remained. But the upper part does not descend after B; nor could that retained bass note rise a fourth to form a third with J. Therefore the bass must change as shown, favoring its most perfect progression. What is absent at A, B, J is found at C, D, F, according to the preceding explanation. This was also called supposition, or dissonance for melodic taste. Yet the dissonance is present from the first upper note while the bass remains to receive it when it appears later, as one may hear by sounding the complete seventh chord on the first bass note struck with C. Consequently the upper part may move after that seventh to other notes of the same chord, but will always return to a note forming the third of the bass note that rises a fourth at G, or at least to a note forming its octave.", "sources": [ { "pdf_page": 352, "source_image": "source-pages/bnf-352.png", "printed_page": 320, "bbox_pixels": [ 405, 1109, 2165, 1498 ], "crop_image": "assets/III.40-048.png" } ] }, { "id": "III.40-049", "type": "heading", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2226, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 352, "source_image": "source-pages/bnf-352.png", "printed_page": 320, "bbox_pixels": [ 405, 2637, 2165, 150 ], "crop_image": "assets/III.40-049.png" } ] }, { "id": "III.40-050", "type": "music", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2227, "original": "Dissonance pour le goût du Chant — exemples G et H", "english": "Dissonance for melodic taste — examples G and H", "sources": [ { "pdf_page": 352, "source_image": "source-pages/bnf-352.png", "printed_page": 320, "bbox_pixels": [ 405, 2752, 2165, 665 ], "crop_image": "assets/III.40-050.png" } ], "original_title": "Dissonance pour le goût du Chant — exemples G et H", "english_title": "Dissonance for melodic taste — examples G and H", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.40-050" ], "music_asset_refs": [ "III.40-050" ] }, { "id": "III.40-051", "type": "paragraph", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2228, "original": "Au lieu de faire monter la Basse de Quarte, on pourroit ne la faire monter que d’un degré, pour en former une Cadence rompue ; mais cela ne peut avoir lieu que dans une Basse empruntée, ou renversée de la Fondamentale ; ce qui dépend pour lors du goût du Compositeur dans le milieu d’une Piece seulement, pourvû que cette Basse ne formât pas deux Quintes de suite avec le Dessus.", "english": "Instead of ascending a fourth, the bass might rise only one degree to form an interrupted cadence. But this can occur only in a borrowed bass or one inverted from the fundamental. It depends on the composer’s taste only within a piece, provided that bass does not form two consecutive fifths with the upper part.", "sources": [ { "pdf_page": 352, "source_image": "source-pages/bnf-352.png", "printed_page": 320, "bbox_pixels": [ 405, 3436, 2165, 109 ], "crop_image": "assets/III.40-051.png" }, { "pdf_page": 353, "source_image": "source-pages/bnf-353.png", "printed_page": 321, "bbox_pixels": [ 405, 305, 2165, 395 ], "crop_image": "assets/III.40-052.png" } ] }, { "id": "III.40-053", "type": "paragraph", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2229, "original": "10°. Lorsque vous appercevez plusieurs Cadences de même espece dans un même Ton, il faut chercher si l’une de celles qui se trouvent dans le milieu de l’Air, & qui ne détermine pas une conclusion absoluë, n’auroit pas du rapport avec une Cadence d’un autre Ton, où pour lors il seroit à propos de faire entendre cette Cadence étrangere, pour donner plus de varieté à l’Harmonie ; car un Air devient languissant lorsqu’on y entend toûjours les mêmes Cadences ; & quand le goût ne nous permet pas de les diversifier dans le Dessus, du moins il faut tâcher de le faire dans la Basse au milieu de l’Air, comme nous venons de le dire, & sur tout dans ces Cadences qui ne déterminent pas absolument la conclusion.", "english": "10. When several cadences of the same kind occur in one key, look for one within the air that does not establish an absolute conclusion and may relate to a cadence in another key. That foreign cadence would then be suitable for harmonic variety. An air becomes languid when the same cadences recur continually. If taste prevents varying the upper part, at least vary the bass within the air, especially at cadences that do not determine a complete conclusion.", "sources": [ { "pdf_page": 353, "source_image": "source-pages/bnf-353.png", "printed_page": 321, "bbox_pixels": [ 405, 700, 2165, 817 ], "crop_image": "assets/III.40-053.png" } ] }, { "id": "III.40-054", "type": "paragraph", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2230, "original": "Si vous êtes dans un Ton majeur, les Cadences étrangeres qui y ont du rapport, ne peuvent se prendre que dans un Ton mineur, dont la Notte tonique se trouve une Tierce mineure au-dessous de celle de ce Ton majeur où vous êtes ; & si vous êtes dans un Ton mineur, elles ne peuvent se prendre que dans un Ton majeur, dont la Notte tonique se trouve une Tierce mineure au-dessus de celle de ce Ton mineur où vous êtes ; en remarquant que cette difference ne peut paroître que dans la Basse, puisque le Chant du Dessus peut ne pas changer pour cela.", "english": "In a major key, such related foreign cadences may be taken only from the minor key whose tonic lies a minor third below. In a minor key, they may come only from the major key whose tonic lies a minor third above. This difference may appear in the bass alone, since the upper melody need not change.", "sources": [ { "pdf_page": 353, "source_image": "source-pages/bnf-353.png", "printed_page": 321, "bbox_pixels": [ 405, 1518, 2165, 659 ], "crop_image": "assets/III.40-054.png" } ] }, { "id": "III.40-055", "type": "heading", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2231, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 353, "source_image": "source-pages/bnf-353.png", "printed_page": 321, "bbox_pixels": [ 405, 2177, 2165, 150 ], "crop_image": "assets/III.40-055.png" } ] }, { "id": "III.40-056", "type": "music", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2232, "original": "Même Dessus — Cadences dans les Tons d’Ut et de La", "english": "Same upper part — cadences in C and A", "sources": [ { "pdf_page": 353, "source_image": "source-pages/bnf-353.png", "printed_page": 321, "bbox_pixels": [ 405, 2310, 2165, 757 ], "crop_image": "assets/III.40-056.png" } ], "original_title": "Même Dessus — Cadences dans les Tons d’Ut et de La", "english_title": "Same upper part — cadences in C and A", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.40-056" ], "music_asset_refs": [ "III.40-056" ] }, { "id": "III.40-057", "type": "paragraph", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2233, "original": "Les Cadences parfaites A, & B, & les irregulieres C, & D, du Dessus, peuvent se trouver naturellement dans le Ton majeur d’Ut, ou dans le Ton mineur de La ; de sorte que si vous êtes dans l’un de ces deux Tons, il vous est libre de faire servir l’une de ces Cadences pour l’autre Ton ; si vous êtes dans le Ton majeur d’Ut, la même Cadence peut servir pour le Ton mineur de La ; & si vous êtes dans celui-cy, la même Cadence peut servir pour l’autre ; ainsi des autres Tons en même rapport, comme le Ton mineur de Ré avec le majeur de Fa, le Ton majeur de Sol avec le mineur de Mi.", "english": "The upper part’s perfect cadences A and B and irregular cadences C and D occur naturally in either C major or A minor. In either key, you may therefore use one of these cadences for the other: the same cadence serves A minor from C major, or C major from A minor. The same applies to similarly related keys, such as D minor with F major, and G major with E minor.", "sources": [ { "pdf_page": 353, "source_image": "source-pages/bnf-353.png", "printed_page": 321, "bbox_pixels": [ 405, 3073, 2165, 379 ], "crop_image": "assets/III.40-057.png" }, { "pdf_page": 354, "source_image": "source-pages/bnf-354.png", "printed_page": 322, "bbox_pixels": [ 405, 376, 2165, 300 ], "crop_image": "assets/III.40-058.png" } ] }, { "id": "III.40-059", "type": "paragraph", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2234, "original": "Cette maniere de transposer ainsi la Cadence d’un Ton dans un autre, est encore très-favorable, lorsque l’on veut changer absolument de Ton.", "english": "This transfer of a cadence from one key to another is also very useful when making a definite key change.", "sources": [ { "pdf_page": 354, "source_image": "source-pages/bnf-354.png", "printed_page": 322, "bbox_pixels": [ 405, 676, 2165, 218 ], "crop_image": "assets/III.40-059.png" } ] }, { "id": "III.40-060", "type": "paragraph", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2235, "original": "On peut se servir encore de la Cadence rompue dans l’un & l’autre cas.", "english": "The interrupted cadence may also be used in either case.", "sources": [ { "pdf_page": 354, "source_image": "source-pages/bnf-354.png", "printed_page": 322, "bbox_pixels": [ 405, 894, 2165, 150 ], "crop_image": "assets/III.40-060.png" } ] }, { "id": "III.40-061", "type": "paragraph", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2236, "original": "11°. Les Cadences irregulieres sont excellentes dans le milieu d’un Air ; & quand l’Air est divisé en deux Parties, elles peuvent servir souvent à terminer la premiere Partie, mais il ne faut pas en faire une habitude ; elles doivent être employées plutôt dans les secondes, sixiémes & dixiémes Mesures, que dans les quatriémes, huitiémes & douziémes, où les parfaites conviennent mieux ; & lorsqu’une Cadence parfaite se trouve dans une sixiéme, ou dans une dixiéme Mesure, on peut luy supposer la rompue.", "english": "11. Irregular cadences are excellent within an air. If it has two sections, they may often end the first, but do not make a habit of this. Prefer them in the second, sixth, and tenth measures rather than the fourth, eighth, and twelfth, where perfect cadences are more appropriate. A perfect cadence in the sixth or tenth measure may be replaced by an interrupted one.", "sources": [ { "pdf_page": 354, "source_image": "source-pages/bnf-354.png", "printed_page": 322, "bbox_pixels": [ 405, 1044, 2165, 608 ], "crop_image": "assets/III.40-061.png" } ] }, { "id": "III.40-062", "type": "paragraph", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2237, "original": "12°. Lorsque l’on transpose une Cadence d’un Ton dans un autre, il est quelquefois à propos de preferer les progressions les moins parfaites de la Basse-fondamentale aux plus parfaites ; mais le tout doit se faire avec jugement & discretion.", "english": "12. In transferring a cadence between keys, it is sometimes appropriate to prefer less perfect fundamental-bass progressions to more perfect ones. All must be done with judgment and discretion.", "sources": [ { "pdf_page": 354, "source_image": "source-pages/bnf-354.png", "printed_page": 322, "bbox_pixels": [ 405, 1651, 2165, 302 ], "crop_image": "assets/III.40-062.png" } ] }, { "id": "III.40-063", "type": "paragraph", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2238, "original": "13°. Tous ceux qui composent un Chant à leur fantaisie, ne font point attention s’il est figuré, s’il est lié, ou s’il procede toûjours par degrez conjoints ; de sorte que s’il est figuré, ils ne sont pas quelquefois assez habiles pour distinguer les Nottes qui forment Harmonie avec la Basse, de celles qui ne servent qu’au goût du Chant ; & s’il procede par degrez disjoints, ils craignent de faire entendre deux Quintes ou deux Octaves de suite avec la Basse-fondamentale, ne sçachant pas que pour lors ce Chant tient la route que la Basse-fondamentale doit tenir naturellement, & que c’est pour cette raison que l’on est obligé de composer une Basse differente de la Fondamentale, qui puisse s’accorder en tout avec cette Partie déja composée : Ainsi par la Basse-fondamentale connoissant les Accords qui doivent être employez dans la suite de l’Air, il n’est pas difficile de choisir dans ces Accords l’une des Nottes dont ils sont formez, pour les approprier à une autre Basse, qui s’accorde harmoniquement & melodieusement avec cette Partie déja composée ; car il est bon de sçavoir que les deux Octaves ou Quintes consecutives ne détruisent point le fond de l’Harmonie, & qu’elles ne sont défenduës que pour ne point tomber dans une Monotonie séche & ennuyeuse dans une suite d’Accords ; qu’ainsi après avoir établi les Regles de l’Harmonie sur la progression la plus naturelle à la Basse & au Dessus, voyant l’impossibilité qu’il y a d’entretenir cette progression naturelle dans la Basse, si-tôt qu’il est permis de l’emprunter pour le Dessus, nous sommes obligez d’établir d’autres Regles pour la progression reciproque des Parties qui doivent être entenduës ensemble, pour conformer la Partie que l’on compose en second lieu à celle qui est déja composée. Cependant l’établissement de ces nouvelles Regles est toûjours fondé sur les premieres, où, selon l’ordre naturel des Parties, nous ne trouvons point deux Octaves ni deux Quintes de suite ; & nous trouvons encore toutes les dissonances sauvées comme elles doivent l’être, & préparées ou non, selon la plus parfaite progression de la Basse.", "english": "13. People composing a melody freely do not attend to whether it is figured, tied, or always stepwise. If figured, they may lack the skill to distinguish notes forming harmony with the bass from those serving only melodic taste. If it leaps, they fear consecutive fifths or octaves with the fundamental bass, not knowing that the melody then follows the fundamental bass’s natural route. This is precisely why another bass must be composed, different from the fundamental, to agree fully with the existing part. Once the fundamental bass reveals the chords required throughout the air, one can easily choose notes from them for another bass agreeing harmonically and melodically with that part. It is useful to know that consecutive octaves or fifths do not destroy harmony’s foundation; they are forbidden only to avoid dry, tedious monotony in chord succession. Having established harmonic rules on the most natural bass and upper-part progressions, we see that the bass cannot maintain its natural course once the upper part is allowed to borrow it. We must therefore establish other rules for the reciprocal movement of parts heard together, adapting the part composed second to the existing one. These new rules nevertheless remain founded on the first ones, where the parts’ natural order produces neither consecutive octaves nor fifths, and every dissonance resolves properly, prepared or unprepared according to the most perfect bass progression.", "sources": [ { "pdf_page": 354, "source_image": "source-pages/bnf-354.png", "printed_page": 322, "bbox_pixels": [ 405, 1953, 2165, 1594 ], "crop_image": "assets/III.40-063.png" }, { "pdf_page": 355, "source_image": "source-pages/bnf-355.png", "printed_page": 323, "bbox_pixels": [ 405, 368, 2165, 817 ], "crop_image": "assets/III.40-064.png" } ] }, { "id": "III.40-065", "type": "paragraph", "section": "III.40", "lesson": 84, "exercise": 84, "reading_order": 2239, "original": "L’on s’écarte encore souvent de la progression naturelle à la Basse, pour éviter les frequentes conclusions qu’elle nous fait sentir dans sa progression la plus parfaite, en tirant de chaque Accord qui forme les conclusions, l’une des Nottes qui y sont comprises, pour la mettre à la Basse, au lieu de celles qui lui sont naturelles ; par ce moyen l’on entretient dans le Chant & dans l’Harmonie la suspension que demande le sujet ; car la conclusion absoluë ne convient qu’aux sens terminez ; le Chapitre suivant va nous éclaircir là-dessus.", "english": "We also often depart from natural bass motion to avoid the frequent conclusions suggested by its most perfect progression. From each chord forming such conclusions, choose a chord note for the bass instead of its natural note. This maintains the melodic and harmonic suspense required by the subject, since absolute conclusions suit only completed meanings. The next chapter will clarify this.", "sources": [ { "pdf_page": 355, "source_image": "source-pages/bnf-355.png", "printed_page": 323, "bbox_pixels": [ 405, 1185, 2165, 599 ], "crop_image": "assets/III.40-065.png" } ] }, { "id": "III.41-001", "type": "heading", "section": "III.41", "lesson": 85, "exercise": 85, "reading_order": 2240, "original": "CHAPITRE QUARANTE-UNIÉME.", "english": "CHAPTER FORTY-ONE.", "sources": [ { "pdf_page": 355, "source_image": "source-pages/bnf-355.png", "printed_page": 323, "bbox_pixels": [ 405, 1924, 2165, 150 ], "crop_image": "assets/III.41-001.png" } ] }, { "id": "III.41-002", "type": "heading", "section": "III.41", "lesson": 85, "exercise": 85, "reading_order": 2241, "original": "La maniere de composer une Basse-Continuë sous un Dessus.", "english": "How to Compose a Continuo Bass Beneath an Upper Part.", "sources": [ { "pdf_page": 355, "source_image": "source-pages/bnf-355.png", "printed_page": 323, "bbox_pixels": [ 405, 2071, 2165, 150 ], "crop_image": "assets/III.41-002.png" } ] }, { "id": "III.41-003", "type": "paragraph", "section": "III.41", "lesson": 85, "exercise": 85, "reading_order": 2242, "original": "LA veritable Basse-continuë devroit être la fondamentale ; mais par rapport à l’habitude où l’on est d’appeller ainsi celle qui nous est dictée par le bon goût, à proportion des routes que tiennent les autres Parties, au-dessous desquelles on compose cette Basse ; nous la distinguons de la Fondamentale par l’epithete de Continuë.", "english": "The true continuo bass should be the fundamental bass. But custom gives that name to the bass dictated by good taste according to the paths of the other parts above it. We therefore distinguish it from the fundamental bass by the epithet “continuo.”", "sources": [ { "pdf_page": 355, "source_image": "source-pages/bnf-355.png", "printed_page": 323, "bbox_pixels": [ 405, 2226, 2165, 381 ], "crop_image": "assets/III.41-003.png" } ] }, { "id": "III.41-004", "type": "paragraph", "section": "III.41", "lesson": 85, "exercise": 85, "reading_order": 2243, "original": "Nous avons déja dit au commencement du Chapitre précedent, que les personnes dont le goût étoit formé, sentoient naturellement la Basse qui convenoit le mieux à toutes sortes d’Airs ; mais malgré ce don naturel, il est difficile de ne pas s’écarter de la verité, quand il n’est pas soûtenu par la connoissance ; & la connoissance ne suffit pas pour la perfection, si le bon goût ne vient à son secours ; car la liberté que l’on a de choisir parmi les Sons d’un Accord, ceux que l’on veut, pour en former une Basse sous un Dessus, ne nous détermine pas pour cela ceux qui conviennent le mieux, & nous n’avons point d’autres Regles pour le bon goût que la varieté dans la Composition ; c’est donc à quoi il faut s’attacher, en remarquant ce qui suit.", "english": "At the beginning of the preceding chapter we said that people of cultivated taste naturally sense the bass best suited to every kind of air. Yet without knowledge to support this natural gift, it is difficult not to stray from the truth; and knowledge alone cannot achieve perfection unless good taste assists it. Freedom to choose chord sounds for a bass beneath an upper part does not tell us which fit best. We have no rule for good taste other than variety in composition. This, therefore, must be our aim, observing the following.", "sources": [ { "pdf_page": 355, "source_image": "source-pages/bnf-355.png", "printed_page": 323, "bbox_pixels": [ 405, 2607, 2165, 902 ], "crop_image": "assets/III.41-004.png" } ] }, { "id": "III.41-005", "type": "paragraph", "section": "III.41", "lesson": 85, "exercise": 85, "reading_order": 2244, "original": "1°. C’est à present qu’il faut songer à éviter les deux Octaves & les deux Quintes consecutives, en observant exactement les Regles que nous avons données Chap. XIV. XVIII. XX. XXI. & XXX. pour la suite des Consonances & des Dissonances.", "english": "1. Now one must attend to avoiding consecutive octaves and fifths, strictly observing the rules for consonant and dissonant succession given in Chapters XIV, XVIII, XX, XXI, and XXX.", "sources": [ { "pdf_page": 356, "source_image": "source-pages/bnf-356.png", "printed_page": 324, "bbox_pixels": [ 405, 360, 2165, 300 ], "crop_image": "assets/III.41-005.png" } ] }, { "id": "III.41-006", "type": "paragraph", "section": "III.41", "lesson": 85, "exercise": 85, "reading_order": 2245, "original": "2°. La Basse-fondamentale étant composée, vous remarquez le dessein de vôtre Dessus, l’Air qu’il exprime, son mouvement, & tout ce qu’il a de particulier ; puis vous tâchez de rendre les mêmes expressions dans la nouvelle Basse que vous composez ; vous évitez les Cadences finales où le Chant ne les demande pas, en tirant de vôtre Accord-fondamental les Sons que vous jugez à propos ; de sorte qu’ils s’accordent en tout avec le Dessus, selon la suite des Consonances & des Dissonances. Si vous faites entendre quelques Dissonances, prenez garde à ce qu’elles soient preparées lorsqu’elles doivent l’être, & sauvées soigneusement selon la progression déterminée à chaque Son dont un Accord de Septiéme est formée ; ensuite pour diversifier, vous tâchez de faire entendre entre vos Parties, des Consonances ou des Dissonances differentes ; car le Dessus étant composé d’une certaine façon, & pouvant prendre pour vôtre Basse tel autre Son de l’Accord que vous jugez à propos ; vous remarquez qu’ici vous avez fait la Sixte suivie d’une autre Consonance ou d’une Dissonance ; & que là, quoique vous puissiez faire la même chose, vous pouvez tourner vôtre Basse d’une autre façon, en faisant entendre tantôt le Tri-Ton, sauvé de la Sixte, tantôt la fausse-Quinte, sauvée de la Tierce, tantôt la Septiéme sauvée de la Sixte, de la Tierce, ou de la Quinte, selon la differente progression que vous pouvez donner à vôtre Basse ; ou bien vous pouvez ne faire entendre entre les Parties que les Consonances, dont un Accord de Septiéme est composé, comme l’Octave, la Quinte, ou la Tierce, ou par renversement la Sixte, ou la Quarte ; vous pouvez encore vous servir des Accords par supposition ou par emprunt, quand vous sentez que la progression diatonique de vôtre Basse vous y conduit ; car cette progression est toûjours la plus chantante, & doit être employée autant que l’on peut, sur tout, lorsqu’il ne paroît aucune conclusion ; & souvenez-vous que toutes les Dissonances mineures d’un Accord par supposition, doivent être preparées par le Dessus qui Syncope, pendant que la Basse monte ; ou si elle descend, ce ne peut être que par degrez disjoints, que tout Accord où la Dissonance majeure a lieu, demande la précaution que nous lui avons déterminée, soit dans la suite de l’Octave, soit où nous avons parlé, Chap. XI. XXII. XXXI. XXXIV & XXXV. de la Quinte superfluë, de la Septiéme superfluë, du Tri-Ton, & de la Seconde superfluë ; & que la Seconde veut être preparée par la Basse qui Syncope ; puis quand vous appercevez que le Chant peut se terminer dans un certain endroit, suivez pour lors la progression de la Basse-fondamentale ; ainsi vôtre Basse sera composée avec art & avec goût.", "english": "2. Once the fundamental bass is composed, consider the upper part’s design, the air it expresses, its tempo, and every distinctive feature. Try to reproduce those expressions in the new bass. Avoid final cadences where the melody does not require them by selecting suitable sounds from the fundamental chord that agree fully with the upper part under the rules of consonant and dissonant succession. Any dissonances must be prepared when required and carefully resolved according to the prescribed motion of each seventh-chord sound. For variety, seek different consonances or dissonances between the parts. The upper part is fixed, but you may choose another appropriate chord sound for the bass. Here you used a sixth followed by another consonance or a dissonance; there, though the same is possible, turn the bass differently: sometimes a tritone resolving to a sixth, sometimes a diminished fifth resolving to a third, sometimes a seventh resolving to a sixth, third, or fifth, according to the bass motion available. Or sound only the consonances contained in a seventh chord—octave, fifth, third, or by inversion sixth or fourth. You may also use chords by supposition or borrowing where the bass’s diatonic progression leads to them. That progression is always the most singable and should be used as much as possible, especially where no conclusion appears. Remember that all minor dissonances in a chord by supposition must be prepared by a syncopated upper part while the bass ascends; if it descends, it may do so only by leaps. Every chord containing the major dissonance requires the precautions prescribed in the octave succession or in Chapters XI, XXII, XXXI, XXXIV, and XXXV, where we discussed the augmented fifth, augmented seventh, tritone, and augmented second. The second must be prepared by a syncopated bass. Finally, where the melody can end, follow the fundamental bass’s progression. Your bass will thus be composed with art and taste.", "sources": [ { "pdf_page": 356, "source_image": "source-pages/bnf-356.png", "printed_page": 324, "bbox_pixels": [ 405, 659, 2165, 2850 ], "crop_image": "assets/III.41-006.png" }, { "pdf_page": 357, "source_image": "source-pages/bnf-357.png", "printed_page": 325, "bbox_pixels": [ 405, 392, 2165, 229 ], "crop_image": "assets/III.41-007.png" } ] }, { "id": "III.41-008", "type": "heading", "section": "III.41", "lesson": 85, "exercise": 85, "reading_order": 2246, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 357, "source_image": "source-pages/bnf-357.png", "printed_page": 325, "bbox_pixels": [ 405, 681, 2165, 150 ], "crop_image": "assets/III.41-008.png" } ] }, { "id": "III.41-009", "type": "music", "section": "III.41", "lesson": 85, "exercise": 85, "reading_order": 2247, "original": "Basse-continuë sous un Dessus — huit mesures", "english": "Continuo bass beneath an upper part — eight measures", "sources": [ { "pdf_page": 357, "source_image": "source-pages/bnf-357.png", "printed_page": 325, "bbox_pixels": [ 405, 817, 2165, 2308 ], "crop_image": "assets/III.41-009.png" } ], "original_title": "Basse-continuë sous un Dessus — huit mesures", "english_title": "Continuo bass beneath an upper part — eight measures", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.41-009" ], "music_asset_refs": [ "III.41-009" ] }, { "id": "III.41-010", "type": "paragraph", "section": "III.41", "lesson": 85, "exercise": 85, "reading_order": 2248, "original": "Remarquez d’abord que dans la quatriéme mesure j’aurois pû transposer la Cadence parfaite du Ton d’UT en une Cadence irreguliere dans celui de LA, comme cela paroît par les Guidons de la Basse-continuë, & la diversité le demande même en ce cas.", "english": "First observe that in the fourth measure I could have changed the perfect cadence in C into an irregular cadence in A, as the continuo-bass cue signs show. Variety even calls for this here.", "sources": [ { "pdf_page": 357, "source_image": "source-pages/bnf-357.png", "printed_page": 325, "bbox_pixels": [ 405, 3128, 2165, 300 ], "crop_image": "assets/III.41-010.png" } ] }, { "id": "III.41-011", "type": "paragraph", "section": "III.41", "lesson": 85, "exercise": 85, "reading_order": 2249, "original": "Dans la premiere & dans la seconde mesure de la Basse-fondamentale, j’apperçois deux progressions égales A, B ; ainsi je reserve celle qui a le plus de rapport à la Cadence pour la seconde mesure ; parce que c’est le lieu où la Cadence se fait sentir ordinairement, en remarquant qu’elle est irreguliere ici, & que dans la quatriéme elle est parfaite. Pour revenir à la premiere mesure, j’y donne une progression diatonique à ma Basse-continuë, qui s’accorde en tout avec le Dessus ; & pour suivre cette même progression dans la seconde mesure, je fais passer le second Temps sur une Notte qui fait la Septiéme contre la Basse-fondamentale, & qui se sauve par la Tierce de cette même Basse, ce qui s’accorde toûjours avec le Dessus ; ainsi je continuë cette progression diatonique jusqu’à l’endroit où la Cadence parfaite se fait sentir, & où je suy pour lors la progression de ma Basse-fondamentale ; je cherche encore cette progression diatonique dans les mesures suivantes, où je trouve que la Notte finale de la quatriéme mesure peut rester sur le même degré, pour former la Tierce avec la Basse-fondamentale, & l’Octave avec le Dessus ; ensuite la Sixte dans la cinquiéme mesure avec ce même Dessus, & la Septiéme avec la Basse-fondamentale ; enfin, je trouve la Neuviéme dans la sixiéme mesure, & je ne suy la progression de ma Basse-fondamentale qu’à la conclusion finale. De plus, ce qui me fait connoître les Accords que doivent porter les Nottes de la Basse-continuë, ce sont les Intervales qu’elle forme avec la fondamentale, parce que je sçais que celle-ci ne pouvant porter que des Accords parfaits, ou de Septiéme, lorsqu’elle est bien composée, les Nottes qui font la Tierce, la Quinte ou la Septiéme, de celles qui sont dans cette Basse-fondamentale, ne peuvent porter par consequent que de tels, ou tels Accords ; ainsi je pourrois chiffrer également le Dessus, si je voulois le faire servir de Basse ; c’est encore cette même raison qui me fait chiffrer la Neuviéme sur la premiere Notte de la sixiéme mesure, parce que cette Notte se trouve une Tierce au-dessous, ou une Sixte au-dessus de la Notte qui est à la Basse-fondamentale, ne pouvant être admise par consequent dans l’Harmonie, que par supposition ; si bien que par l’Accord de la Septiéme que porte la Notte de la Basse-fondamentale, je vois que celle-là ne peut porter que celui de la Neuviéme, quoique cette Neuviéme ne paroisse pas dans le Dessus ; mais vous remarquerez que la Quinte qui s’y trouve fait partie de l’Accord de la Neuviéme, & que cette Neuviéme supposée y est preparée & sauvée dans toutes les regles.", "english": "In the fundamental bass’s first and second measures I see two identical progressions, A and B. I therefore reserve the progression most closely related to the cadence for the second measure, where a cadence is ordinarily felt. Here it is irregular; in the fourth measure it is perfect. Returning to measure one, I give the continuo a diatonic progression agreeing fully with the upper part. To continue it in measure two, I put the second beat on a note forming a seventh with the fundamental bass and resolving through the third of that bass, still agreeing with the upper part. I maintain this diatonic progression until the perfect cadence, where I follow the fundamental bass. I seek diatonic movement again afterward: the final note of measure four may stay to form a third with the fundamental bass and an octave with the upper part; then in measure five it forms a sixth with the upper part and a seventh with the fundamental bass. Finally I find a ninth in measure six, and follow the fundamental bass’s progression only at the final conclusion. The intervals the continuo forms with the fundamental bass also tell me its required chords. A well-composed fundamental bass bears only perfect or seventh chords; therefore notes forming thirds, fifths, or sevenths above its notes can bear only the corresponding derived chords. I could likewise figure the upper part if I wished to use it as bass. The same reasoning makes me figure a ninth on the first note of measure six: it lies a third below or sixth above the fundamental-bass note, and can therefore enter the harmony only by supposition. The fundamental bass’s seventh chord shows that this note can bear only the ninth chord, though the ninth itself does not appear in the upper part. The fifth heard there belongs to that ninth chord, and the implied ninth is prepared and resolved according to every rule.", "sources": [ { "pdf_page": 357, "source_image": "source-pages/bnf-357.png", "printed_page": 325, "bbox_pixels": [ 405, 3427, 2165, 106 ], "crop_image": "assets/III.41-011.png" }, { "pdf_page": 358, "source_image": "source-pages/bnf-358.png", "printed_page": 326, "bbox_pixels": [ 405, 327, 2165, 2921 ], "crop_image": "assets/III.41-012.png" } ] }, { "id": "III.41-013", "type": "paragraph", "section": "III.41", "lesson": 85, "exercise": 85, "reading_order": 2250, "original": "On n’auroit jamais fait s’il falloit raisonner de la sorte sur toutes les differentes manieres dont on peut diversifier une Basse-continuë ; mais si l’on fait à propos toutes les remarques necessaires sur les differens Exemples qui sont contenus dans ce Traité, en appropriant à chacun de ces Exemples les choses dont on voudra s’éclaircir ; & si l’on veut encore pour cet effet consulter les Ouvrages des habiles Maîtres, l’on se mettra bien-tôt au-dessus de toutes les difficultez.", "english": "We would never finish if every possible way of varying a continuo bass had to be reasoned through like this. But make the necessary observations on the examples in this treatise, applying to each the points you wish to clarify, and consult the works of skilled masters for the same purpose. You will soon rise above all these difficulties.", "sources": [ { "pdf_page": 358, "source_image": "source-pages/bnf-358.png", "printed_page": 326, "bbox_pixels": [ 405, 3248, 2165, 240 ], "crop_image": "assets/III.41-013.png" }, { "pdf_page": 359, "source_image": "source-pages/bnf-359.png", "printed_page": 327, "bbox_pixels": [ 405, 390, 2165, 302 ], "crop_image": "assets/III.41-014.png" } ] }, { "id": "III.42-001", "type": "heading", "section": "III.42", "lesson": 86, "exercise": 86, "reading_order": 2251, "original": "CHAPITRE QUARANTE-DEUXIÉME.", "english": "CHAPTER FORTY-TWO.", "sources": [ { "pdf_page": 359, "source_image": "source-pages/bnf-359.png", "printed_page": 327, "bbox_pixels": [ 405, 836, 2165, 150 ], "crop_image": "assets/III.42-001.png" } ] }, { "id": "III.42-002", "type": "heading", "section": "III.42", "lesson": 86, "exercise": 86, "reading_order": 2252, "original": "Remarques utiles sur le Chapitre précédent.", "english": "Useful Observations on the Preceding Chapter.", "sources": [ { "pdf_page": 359, "source_image": "source-pages/bnf-359.png", "printed_page": 327, "bbox_pixels": [ 405, 986, 2165, 150 ], "crop_image": "assets/III.42-002.png" } ] }, { "id": "III.42-003", "type": "paragraph", "section": "III.42", "lesson": 86, "exercise": 86, "reading_order": 2253, "original": "1°. L’On peut composer une Basse sous une autre Partie, sans le secours de la Fondamentale, par la connoissance de la suite des Consonances, suite que nous avons déterminée d’une maniere assez précise, pour que l’on ne puisse en douter, pourvû que l’on se souvienne de passer, autant que l’on pourra, d’une Consonance parfaite à une imparfaite, & de celle-ci à l’autre, d’éviter les deux Consonances parfaites de suite, lorsqu’on peut s’en dispenser, au lieu que les imparfaites peuvent s’entre-suivre, sans trop abuser cependant de cette liberté, parce que ce seroit pécher pour lors contre la diversité ; & de donner à cette Basse une progression diatonique autant que cela se peut, quoique la consonante doive s’y rencontrer de de temps en temps, sur tout dans les Cadences principales où elle est absolument necessaire.", "english": "1. One may compose a bass beneath another part without the aid of the fundamental bass by knowing consonant succession, which we have defined precisely enough to leave no doubt. Remember to pass as often as possible from a perfect consonance to an imperfect one and back; avoid two perfect consonances in succession when possible. Imperfect consonances may follow one another, but do not abuse this freedom and thus offend variety. Give the bass diatonic motion as much as possible, though consonant motion should occur from time to time, especially at principal cadences, where it is absolutely necessary.", "sources": [ { "pdf_page": 359, "source_image": "source-pages/bnf-359.png", "printed_page": 327, "bbox_pixels": [ 405, 1144, 2165, 981 ], "crop_image": "assets/III.42-003.png" } ] }, { "id": "III.42-004", "type": "paragraph", "section": "III.42", "lesson": 86, "exercise": 86, "reading_order": 2254, "original": "2°. L’on peut composer une Basse sur la suite des Accords déterminée dans les Regles de l’8, des 7, & 6, des 2 & 6/5, des 9, & autres, où l’on voit qu’après un certain Accord, il en doit suivre un autre, & ainsi de suite. (Voyez les Chap. XI. XXI. XXII. XXVII. XXVIII. & XXIX.)", "english": "2. A bass may be composed from the chord successions established in the rules of the octave, 7 and 6, 2 and 6/5, 9, and others, where one sees that a certain chord must be followed by another, and so forth. See Chapters XI, XXI, XXII, XXVII, XXVIII, and XXIX.", "sources": [ { "pdf_page": 359, "source_image": "source-pages/bnf-359.png", "printed_page": 327, "bbox_pixels": [ 405, 2125, 2165, 371 ], "crop_image": "assets/III.42-004.png" } ] }, { "id": "III.42-005", "type": "paragraph", "section": "III.42", "lesson": 86, "exercise": 86, "reading_order": 2255, "original": "3°. Pour diversifier, l’on peut se servir des Exemples où les differentes manieres de faire proceder la Basse sous un même Dessus sont déterminées : (Voyez le Chap. XVII.) en remarquant que des quatre Parties qui sont contenues dans ces Exemples, il peut s’en trouver toûjours une conforme à celle que vous aurez composé, c’est-à-dire, que vous trouverez dans l’une de ces Parties deux Nottes qui se suivront, de même que celles qui seront dans vôtre Dessus ; & dans l’autre, deux autres, ainsi consecutivement ; mais pour ne pas vous y tromper, il faut bien prendre garde si ces progressions se font dans un même Mode ou Ton ; & pour cela, il ne faut pas consulter les Nottes par leur nom, mais par le rang qu’elles tiennent dans le Ton où vous êtes, & dans celui où les Exemples sont composez ; ainsi ces Exemples étant composez dans le Ton d’UT, vous trouverez qu’une progression de la Mediante à la Dominante, ou de la sixiéme Notte à la quatriéme, &c. pourra toûjours souffrir les mêmes Accords dans un Ton quelconque.", "english": "3. For variety, use the examples specifying different bass movements beneath the same upper part. See Chapter XVII. Among the four parts in those examples one can always find a part corresponding to what you have composed: two successive notes in one part matching your upper part’s succession, another pair in another part, and so on. To avoid mistakes, carefully check whether the progressions occur in the same mode or key. Compare notes not by name but by their rank in your key and the examples’ key. Thus, though the examples are in C, a progression from mediant to dominant, or sixth note to fourth, and so forth, can always bear the same chords in any key.", "sources": [ { "pdf_page": 359, "source_image": "source-pages/bnf-359.png", "printed_page": 327, "bbox_pixels": [ 405, 2496, 2165, 1054 ], "crop_image": "assets/III.42-005.png" }, { "pdf_page": 360, "source_image": "source-pages/bnf-360.png", "printed_page": 328, "bbox_pixels": [ 405, 362, 2165, 166 ], "crop_image": "assets/III.42-006.png" } ] }, { "id": "III.42-007", "type": "paragraph", "section": "III.42", "lesson": 86, "exercise": 86, "reading_order": 2256, "original": "Voyez ensuite Chap. XIV. & XVIII. la maniere dont on doit preparer & sauver les Dissonances, afin de n’en point pratiquer sans connoissance.", "english": "Next consult Chapters XIV and XVIII on preparing and resolving dissonances, so that none is used without understanding.", "sources": [ { "pdf_page": 360, "source_image": "source-pages/bnf-360.png", "printed_page": 328, "bbox_pixels": [ 405, 529, 2165, 221 ], "crop_image": "assets/III.42-007.png" } ] }, { "id": "III.42-008", "type": "paragraph", "section": "III.42", "lesson": 86, "exercise": 86, "reading_order": 2257, "original": "Voyez encore Chap. XXIV. & XXVI. Art. I. II. & III. la maniere de passer d’un Ton à un autre ; comment on peut les distinguer, & comment on peut connoître les Accords qu’il faut donner aux Nottes d’une Basse dans une progression quelconque ; parce que toutes ces connoissances réünies, vous relevent d’une infinité de doutes qui se présentent à tout moment.", "english": "Also consult Chapters XXIV and XXVI, Articles I, II, and III, on passing from one key to another, distinguishing keys, and recognizing the chords required by bass notes in any progression. Together these kinds of knowledge remove countless doubts that arise continually.", "sources": [ { "pdf_page": 360, "source_image": "source-pages/bnf-360.png", "printed_page": 328, "bbox_pixels": [ 405, 749, 2165, 447 ], "crop_image": "assets/III.42-008.png" } ] }, { "id": "III.42-009", "type": "paragraph", "section": "III.42", "lesson": 86, "exercise": 86, "reading_order": 2258, "original": "Quand on se sent un peu fort sur tous ces articles, on voit ensuite la maniere dont on peut pratiquer les Licences, pour les mettre en usage en temps & lieu ; on figure le Chant du Dessus, & celui de la Basse si l’on veut, en remarquant toûjours les Temps principaux, & la Notte qui doit former Accord dans chaque Temps, afin de pouvoir chiffrer exactement la Basse ; & quand on doute du fond des Accords, on rapporte une Basse-fondamentale au-dessous de ces deux Parties composées, où l’on voit si l’on a manqué, ou non, & quels Accords doivent porter les Nottes placées dans la Basse-continuë ; en se souvenant que la Notte qui fait la Tierce, la Quinte ou la Septiéme de celle qui est à la Basse-fondamentale, ne peut porter qu’un tel Accord ; ou bien si cette Notte de la Basse-continuë se trouve une Tierce, ou une Quinte au-dessous de celle de la Basse-fondamentale, l’Accord sera pour lors supposé, & il faut voir s’il est employé selon les Regles.", "english": "Once reasonably secure in all these matters, study how licenses may be used at the proper time and place. Figure the upper melody, and the bass too if desired, always observing principal beats and the note that must form the chord on each beat, so the bass can be figured accurately. When doubtful about chord foundations, place a fundamental bass beneath the two composed parts. This shows whether any fault has occurred and which chords belong to the continuo notes. Remember that a note forming a third, fifth, or seventh with the fundamental bass can bear only its corresponding chord. If the continuo note lies a third or fifth below the fundamental, the chord is by supposition, and its use must be checked against the rules.", "sources": [ { "pdf_page": 360, "source_image": "source-pages/bnf-360.png", "printed_page": 328, "bbox_pixels": [ 405, 1196, 2165, 1123 ], "crop_image": "assets/III.42-009.png" } ] }, { "id": "III.42-010", "type": "paragraph", "section": "III.42", "lesson": 86, "exercise": 86, "reading_order": 2259, "original": "Si-tôt que vôtre Basse est bien chiffrée, rien n’est plus facile que d’y ajoûter deux ou trois Parties, excepté que le Chant un peu trop recherché dans le Dessus ou dans la Basse, n’empêche d’arranger ces autres Parties dans toute la regularité ; ce qui fait que plus il y a de Parties, plus on est obligé de conformer la progression de la Basse à celle de la fondamentale. Quoique nous ayons donné plusieurs differentes façons de faire proceder une Basse par degrez conjoints à quatre & à cinq Parties dans une progression de l’Octave, tant en montant qu’en descendant, soit par les Accords ordinaires, soit par les differens Accords de 6, par ceux des 7 & 6, des 2 & 6/5, des 9, &c. mais nous allons voir ce que l’on doit observer dans une Composition à plusieurs Parties.", "english": "Once the bass is correctly figured, nothing is easier than adding two or three parts, unless overly elaborate melody in the upper part or bass prevents arranging them with complete regularity. Thus the more parts there are, the more the bass must conform to the fundamental bass’s progression. We have nevertheless given several ways of making a bass move stepwise in four or five parts through an ascending or descending octave, using ordinary chords, various sixth chords, 7 and 6, 2 and 6/5, 9, and so forth. We shall now see what must be observed in composition for several parts.", "sources": [ { "pdf_page": 360, "source_image": "source-pages/bnf-360.png", "printed_page": 328, "bbox_pixels": [ 405, 2319, 2165, 902 ], "crop_image": "assets/III.42-010.png" } ] }, { "id": "III.43-001", "type": "heading", "section": "III.43", "lesson": 87, "exercise": 87, "reading_order": 2260, "original": "CHAPITRE QUARANTE-TROISIÉME.", "english": "CHAPTER FORTY-THREE.", "sources": [ { "pdf_page": 361, "source_image": "source-pages/bnf-361.png", "printed_page": 329, "bbox_pixels": [ 405, 518, 2165, 150 ], "crop_image": "assets/III.43-001.png" } ] }, { "id": "III.43-002", "type": "heading", "section": "III.43", "lesson": 87, "exercise": 87, "reading_order": 2261, "original": "Ce que l’on doit observer dans une Composition à deux, à trois & à quatre Parties.", "english": "What to Observe in Composition for Two, Three, and Four Parts.", "sources": [ { "pdf_page": 361, "source_image": "source-pages/bnf-361.png", "printed_page": 329, "bbox_pixels": [ 405, 676, 2165, 150 ], "crop_image": "assets/III.43-002.png" } ] }, { "id": "III.43-003", "type": "paragraph", "section": "III.43", "lesson": 87, "exercise": 87, "reading_order": 2262, "original": "IL est difficile de réüssir parfaitement dans les Pieces à deux & à trois Parties, si l’on ne compose toutes les parties ensemble ; parce que chaque partie doit avoir un Chant coulant & gracieux ; & l’habile homme ne compose guéres une partie, qu’il ne sente en même temps l’effet des autres parties qui doivent l’accompagner.", "english": "It is difficult to succeed perfectly in two- and three-part pieces unless all parts are composed together, because each must have a flowing, graceful melody. A skilled musician scarcely composes one part without simultaneously sensing the effect of those that will accompany it.", "sources": [ { "pdf_page": 361, "source_image": "source-pages/bnf-361.png", "printed_page": 329, "bbox_pixels": [ 405, 929, 2165, 387 ], "crop_image": "assets/III.43-003.png" } ] }, { "id": "III.43-004", "type": "paragraph", "section": "III.43", "lesson": 87, "exercise": 87, "reading_order": 2263, "original": "1°. Quoique l’on se propose ordinairement une Partie où l’on veuille renfermer tout le beau Chant que l’imagination puisse fournir, ce qui s’appelle le Sujet, si les autres parties en sont dénuées à proportion, cela diminuë la beauté du sujet ; & il n’y a que dans ce qu’on appelle Recitatif, où la Basse & les autres Parties doivent seulement faire entendre le fond de l’Harmonie ; mais autrement, le Chant de deux ou de trois parties doit être presqu’égale ; d’où l’on dit fort à propos, qu’une Basse bien chantante, nous annonce une belle Musique.", "english": "1. Although one ordinarily chooses a part in which to place all the beautiful melody imagination supplies, called the subject, its beauty diminishes if the other parts lack a proportionate share. Only in recitative should the bass and other parts merely sound the harmonic foundation. Otherwise the melodies of two or three parts should be almost equal. Hence the apt saying that a well-singing bass promises beautiful music.", "sources": [ { "pdf_page": 361, "source_image": "source-pages/bnf-361.png", "printed_page": 329, "bbox_pixels": [ 405, 1316, 2165, 665 ], "crop_image": "assets/III.43-004.png" } ] }, { "id": "III.43-005", "type": "paragraph", "section": "III.43", "lesson": 87, "exercise": 87, "reading_order": 2264, "original": "Moins il y a de Parties, plus les Accords doivent être diversifiez ; c’est donc pour les Pieces à deux parties que cette Regle demande le plus de regularité.", "english": "The fewer the parts, the more varied the chords must be. This rule therefore demands the strictest observance in two-part pieces.", "sources": [ { "pdf_page": 361, "source_image": "source-pages/bnf-361.png", "printed_page": 329, "bbox_pixels": [ 405, 1981, 2165, 229 ], "crop_image": "assets/III.43-005.png" } ] }, { "id": "III.43-006", "type": "paragraph", "section": "III.43", "lesson": 87, "exercise": 87, "reading_order": 2265, "original": "2°. Quand on compose à trois Parties, il faut y rendre les Accords complets, autant qu’il se peut ; & la meilleure regle pour cet effet, est d’y faire entendre toûjours des Tierces ou des Sixtes, au moins entre deux Parties, l’Octave ne devant y être employée que rarement, excepté que le Dessein, * la Fugue, ou le beau Chant ne nous y conduise, sur tout dans les Cadences parfaites, où chaque Partie se termine ordinairement sur la Notte tonique.", "english": "2. In three-part composition, make the chords as complete as possible. The best rule for this is always to sound thirds or sixths between at least two parts. Use the octave rarely, unless the design,* fugue, or beautiful melody leads to it, especially in perfect cadences where every part ordinarily ends on the tonic.", "sources": [ { "pdf_page": 361, "source_image": "source-pages/bnf-361.png", "printed_page": 329, "bbox_pixels": [ 405, 2210, 2165, 526 ], "crop_image": "assets/III.43-006.png" } ] }, { "id": "III.43-007", "type": "footnote", "section": "III.43", "lesson": 87, "exercise": 87, "reading_order": 2266, "original": "* Nous parlons du Dessein & de la Fugue au dernier Chapitre.", "english": "* We discuss design and fugue in the final chapter.", "sources": [ { "pdf_page": 361, "source_image": "source-pages/bnf-361.png", "printed_page": 329, "bbox_pixels": [ 405, 2817, 2165, 93 ], "crop_image": "assets/III.43-007.png" } ] }, { "id": "III.43-008", "type": "heading", "section": "III.43", "lesson": 87, "exercise": 87, "reading_order": 2267, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 362, "source_image": "source-pages/bnf-362.png", "printed_page": 330, "bbox_pixels": [ 405, 496, 2165, 150 ], "crop_image": "assets/III.43-008.png" } ] }, { "id": "III.43-009", "type": "music", "section": "III.43", "lesson": 87, "exercise": 87, "reading_order": 2268, "original": "Composition à trois Parties", "english": "Three-part composition", "sources": [ { "pdf_page": 362, "source_image": "source-pages/bnf-362.png", "printed_page": 330, "bbox_pixels": [ 405, 670, 2165, 2820 ], "crop_image": "assets/III.43-009.png" } ], "original_title": "Composition à trois Parties", "english_title": "Three-part composition", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.43-009" ], "music_asset_refs": [ "III.43-009" ] }, { "id": "III.43-010", "type": "paragraph", "section": "III.43", "lesson": 87, "exercise": 87, "reading_order": 2269, "original": "Pour ce qui est des Pieces à quatre & à plus de Parties, on en forme ou des Chœurs de Musique, ou des Quatuor, des Quinques, &c. (L’on trouvera un Quinque ou Canon dans le dernier Chapitre.) Les Voix se multiplient autant que l’on veut dans chaque partie, pour ce qui est des Chœurs ; au lieu qu’on n’employe ordinairement qu’une voix pour chaque Partie dans les Quatuor ou Quinque. Or comme il est assez difficile de donner un beau Chant naturel à chacune de ces Parties entenduës ensemble, il faut du moins qu’il regne dans la Basse & dans le Dessus, sur tout dans les Chœurs ; l’on peut neanmoins donner ce beau Chant à telle Partie que l’on veut, ou encore l’entremêler tantôt dans une Partie, tantôt dans une autre, en preferant toûjours celle qui se trouve au plus haut degré de la Voix ou de l’Instrument, supposé qu’il n’y ait point de Voix ; car l’attention se porte naturellement vers les Sons les plus perçants. Au reste, nous ne pretendons pas confondre ici la Basse, qui doit primer en ce cas, & sur laquelle nous devons toûjours nous regler dans ces sortes de Pieces.", "english": "Pieces in four or more parts take the form of choruses, quartets, quintets, and so forth. A quintet or canon appears in the final chapter. In choruses each part may be multiplied by as many voices as desired; quartets and quintets ordinarily use only one voice per part. Since it is difficult to give each simultaneous part a beautiful, natural melody, at least let such melody prevail in the bass and highest part, especially in choruses. It may nevertheless be given to any part, or passed now to one, now to another, always preferring the highest vocal part, or instrumental part if there are no voices, since attention naturally turns toward the most penetrating sounds. We do not mean to include the bass in this comparison: it must take precedence and always guide us in pieces of this kind.", "sources": [ { "pdf_page": 363, "source_image": "source-pages/bnf-363.png", "printed_page": 331, "bbox_pixels": [ 405, 313, 2165, 1281 ], "crop_image": "assets/III.43-010.png" } ] }, { "id": "III.43-011", "type": "paragraph", "section": "III.43", "lesson": 87, "exercise": 87, "reading_order": 2270, "original": "Quelques difficultez qu’il y ait à remplir d’un beau Chant toutes les Parties d’un Quatuor, ou d’un Quinque, il faut cependant faire tous ses efforts pour y réüssir ; & c’est peut-être principalement en faveur de ces sortes de Pieces, que la Fugue a été inventée ; car outre qu’elles n’ont guéres d’agrément sans ce secours, c’est que la Fugue qui renaît tantôt dans une partie, tantôt dans une autre, surprenant agréablement l’Auditeur, le force en quelques façon de détourner son attention des parties qui pourroient pour lors être dénuées de Chant, pour la donner entierement à celle qui reprend cette Fugue ; c’est aussi par ce moyen que l’on peut adroitement attirer l’Auditeur, en fixant son attention sur l’objet qui le frappe le plus. D’ailleurs le Chant de la Fugue, & celui des Parties qui doivent l’accompagner, outre les silences que l’on peut y introduire, lorsque l’on sent que le Chant n’en seroit point assez gracieux, dépendant absolument de nôtre goût, c’est à nous de sçavoir faire un bon choix, pour que le succès en soit favorable. (C’est le sujet du Chapitre suivant.) Il n’y a que les Chœurs qui puissent plaire sans Fugues, en ce que le beau Chant qui doit y regner pour lors dans les Parties dominantes, occupe suffisamment ; il en est de même des Duo & des Trio.", "english": "However difficult it may be to fill every part of a quartet or quintet with beautiful melody, every effort must be made. Perhaps fugue was invented chiefly for such pieces. They have little charm without it; moreover, the fugue’s return in one part after another pleasantly surprises the listener and draws attention away from parts temporarily lacking melody toward the one taking up the fugue. Thus one may skillfully attract listeners by fixing their attention on what strikes them most. The fugue’s melody, its accompanying parts, and the rests introduced where a part’s melody would lack grace all depend on our taste. We must choose well for a successful result; this is the next chapter’s subject. Only choruses can please without fugues, because the beautiful melody that must then prevail in the leading parts occupies the listener sufficiently. The same holds for duets and trios.", "sources": [ { "pdf_page": 363, "source_image": "source-pages/bnf-363.png", "printed_page": 331, "bbox_pixels": [ 405, 1594, 2165, 1498 ], "crop_image": "assets/III.43-011.png" } ] }, { "id": "III.43-012", "type": "paragraph", "section": "III.43", "lesson": 87, "exercise": 87, "reading_order": 2271, "original": "L’on peut exceder le nombre de cinq Parties dans la Composition ; mais cela n’appartient qu’aux grands Maîtres de l’Art, qui sçavent doubler à propos les Consonances, en leur donnant pour lors des progressions opposées, & en diversifiant le tout par des Chants plus ou moins figurez.", "english": "Composition may exceed five parts, but this belongs only to great masters who know how to double consonances appropriately, give them opposing progressions, and vary the whole with melodies figured to different degrees.", "sources": [ { "pdf_page": 363, "source_image": "source-pages/bnf-363.png", "printed_page": 331, "bbox_pixels": [ 405, 3092, 2165, 376 ], "crop_image": "assets/III.43-012.png" } ] }, { "id": "III.44-001", "type": "heading", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2272, "original": "CHAPITRE QUARANTE-QUATRIEME.", "english": "CHAPTER FORTY-FOUR.", "sources": [ { "pdf_page": 364, "source_image": "source-pages/bnf-364.png", "printed_page": 332, "bbox_pixels": [ 540, 525, 1978, 107 ], "crop_image": "assets/III.44-001.png" } ], "correction_refs": [ "supplement-264", "supplement-265" ] }, { "id": "III.44-002", "type": "heading", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2273, "original": "Du Dessein, de l’Imitation, & de la Fugue.", "english": "On Design, Imitation, and Fugue.", "sources": [ { "pdf_page": 364, "source_image": "source-pages/bnf-364.png", "printed_page": 332, "bbox_pixels": [ 752, 671, 1535, 114 ], "crop_image": "assets/III.44-002.png" } ] }, { "id": "III.44-003", "type": "paragraph", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2274, "original": "Dans la Musique, le Dessein est en general le sujet de tout ce que l’on se propose ; car un habile Compositeur doit se proposer d’abord un Mouvement, un Ton, ou un Mode, un Chant & une Harmonie conforme au sujet qu’il veut traiter ; (Voyez, Livre Second Chap. XXX.) mais ce terme doit s’appliquer plus précisément ici à un certain Chant que l’on veut faire regner dans la suite d’une Piece, soit pour se conformer au sens des Paroles, soit que le bon goût ou la fantaisie nous y détermine ; pour lors on distingue le Dessein en Imitation & en Fugue.", "english": "In music, design generally means the subject of everything intended: a skilled composer must first choose a tempo, key or mode, melody, and harmony suited to the subject to be treated. See Book II, Chapter XXX. Here, however, the term applies more precisely to a particular melody intended to prevail through a piece, whether to fit the meaning of words or because taste or fancy prompts it. Design is then distinguished as imitation or fugue.", "sources": [ { "pdf_page": 364, "source_image": "source-pages/bnf-364.png", "printed_page": 332, "bbox_pixels": [ 436, 843, 2152, 688 ], "crop_image": "assets/III.44-003.png" } ] }, { "id": "III.44-004", "type": "paragraph", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2275, "original": "L’Imitation n’a rien de particuliere qui merite attention ; elle consiste seulement à faire repeter à son gré, & dans telle Partie que l’on veut, une certaine suite de Chant, sans autre regularité.", "english": "Imitation has no special feature requiring attention. It consists simply of repeating a particular melodic passage as desired in any chosen part, without further regularity.", "sources": [ { "pdf_page": 364, "source_image": "source-pages/bnf-364.png", "printed_page": 332, "bbox_pixels": [ 441, 1533, 2139, 224 ], "crop_image": "assets/III.44-004.png" } ] }, { "id": "III.44-005", "type": "paragraph", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2276, "original": "La Fugue de même que l’Imitation, consiste en une certaine suite de Chant, que l’on fait repeter à son gré, & dans telle Partie que l’on veut, mais avec plus de circonspection, selon les Regles suivantes.", "english": "Like imitation, fugue consists of a particular melodic passage repeated as desired in any part, but with greater care, according to the following rules.", "sources": [ { "pdf_page": 364, "source_image": "source-pages/bnf-364.png", "printed_page": 332, "bbox_pixels": [ 441, 1756, 2139, 295 ], "crop_image": "assets/III.44-005.png" } ] }, { "id": "III.44-006", "type": "paragraph", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2277, "original": "Si dans l’Imitation l’on peut faire repeter le Chant d’une ou de plusieurs Mesures, & même de tout l’Air dans une seule, ou dans toutes les Parties, & sur telles Cordes que l’on veut ; dans la Fugue au contraire, il faut que ce Chant soit entendu alternativement dans les deux principales Parties, qui sont le Dessus & la Basse, ou bien au lieu du Dessus, l’on prend telle autre Partie que l’on s’imagine, pour y faire regner le sujet ; & si la Piece contient plusieurs Parties, elle en est encore plus parfaite, lorsque la Fugue est entendue alternativement dans chaque Partie. De plus, les Cordes qu’il faut y employer, ne dépendent point de nôtre choix ; & voici comme il faut en user.", "english": "In imitation, a melody of one or several measures, or even the whole air, may be repeated in one or all parts at any pitches. In fugue, by contrast, the melody must alternate between the two principal parts, upper part and bass, or another chosen part may replace the upper part as the subject’s carrier. In a piece with several parts, it is more perfect still when the fugue passes alternately through every part. Moreover, its pitches are not freely chosen; proceed as follows.", "sources": [ { "pdf_page": 364, "source_image": "source-pages/bnf-364.png", "printed_page": 332, "bbox_pixels": [ 441, 2045, 2139, 830 ], "crop_image": "assets/III.44-006.png" } ] }, { "id": "III.44-007", "type": "paragraph", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2278, "original": "1°. L’on doit choisir la Notte tonique & la Dominante pour premiere & pour derniere Nottes de la Fugue, préferablement à toutes autres, lorsque l’on n’est pas encore bien assuré de ce que l’on fait ; & le Chant de cette Fugue doit être renfermé dans l’étenduë de l’Octave du Ton que l’on traite ; car, supposé qu’il en excede les bornes, les Nottes qui se trouvent au-dessus, ou au-dessous de l’Octave, ne doivent pas être regardées differemment de celles qui sont contenuës entre cette Octave.", "english": "1. Until fully sure of your practice, prefer the tonic and dominant as the fugue’s first and last notes. Its melody should be contained within the key’s octave; if it exceeds these bounds, notes above or below are to be regarded like their equivalents within that octave.", "sources": [ { "pdf_page": 364, "source_image": "source-pages/bnf-364.png", "printed_page": 332, "bbox_pixels": [ 443, 2870, 2139, 606 ], "crop_image": "assets/III.44-007.png" } ] }, { "id": "III.44-008", "type": "paragraph", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2279, "original": "2°. Si une Partie commence ou finit par la Notte tonique, l’autre doit commencer ou finir par la Dominante ; & ainsi de chaque Notte qui se répond dans l’étenduë de l’Octave du Ton que l’on traite, faisant ensorte que les Nottes qui se trouvent entre la Tonique & sa Dominante se répondent également dans chaque Partie, c’est-à-dire, que la seconde Notte qui est immediatement au-dessus de la Tonique, doit répondre à la sixième, qui est immediatement au-dessus de la Dominante ; & ainsi reciproquement de celle qui est une Tierce, une Quarte ou une Quinte au-dessus, ou au-dessous de la Tonique, avec celle qui est en même degré au-dessus ou au-dessous de la Dominante, selon le progrès du Chant, qui peut monter ou descendre ; car la conformité que nous pretendons devoir être observée dans les Nottes qui commencent & terminent la Fugue doit être également observée dans toute la suite du Chant dont cette Fugue est composée.", "english": "2. If one part begins or ends on the tonic, the other must begin or end on the dominant, and similarly for corresponding notes within the key’s octave. Notes between tonic and dominant must answer proportionally in each part: the second note, immediately above the tonic, answers the sixth, immediately above the dominant. Likewise, notes a third, fourth, or fifth above or below the tonic correspond reciprocally to those the same distance above or below the dominant, as the melody ascends or descends. The correspondence required of opening and ending notes must govern the entire fugue melody.", "sources": [ { "pdf_page": 364, "source_image": "source-pages/bnf-364.png", "printed_page": 332, "bbox_pixels": [ 510, 3481, 2060, 92 ], "crop_image": "assets/III.44-008.png" }, { "pdf_page": 365, "source_image": "source-pages/bnf-365.png", "printed_page": 333, "bbox_pixels": [ 398, 353, 2152, 985 ], "crop_image": "assets/III.44-009.png" } ] }, { "id": "III.44-010", "type": "paragraph", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2280, "original": "3°. Comme dans la Progression diatonique en montant, ou en descendant d’une Notte tonique à sa Dominante, & de celle-ci à l’autre, il se trouve une Notte de plus ou de moins, il faut remarquer que l’on peut faire rapporter indifferemment, & principalement dans le milieu du Chant qui compose la Fugue, l’une des deux Nottes en degrez conjoints, qui sont comprises dans la Progression où il y en a une de plus, à celle que l’on ne peut se dispenser d’employer dans la Progression où il y en a une de moins ; Par exemple, si le Chant de la Fugue procede en descendant de la Notte tonique à sa Dominante, je ne puis y employer que la sixiéme & la septiéme Nottes ; au lieu que pour conformer le même Chant en descendant de la Dominante à la Tonique, je pourrai passer sur la quatrième, sur la troisième & sur la seconde Notte ; si bien que je dois choisir celles de ces trois dernieres qui approchent le plus de la Tonique, sur laquelle le Chant de la Fugue se termine, pour qu’elles nous rendent un Chant à peu près conforme à celui qui a été entendu en premier lieu. Pareillement, si j’ai commencé par la Progression qui contient le plus grand nombre de Nottes, j’y conforme celle qui contient le moindre nombre, en m’attachant toûjours à ce que la conformité du Chant soit plûtôt observée vers la fin, que vers le commencement ; mais un Exemple nous mettra mieux au fait.", "english": "3. Diatonic motion from tonic to dominant and back, upward or downward, contains one more or one fewer note. Especially within the subject, either of two adjacent notes in the longer progression may therefore correspond to the unavoidable note of the shorter one. For example, descending from tonic to dominant, I can use only the sixth and seventh between them; descending from dominant to tonic, I can use the fourth, third, and second. Of these last three I should choose those nearest the ending tonic so the melody resembles the first as closely as possible. Conversely, if I began with the progression containing more notes, I adapt the shorter one to it, always seeking correspondence toward the end rather than the beginning. An example will make this clearer.", "sources": [ { "pdf_page": 365, "source_image": "source-pages/bnf-365.png", "printed_page": 333, "bbox_pixels": [ 396, 1331, 2161, 1576 ], "crop_image": "assets/III.44-010.png" } ] }, { "id": "III.44-011", "type": "music", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2281, "original": "Premier Exemple. Deuxième Exemple. Troisième Exemple. A. C. D. ou.", "english": "First example. Second example. Third example. A. C. D. or.", "sources": [ { "pdf_page": 365, "source_image": "source-pages/bnf-365.png", "printed_page": 333, "bbox_pixels": [ 400, 2933, 2150, 722 ], "crop_image": "assets/III.44-011.png" } ], "original_title": "Correspondance entre la Tonique et la Dominante.", "english_title": "Correspondence between tonic and dominant.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.44-011" ], "music_asset_refs": [ "III.44-011" ] }, { "id": "III.44-012", "type": "music", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2282, "original": "Quatrième Exemple. B. F. Cinquiéme Exemple. G. H.", "english": "Fourth example. B. F. Fifth example. G. H.", "sources": [ { "pdf_page": 366, "source_image": "source-pages/bnf-366.png", "printed_page": 334, "bbox_pixels": [ 439, 436, 2124, 735 ], "crop_image": "assets/III.44-012.png" } ], "original_title": "Quatrième et cinquième exemples de réponses.", "english_title": "Fourth and fifth examples of answers.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.44-012" ], "music_asset_refs": [ "III.44-012" ] }, { "id": "III.44-013", "type": "music", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2283, "original": "Sixiéme Exemple. J. L. M. N. P. Q. R. T. ou.", "english": "Sixth example. J. L. M. N. P. Q. R. T. or.", "sources": [ { "pdf_page": 366, "source_image": "source-pages/bnf-366.png", "printed_page": 334, "bbox_pixels": [ 436, 1215, 2137, 1612 ], "crop_image": "assets/III.44-013.png" } ], "original_title": "Sixième exemple et sa réponse.", "english_title": "Sixth example and its answer.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.44-013" ], "music_asset_refs": [ "III.44-013" ] }, { "id": "III.44-014", "type": "paragraph", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2284, "original": "Dans le premier Exemple, la sixiéme ou la septiéme Notte répondent à la Mediante A.", "english": "In the first example, the sixth or seventh note answers the mediant at A.", "sources": [ { "pdf_page": 366, "source_image": "source-pages/bnf-366.png", "printed_page": 334, "bbox_pixels": [ 443, 2859, 2120, 150 ], "crop_image": "assets/III.44-014.png" } ] }, { "id": "III.44-015", "type": "paragraph", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2285, "original": "Dans le second, la sixiéme répond à la Mediante C.", "english": "In the second, the sixth answers the mediant at C.", "sources": [ { "pdf_page": 366, "source_image": "source-pages/bnf-366.png", "printed_page": 334, "bbox_pixels": [ 512, 3010, 1746, 84 ], "crop_image": "assets/III.44-015.png" } ] }, { "id": "III.44-016", "type": "paragraph", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2286, "original": "Dans le troisième, la septiéme répond à la Mediante D.", "english": "In the third, the seventh answers the mediant at D.", "sources": [ { "pdf_page": 366, "source_image": "source-pages/bnf-366.png", "printed_page": 334, "bbox_pixels": [ 510, 3089, 1802, 84 ], "crop_image": "assets/III.44-016.png" } ] }, { "id": "III.44-017", "type": "paragraph", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2287, "original": "Dans le quatrième, la Dominante B, ou la quatrième Notte F, répondent à la Tonique B, F.", "english": "In the fourth, the dominant at B or fourth note at F answers the tonic at B and F.", "sources": [ { "pdf_page": 366, "source_image": "source-pages/bnf-366.png", "printed_page": 334, "bbox_pixels": [ 445, 3167, 2131, 157 ], "crop_image": "assets/III.44-017.png" } ] }, { "id": "III.44-018", "type": "paragraph", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2288, "original": "Dans le cinquième, la Mediante répond à la septiéme G, ou à la sixiéme H.", "english": "In the fifth, the mediant answers the seventh at G or sixth at H.", "sources": [ { "pdf_page": 366, "source_image": "source-pages/bnf-366.png", "printed_page": 334, "bbox_pixels": [ 441, 3319, 2133, 144 ], "crop_image": "assets/III.44-018.png" } ] }, { "id": "III.44-019", "type": "paragraph", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2289, "original": "Dans le sixiéme, la Mediante répond à la septiéme L, ou à la sixiéme N, la seconde répond à la sixiéme J, ou à la Dominante P ; la Dominante répond à la seconde M, ou à la Tonique Q ; & la Tonique répond à la quatrième R.", "english": "In the sixth, the mediant answers the seventh at L or sixth at N; the second answers the sixth at J or dominant at P; the dominant answers the second at M or tonic at Q; and the tonic answers the fourth at R.", "sources": [ { "pdf_page": 366, "source_image": "source-pages/bnf-366.png", "printed_page": 334, "bbox_pixels": [ 514, 3464, 2057, 86 ], "crop_image": "assets/III.44-019.png" }, { "pdf_page": 367, "source_image": "source-pages/bnf-367.png", "printed_page": 335, "bbox_pixels": [ 372, 331, 2128, 232 ], "crop_image": "assets/III.44-020.png" } ] }, { "id": "III.44-021", "type": "paragraph", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2290, "original": "Il y a bien des choses à observer pour ne pas se tromper dans le choix qui (comme l’on voit) est arbitraire entre chacune des cinq Nottes comprises depuis la Tonique jusqu’à sa Dominante en montant, pour en composer un Chant conforme à celui qui aura été entendu entre les quatre Nottes comprises depuis la Dominante jusqu’à la Tonique en montant, que le Chant de la Fugue monte ou descende ; car il se trouvera toûjours cinq Nottes d’un côté, & quatre de l’autre ; étant même obligé quelquefois d’emprunter la seconde Notte ou la quatrième, pour en faire rencontrer cinq depuis cette Dominante jusqu’à sa Tonique en montant, ou depuis la Tonique jusqu’à sa Dominante en descendant, ce qui est la même chose ; de sorte que les Auteurs qui ont écrit de la Fugue, ayant negligé ces observations, il ne sera pas hors de propos d’en dire ce que l’experience nous apprend sur ce sujet.", "english": "Much must be observed to avoid error in this free choice among the five notes from tonic up to dominant, when forming a melody corresponding to one heard among the four notes from dominant up to tonic. Whether the fugue ascends or descends, there are always five notes on one side and four on the other. Sometimes one must even borrow the second or fourth note to obtain five notes from dominant up to tonic, or equivalently tonic down to dominant. Writers on fugue have neglected these observations; it is therefore appropriate to state what experience teaches us.", "sources": [ { "pdf_page": 367, "source_image": "source-pages/bnf-367.png", "printed_page": 335, "bbox_pixels": [ 370, 563, 2135, 1045 ], "crop_image": "assets/III.44-021.png" } ] }, { "id": "III.44-022", "type": "paragraph", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2291, "original": "1°. La Dominante doit toûjours répondre à la Tonique, & celle-ci à l’autre dans la premiere & dans la derniere Notte de la Fugue ; & l’on ne peut transgresser cette regle que dans le milieu du Chant, où il est permis de subroger la quatrième Notte, à la Dominante, & la seconde Notte à la Tonique, pour y faire rencontrer une suite de Chant plus conforme ; ne se trouvant par ce moyen que quatre degrez depuis la seconde Notte jusqu’à la Dominante en montant, ou depuis la quatrième Notte jusqu’à la Tonique en descendant, dont on pourra composer un Chant à peu près pareil à celui qui sera renfermé entre les quatre degrez, compris depuis la Dominante jusqu’à la Tonique en montant, ou depuis celle-ci à l’autre en descendant ; ce même emprunt nous donnant encore cinq degrez depuis la seconde Notte jusqu’à la Dominante en descendant, & depuis la quatrième Notte jusqu’à la Tonique en montant, conformément aux cinq degrez qui se trouvent depuis la Dominante jusqu’à la Tonique en descendant, & depuis celle-ci à l’autre en montant ; & quand nous disons que le Chant formé de ces Nottes empruntées, sera à peu près pareil à celui qui aura été entendu entre la Notte tonique & sa Dominante, c’est qu’il ne peut pas être absolument le même, par rapport aux degrez diatoniques de chaque Mode, dont on ne peut alterer les Nottes par aucun nouveau Dieze ni B-mol ; excepté dans les Tons mineurs, où il faut ajoûter un B-mol à la sixiéme Notte, lorsqu’elle descend, & un Dieze à la sensible, lorsqu’elle monte ; pouvant même ajoûter quelquefois un Dieze à la Mediante des Tons mineurs, & à la quatrième Notte de tous les Tons, lorsqu’elles répondent à la sensible, comme nous l’avons fait dans le sixiéme Exemple aux Nottes marquées d’un T, pourvû que ces Nottes fassent Tierce majeure ou Sixte majeure avec la Basse.", "english": "1. The dominant must always answer the tonic, and vice versa, at the fugue’s first and last notes. Only within the melody may this rule be broken, substituting the fourth for the dominant and the second for the tonic to obtain a closer melodic correspondence. There are then only four degrees from the second up to the dominant or the fourth down to the tonic, allowing a melody close to that within the four degrees from dominant up to tonic or tonic down to dominant. The same borrowing gives five degrees from second down to dominant or fourth up to tonic, corresponding to the five from dominant down to tonic or tonic up to dominant. We say “close” because an exact match is impossible owing to each mode’s diatonic degrees, whose notes may not be altered by any new sharp or flat. Minor keys are excepted: add a flat to the descending sixth and a sharp to the ascending leading note. Sometimes a sharp may also be added to the mediant of minor keys and the fourth of any key when answering the leading note, as at T in the sixth example, provided these notes form a major third or major sixth with the bass.", "sources": [ { "pdf_page": 367, "source_image": "source-pages/bnf-367.png", "printed_page": 335, "bbox_pixels": [ 368, 1608, 2133, 1877 ], "crop_image": "assets/III.44-022.png" }, { "pdf_page": 368, "source_image": "source-pages/bnf-368.png", "printed_page": 336, "bbox_pixels": [ 436, 370, 2137, 159 ], "crop_image": "assets/III.44-023.png" } ] }, { "id": "III.44-024", "type": "paragraph", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2292, "original": "L’on ne doit point imaginer de Chants pour en former une Fugue, dont on ne se represente en même-temps la Basse & la Réponse, car c’est de cette Réponse que naît la diversité ; de sorte qu’il est libre après cela de commencer par le Chant imaginé, ou par celui qui lui répond.", "english": "Do not invent a melody for a fugue without simultaneously imagining its bass and answer, for variety arises from that answer. Afterward one is free to begin either with the invented melody or with its answer.", "sources": [ { "pdf_page": 368, "source_image": "source-pages/bnf-368.png", "printed_page": 336, "bbox_pixels": [ 434, 525, 2143, 381 ], "crop_image": "assets/III.44-024.png" } ] }, { "id": "III.44-025", "type": "paragraph", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2293, "original": "3°. La Basse de la Fugue étant trouvée, l’on peut en chercher encore les deux ou trois autres Parties, qui pourroient accompagner le Chant composé & sa Basse ; où l’on remarquera que cette Basse & ces autres parties, suivront à peu prés la même Progression avec le Chant inventé, & avec celui qui répond ; & de plus, que cette Basse portera les mêmes Accords de part & d’autre, si elle est bien imitée ; si bien que par le moyen de cette Basse & des autres parties, l’on trouve celui de faire entendre plusieurs Fugues à la fois, ou de composer une autre espece de Fugue qu’on appelle Canon dont nous parlerons dans la suite.", "english": "3. Once the fugue’s bass is found, seek the two or three other parts that could accompany the melody and bass. Notice that this bass and the other parts will follow approximately the same progression with the invented melody and its answer. If well imitated, the bass will bear the same chords in both. These bass and accompanying parts thus provide a means of sounding several fugues together or composing another kind called canon, discussed later.", "sources": [ { "pdf_page": 368, "source_image": "source-pages/bnf-368.png", "printed_page": 336, "bbox_pixels": [ 426, 899, 2154, 752 ], "crop_image": "assets/III.44-025.png" } ] }, { "id": "III.44-026", "type": "paragraph", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2294, "original": "4°. Le Chant d’une Fugue peut souffrir plusieurs Basses differentes ; il peut même être composé de façon, qu’il conviendroit mieux à la Basse qu’à aucune autre partie ; ce qui est indifferent, en ce que le renversement nous fournit plusieurs manieres de composer une Basse, ou de faire servir de Basse une Partie, dont le Chant conviendroit mieux à un Dessus ; mais en même temps rien n’est si agréable que de se servir alternativement de ces differentes manieres d’accompagner un Dessus ou une Basse, sur tout dans la Fugue, où la diversité ne peut se faire sentir que dans les Parties qui l’accompagnent ; & nous avons dit que la Basse d’une Fugue pouvoit être toûjours à peu près la même, & qu’en ce cas elle devoit toûjours porter les mêmes Accords ; ce n’est que pour donner une idée plus juste de la maniere dont le Chant de la Fugue doit être imité ; car ce rapport des Accords, suffit seul pour la preuve.", "english": "4. A fugue melody may admit several basses, and may itself suit the bass better than any other part. This makes no difference, since inversion offers several ways of composing a bass or using a melody as bass that would better suit an upper part. Alternating these different accompaniments of an upper or bass part is especially pleasing in fugue, where variety can be felt only in the accompanying parts. Our statement that a fugue’s bass could remain approximately the same and should then bear the same chords was only intended to clarify how its melody should be imitated; the correspondence of chords alone suffices as proof.", "sources": [ { "pdf_page": 368, "source_image": "source-pages/bnf-368.png", "printed_page": 336, "bbox_pixels": [ 419, 1649, 2156, 1056 ], "crop_image": "assets/III.44-026.png" } ] }, { "id": "III.44-027", "type": "paragraph", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2295, "original": "5°. Pour sçavoir à présent le choix que l’on doit faire des Nottes comprises dans l’étenduë d’une Notte tonique à sa Dominante en montant, ou de celle-ci à l’autre en descendant, il faut avoir toûjours pour principe cette Notte tonique & sa Dominante, où le Chant de chaque Fugue se termine ordinairement, sans que ces Nottes nous empêchent neanmoins de conformer les Intervales de la Réponse à ceux de la Fugue inventée, sur tout dans le milieu du Chant ; de sorte qu’ayant fait un Intervale de Tierce, de Quarte, de Quinte, de Sixte ou Septiéme dans le milieu du premier Chant imaginé, je dois en faire un pareil dans le même endroit du Chant qui répond à ce premier, ainsi du reste. Cependant cette derniere Regle n’est pas si generale, qu’il ne faille l’abandonner en faveur d’une progression diatonique, ou encore en faveur des Nottes principales du Mode, ayant plûtôt égard à ce qui suit qu’à ce qui précede, & à la Notte tonique ou à la Dominante, qui commencent & terminent ordinairement la Fugue, qu’à cette conformité d’Intervales que nous venons de proposer. Ainsi l’Intervale de Quarte doit répondre souvent à celui de Quinte, & celui-ci à l’autre ; mais de plus, si après un Intervale consonant, il en paroît un ou plusieurs diatoniques, il faut avoir recours aux endroits où paroît la Notte tonique, pour que la progression diatonique qui se trouve depuis la derniere Notte de l’Intervale consonant jusqu’à cette Notte tonique, puisse être imitée regulierement dans la Partie qui lui répond jusqu’à la Dominante ; ou bien si la Progression conduit à la Dominante, il faut qu’elle soit imitée dans la Partie qui lui répond en tirant vers la Notte tonique, sur tout lorsqu’une Progression quelconque se termine par un acte de Cadence ; car la Cadence finale de la Fugue doit se faire toûjours sur la Notte tonique & sur sa Dominante ; bien que si cette Cadence ne termine pas absolument la Fugue, on peut subroger la quatrième Notte à la Dominante ; & quelquefois la seconde Notte à la Tonique.", "english": "5. To choose notes within the span from tonic up to dominant or dominant down to tonic, keep the tonic and dominant as guiding principles, since the fugue usually ends on them. Yet they must not prevent matching the answer’s intervals to the invented subject, especially internally. A third, fourth, fifth, sixth, or seventh within the first melody should be answered by the same interval at the corresponding place. This rule is not universal: yield to diatonic progression or the mode’s principal notes, giving greater weight to what follows than what precedes, and to the tonic or dominant usually opening and closing the subject than to exact interval matching. A fourth must therefore often answer a fifth, and vice versa. Moreover, if one or more diatonic intervals follow a consonant one, locate the tonic so the diatonic progression from the consonant interval’s final note to that tonic may be regularly imitated toward the dominant. If the progression leads to the dominant, imitate it toward the tonic, especially when it ends in a cadence. The fugue’s final cadence must always fall on tonic and dominant, although an internal cadence may substitute the fourth for the dominant and sometimes the second for the tonic.", "sources": [ { "pdf_page": 368, "source_image": "source-pages/bnf-368.png", "printed_page": 336, "bbox_pixels": [ 413, 2705, 2154, 823 ], "crop_image": "assets/III.44-027.png" }, { "pdf_page": 369, "source_image": "source-pages/bnf-369.png", "printed_page": 337, "bbox_pixels": [ 462, 327, 2152, 1498 ], "crop_image": "assets/III.44-028.png" } ] }, { "id": "III.44-029", "type": "paragraph", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2296, "original": "L’on ne commence, ni l’on ne finit guéres de Fugues, que sur la Notte tonique, sur sa Dominante & sur sa Mediante ; la sixiéme ou la septiéme Notte devant répondre pour lors à cette Mediante, comme on a pû le remarquer dans le cinquième Exemple précédent ; ainsi en s’attachant à ce qui suit, plûtôt qu’à ce qui précede, & par la conformité des Accords qui doivent se rencontrer au-dessus de la Basse, que l’on fait servir aux Chants qui se repondent en Fugue, on ne peut guéres se tromper.", "english": "Fugues rarely begin or end except on tonic, dominant, or mediant. The mediant must then be answered by the sixth or seventh, as in the fifth preceding example. Attend to what follows rather than what precedes, and to the correspondence of chords above the bass used for subject and answer, and mistakes will be unlikely.", "sources": [ { "pdf_page": 369, "source_image": "source-pages/bnf-369.png", "printed_page": 337, "bbox_pixels": [ 467, 1825, 2146, 602 ], "crop_image": "assets/III.44-029.png" } ] }, { "id": "III.44-030", "type": "heading", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2297, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 370, "source_image": "source-pages/bnf-370.png", "printed_page": 338, "bbox_pixels": [ 1129, 342, 707, 88 ], "crop_image": "assets/III.44-030.png" } ] }, { "id": "III.44-031", "type": "music", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2298, "original": "Premier Chant. Réponse. Premier Chant. Réponse. BASSE-FONDAMENTALE. BASSE-CONTINUE.", "english": "First melody. Answer. First melody. Answer. FUNDAMENTAL BASS. CONTINUO BASS.", "sources": [ { "pdf_page": 370, "source_image": "source-pages/bnf-370.png", "printed_page": 338, "bbox_pixels": [ 411, 421, 2150, 2128 ], "crop_image": "assets/III.44-031.png" } ], "original_title": "Conformité des basses et des accords dans la réponse.", "english_title": "Correspondence of basses and chords in the answer.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.44-031" ], "music_asset_refs": [ "III.44-031" ] }, { "id": "III.44-032", "type": "paragraph", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2299, "original": "Cette Basse-continuë est mise ici pour faire remarquer, que quelque Basse que l’on s’imagine au-dessous d’un Chant proposé, elle pourra avoir la même conformité, en portant toûjours les mêmes Accords, mais la Fondamentale est encore meilleure en ce cas.", "english": "This continuo bass is included to show that any imagined bass beneath a proposed melody may display the same correspondence by always bearing the same chords. The fundamental bass is nevertheless better for this purpose.", "sources": [ { "pdf_page": 370, "source_image": "source-pages/bnf-370.png", "printed_page": 338, "bbox_pixels": [ 419, 2571, 2131, 299 ], "crop_image": "assets/III.44-032.png" } ] }, { "id": "III.44-033", "type": "paragraph", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2300, "original": "6°. Le Chant d’une Fugue doit contenir au moins une demie mesure ; & s’il en contient plus de quatre, il faut que sa Réponse puisse commencer dans la quatrième ; encore faut-il que le mouvement soit un peu vif, pour qu’une si longue suite de Chant denuée d’Harmonie puisse plaire.", "english": "6. A fugue melody must contain at least half a measure. If longer than four measures, its answer must be able to begin during the fourth. Even then the tempo must be somewhat lively for so long a melody without harmony to please.", "sources": [ { "pdf_page": 370, "source_image": "source-pages/bnf-370.png", "printed_page": 338, "bbox_pixels": [ 417, 2868, 2139, 374 ], "crop_image": "assets/III.44-033.png" } ] }, { "id": "III.44-034", "type": "paragraph", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2301, "original": "7°. La Fugue commence par tel Temps de la mesure que l’on veut, mais elle doit finir naturellement sur le premier Temps ; le troisième d’une mesure à quatre, pouvant representer ce premier Temps ; & lorsqu’elle finit sur un autre Temps, c’est ordinairement en conséquence d’une rime feminine, soit que l’on compose sur des paroles, soit que l’on s’imagine un Chant où cette rime pourroit avoir lieu, soit que cela dépende de la fantaisie ; car pour trouver de la nouveauté, on est obligé quelquefois de transgresser les Regles, qui, comme celles-ci, ne sont fondées que sur le bon goût ; & la surprise où nous jette ces especes de Fugues terminées contre la Regle, ne peut que plaire, lorsque cela se fait avec jugement & avec discretion ; elles peuvent finir pour lors sur d’autres Nottes que la Tonique & sa Dominante.", "english": "7. The fugue may begin on any beat but should naturally end on the first; the third beat of a four-beat measure can stand for the first. An ending on another beat ordinarily follows a feminine rhyme, whether actual words are set, such a rhyme is imagined in the melody, or fancy dictates it. Novelty sometimes requires breaking rules based only on taste, such as these. The surprise of fugues ending contrary to the rule can please when handled with judgment and discretion. They may then end on notes other than tonic and dominant.", "sources": [ { "pdf_page": 370, "source_image": "source-pages/bnf-370.png", "printed_page": 338, "bbox_pixels": [ 419, 3242, 2135, 303 ], "crop_image": "assets/III.44-034.png" }, { "pdf_page": 371, "source_image": "source-pages/bnf-371.png", "printed_page": 339, "bbox_pixels": [ 419, 284, 2150, 669 ], "crop_image": "assets/III.44-035.png" } ] }, { "id": "III.44-036", "type": "heading", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2302, "original": "EXEMPLES.", "english": "EXAMPLES.", "sources": [ { "pdf_page": 371, "source_image": "source-pages/bnf-371.png", "printed_page": 339, "bbox_pixels": [ 1090, 952, 744, 86 ], "crop_image": "assets/III.44-036.png" } ] }, { "id": "III.44-037", "type": "music", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2303, "original": "Premier Chant. Réponse.", "english": "First melody. Answer.", "sources": [ { "pdf_page": 371, "source_image": "source-pages/bnf-371.png", "printed_page": 339, "bbox_pixels": [ 415, 1030, 2137, 598 ], "crop_image": "assets/III.44-037.png" } ], "original_title": "Fugue terminée sur un autre temps, premier exemple.", "english_title": "Fugue ending on another beat, first example.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.44-037" ], "music_asset_refs": [ "III.44-037" ] }, { "id": "III.44-038", "type": "music", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2304, "original": "Premier Chant. Réponse.", "english": "First melody. Answer.", "sources": [ { "pdf_page": 371, "source_image": "source-pages/bnf-371.png", "printed_page": 339, "bbox_pixels": [ 415, 1647, 2137, 600 ], "crop_image": "assets/III.44-038.png" } ], "original_title": "Fugue terminée sur un autre temps, deuxième exemple.", "english_title": "Fugue ending on another beat, second example.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.44-038" ], "music_asset_refs": [ "III.44-038" ] }, { "id": "III.44-039", "type": "paragraph", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2305, "original": "8°. Le Chant de la Fugue doit être imité en tout, autant que cela se peut ; car la même quantité de Rondes, de Blanches, &c. qui se trouvent dans un certain Temps de la mesure, doit être employée par tout où la Fugue se fait entendre.", "english": "8. Imitate the fugue melody in every respect as far as possible. The same number of whole notes, half notes, and so forth within a given beat must occur wherever the fugue is heard.", "sources": [ { "pdf_page": 371, "source_image": "source-pages/bnf-371.png", "printed_page": 339, "bbox_pixels": [ 421, 2296, 2139, 301 ], "crop_image": "assets/III.44-039.png" } ] }, { "id": "III.44-040", "type": "paragraph", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2306, "original": "9°. L’on peut faire commencer chaque Partie à l’Unisson ou à l’Octave de la premiere ; mais quand ces Parties peuvent entrer les unes après les autres à la Quinte ou à la Quarte, l’effet en est encore plus agreable. L’on est libre de faire commencer la Fugue & de la faire repeter par telle partie que l’on veut dans tout le cours de la Piece ; & lorsque l’on veut changer de Ton, il n’y a qu’à remarquer le lieu que chaque Notte de la Fugue occupe dans celui que l’on traite, & prendre des Nottes qui soient en même degré dans celui où l’on veut entrer, sans rien changer, ni dans le lieu qu’occupe chaque Notte de la Fugue par rapport à la Notte tonique, ni dans la qualité & la quantité des Nottes qui composent cette Fugue, ni dans le Temps de la mesure où elle commence & finit.", "english": "9. Each part may enter at the first part’s unison or octave, but successive entries at the fifth or fourth are still more pleasing. Any part may begin or repeat the fugue throughout the piece. To change key, observe each subject note’s rank in the present key and take the corresponding rank in the new one. Change neither each note’s relation to the tonic, nor the kinds and quantities of notes, nor the beats on which the fugue begins and ends.", "sources": [ { "pdf_page": 371, "source_image": "source-pages/bnf-371.png", "printed_page": 339, "bbox_pixels": [ 419, 2597, 2139, 914 ], "crop_image": "assets/III.44-040.png" } ] }, { "id": "III.44-041", "type": "paragraph", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2307, "original": "10°. L’on peut attendre que le Chant de la Fugue soit entierement terminé, pour faire entrer chaque Partie l’une après l’autre ; mais il se trouve quelquefois des desseins au milieu desquels chaque partie peut entrer, ce qui fait un fort bon effet, pourvû que l’on ne change rien d’ailleurs, comme nous venons de le dire ; l’on en trouve la preuve dans le sixiéme Exemple.", "english": "10. Each part may wait until the entire fugue melody ends before entering. Some designs, however, allow entries midway through them, with very good effect, provided nothing else changes as just stated. The sixth example demonstrates this.", "sources": [ { "pdf_page": 372, "source_image": "source-pages/bnf-372.png", "printed_page": 340, "bbox_pixels": [ 486, 342, 2126, 458 ], "crop_image": "assets/III.44-041.png" } ] }, { "id": "III.44-042", "type": "paragraph", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2308, "original": "11°. Le Renversement qui est le nœud de toute la diversité que l’on peut apporter dans l’Harmonie, donne encore de nouvelles graces à la Fugue ; de sorte qu’ayant imaginé un Dessein, on le renverse de façon, que les mêmes Intervales qui ont été entendus en montant, se font entendre en descendant ; & ceux qui ont été entendus en descendant, se font entendre en montant, sans rien changer d’ailleurs, comme nous venont de le dire à l’Art. IX.", "english": "11. Inversion, the key to all harmonic variety, adds further graces to fugue. Invert a design so that ascending intervals descend and descending ones ascend, changing nothing else, as stated in Article IX.", "sources": [ { "pdf_page": 372, "source_image": "source-pages/bnf-372.png", "printed_page": 340, "bbox_pixels": [ 482, 800, 2133, 535 ], "crop_image": "assets/III.44-042.png" } ] }, { "id": "III.44-043", "type": "music", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2309, "original": "EXEMPLE. Premier Chant. FUGUE renversée. ou. Réponse renversée. Idem.", "english": "EXAMPLE. First melody. INVERTED FUGUE. or. Inverted answer. Same.", "sources": [ { "pdf_page": 372, "source_image": "source-pages/bnf-372.png", "printed_page": 340, "bbox_pixels": [ 464, 1376, 2152, 1430 ], "crop_image": "assets/III.44-043.png" } ], "original_title": "Fugue et réponse renversées.", "english_title": "Inverted fugue and answer.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.44-043" ], "music_asset_refs": [ "III.44-043" ] }, { "id": "III.44-044", "type": "paragraph", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2310, "original": "12°. L’on peut faire entendre plusieurs Fugues differentes ensemble, ou les unes après les autres ; mais il faut, autant que cela se peut, qu’elles ne commencent pas toûjours dans le même Temps ou dans la même mesure, sur tout lorsqu’on les entend pour la premiere fois ; que leur progression soit renversée, qu’elles soient caracterisées differemment, c’est-à-dire, que si l’une contient des Rondes, l’autre contienne des Blanches, des Noires, &c. au gré du Compositeur ; & que si elles ne peuvent pas être entenduës ensemble, qu’au moins une portion de l’une s’entende avec une portion de l’autre ; ce qui va s’éclaircir par un Exemple.", "english": "12. Several different fugues may sound together or successively. As far as possible, they should not always begin on the same beat or in the same measure, especially at their first appearances. Their progressions should be opposite and their characters distinct: if one uses whole notes, the other may use halves, quarters, and so on, at the composer’s discretion. If they cannot be heard together in full, at least part of one should sound with part of another. An example will clarify this.", "sources": [ { "pdf_page": 372, "source_image": "source-pages/bnf-372.png", "printed_page": 340, "bbox_pixels": [ 482, 2827, 2128, 755 ], "crop_image": "assets/III.44-044.png" } ] }, { "id": "III.44-045", "type": "music", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2311, "original": "QUINQUE. Laboravi. Basse-Continuë. Basse-Fondamentale.", "english": "QUINTET. Laboravi (I have labored). Continuo bass. Fundamental bass.", "sources": [ { "pdf_page": 373, "source_image": "source-pages/bnf-373.png", "printed_page": 341, "bbox_pixels": [ 363, 434, 2131, 2730 ], "crop_image": "assets/III.44-045.png" } ], "original_title": "Quinque — Laboravi, première page.", "english_title": "Quintet — Laboravi, page 1.", "continuesFromPreviousPage": false, "continuesOnNextPage": true, "asset_refs": [ "III.44-045" ], "music_asset_refs": [ "III.44-045" ] }, { "id": "III.44-046", "type": "music", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2312, "original": "BASSE-CONTINUE. BASSE-FONDAMENTALE.", "english": "CONTINUO BASS. FUNDAMENTAL BASS.", "sources": [ { "pdf_page": 374, "source_image": "source-pages/bnf-374.png", "printed_page": 342, "bbox_pixels": [ 417, 490, 2131, 2690 ], "crop_image": "assets/III.44-046.png" } ], "original_title": "Quinque — Laboravi, page 2.", "english_title": "Quintet — Laboravi, page 2.", "continuesFromPreviousPage": true, "continuesOnNextPage": true, "asset_refs": [ "III.44-046" ], "music_asset_refs": [ "III.44-046" ] }, { "id": "III.44-047", "type": "music", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2313, "original": "BASSE-CONTINUE. BASSE-FONDAMENTALE.", "english": "CONTINUO BASS. FUNDAMENTAL BASS.", "sources": [ { "pdf_page": 375, "source_image": "source-pages/bnf-375.png", "printed_page": 343, "bbox_pixels": [ 447, 492, 2137, 2692 ], "crop_image": "assets/III.44-047.png" } ], "original_title": "Quinque — Laboravi, page 3.", "english_title": "Quintet — Laboravi, page 3.", "continuesFromPreviousPage": true, "continuesOnNextPage": true, "asset_refs": [ "III.44-047" ], "music_asset_refs": [ "III.44-047" ] }, { "id": "III.44-048", "type": "music", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2314, "original": "BASSE-CONTINUE. BASSE-FONDAMENTALE. pour la Preuve.", "english": "CONTINUO BASS. FUNDAMENTAL BASS. For the proof.", "sources": [ { "pdf_page": 376, "source_image": "source-pages/bnf-376.png", "printed_page": 344, "bbox_pixels": [ 417, 477, 2141, 2739 ], "crop_image": "assets/III.44-048.png" } ], "original_title": "Quinque — Laboravi, page 4.", "english_title": "Quintet — Laboravi, page 4.", "continuesFromPreviousPage": true, "continuesOnNextPage": true, "asset_refs": [ "III.44-048" ], "music_asset_refs": [ "III.44-048" ] }, { "id": "III.44-049", "type": "music", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2315, "original": "BASSE-CONTINUE. BASSE-FONDAMENTALE.", "english": "CONTINUO BASS. FUNDAMENTAL BASS.", "sources": [ { "pdf_page": 377, "source_image": "source-pages/bnf-377.png", "printed_page": 345, "bbox_pixels": [ 383, 424, 2131, 2614 ], "crop_image": "assets/III.44-049.png" } ], "original_title": "Quinque — Laboravi, page 5.", "english_title": "Quintet — Laboravi, page 5.", "continuesFromPreviousPage": true, "continuesOnNextPage": true, "asset_refs": [ "III.44-049" ], "music_asset_refs": [ "III.44-049" ] }, { "id": "III.44-050", "type": "music", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2316, "original": "BASSE-CONTINUE. BASSE-FONDAMENTALE.", "english": "CONTINUO BASS. FUNDAMENTAL BASS.", "sources": [ { "pdf_page": 378, "source_image": "source-pages/bnf-378.png", "printed_page": 346, "bbox_pixels": [ 439, 529, 2139, 2666 ], "alternate_image": "source-pages/alternate/bne-382-native.png", "crop_image": "assets/III.44-050.png" } ], "original_title": "Quinque — Laboravi, page 6.", "english_title": "Quintet — Laboravi, page 6.", "continuesFromPreviousPage": true, "continuesOnNextPage": true, "asset_refs": [ "III.44-050" ], "music_asset_refs": [ "III.44-050" ] }, { "id": "III.44-051", "type": "music", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2317, "original": "BASSE-CONTINUE. BASSE-FONDAMENTALE.", "english": "CONTINUO BASS. FUNDAMENTAL BASS.", "sources": [ { "pdf_page": 379, "source_image": "source-pages/bnf-379.png", "printed_page": 347, "bbox_pixels": [ 445, 411, 2135, 2698 ], "alternate_image": "source-pages/alternate/bne-383-native.png", "crop_image": "assets/III.44-051.png" } ], "original_title": "Quinque — Laboravi, page 7.", "english_title": "Quintet — Laboravi, page 7.", "continuesFromPreviousPage": true, "continuesOnNextPage": true, "asset_refs": [ "III.44-051" ], "music_asset_refs": [ "III.44-051" ] }, { "id": "III.44-052", "type": "music", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2318, "original": "BASSE-CONTINUE. BASSE-FONDAMENTALE.", "english": "CONTINUO BASS. FUNDAMENTAL BASS.", "sources": [ { "pdf_page": 380, "source_image": "source-pages/bnf-380.png", "printed_page": 348, "bbox_pixels": [ 428, 525, 2154, 2608 ], "crop_image": "assets/III.44-052.png" } ], "original_title": "Quinque — Laboravi, page 8.", "english_title": "Quintet — Laboravi, page 8.", "continuesFromPreviousPage": true, "continuesOnNextPage": true, "asset_refs": [ "III.44-052" ], "music_asset_refs": [ "III.44-052" ] }, { "id": "III.44-053", "type": "music", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2319, "original": "BASSE-CONTINUE. BASSE-FONDAMENTALE.", "english": "CONTINUO BASS. FUNDAMENTAL BASS.", "sources": [ { "pdf_page": 381, "source_image": "source-pages/bnf-381.png", "printed_page": 349, "bbox_pixels": [ 376, 441, 2131, 2702 ], "crop_image": "assets/III.44-053.png" } ], "original_title": "Quinque — Laboravi, page 9.", "english_title": "Quintet — Laboravi, page 9.", "continuesFromPreviousPage": true, "continuesOnNextPage": true, "asset_refs": [ "III.44-053" ], "music_asset_refs": [ "III.44-053" ] }, { "id": "III.44-054", "type": "music", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2320, "original": "BASSE-CONTINUE. BASSE-FONDAMENTALE.", "english": "CONTINUO BASS. FUNDAMENTAL BASS.", "sources": [ { "pdf_page": 382, "source_image": "source-pages/bnf-382.png", "printed_page": 350, "bbox_pixels": [ 454, 464, 2154, 2709 ], "crop_image": "assets/III.44-054.png" } ], "original_title": "Quinque — Laboravi, page 10.", "english_title": "Quintet — Laboravi, page 10.", "continuesFromPreviousPage": true, "continuesOnNextPage": true, "asset_refs": [ "III.44-054" ], "music_asset_refs": [ "III.44-054" ] }, { "id": "III.44-055", "type": "music", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2321, "original": "BASSE-CONTINUE. BASSE-FONDAMENTALE.", "english": "CONTINUO BASS. FUNDAMENTAL BASS.", "sources": [ { "pdf_page": 383, "source_image": "source-pages/bnf-383.png", "printed_page": 351, "bbox_pixels": [ 408, 484, 2139, 2666 ], "crop_image": "assets/III.44-055.png" } ], "original_title": "Quinque — Laboravi, page 11.", "english_title": "Quintet — Laboravi, page 11.", "continuesFromPreviousPage": true, "continuesOnNextPage": true, "asset_refs": [ "III.44-055" ], "music_asset_refs": [ "III.44-055" ] }, { "id": "III.44-056", "type": "music", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2322, "original": "BASSE-CONTINUE. BASSE-FONDAMENTALE.", "english": "CONTINUO BASS. FUNDAMENTAL BASS.", "sources": [ { "pdf_page": 384, "source_image": "source-pages/bnf-384.png", "printed_page": 352, "bbox_pixels": [ 439, 516, 2137, 2666 ], "crop_image": "assets/III.44-056.png" } ], "original_title": "Quinque — Laboravi, page 12.", "english_title": "Quintet — Laboravi, page 12.", "continuesFromPreviousPage": true, "continuesOnNextPage": true, "asset_refs": [ "III.44-056" ], "music_asset_refs": [ "III.44-056" ] }, { "id": "III.44-057", "type": "music", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2323, "original": "BASSE-CONTINUE. BASSE-FONDAMENTALE.", "english": "CONTINUO BASS. FUNDAMENTAL BASS.", "sources": [ { "pdf_page": 385, "source_image": "source-pages/bnf-385.png", "printed_page": 353, "bbox_pixels": [ 385, 361, 2137, 2692 ], "crop_image": "assets/III.44-057.png" } ], "original_title": "Quinque — Laboravi, page 13.", "english_title": "Quintet — Laboravi, page 13.", "continuesFromPreviousPage": true, "continuesOnNextPage": true, "asset_refs": [ "III.44-057" ], "music_asset_refs": [ "III.44-057" ] }, { "id": "III.44-058", "type": "music", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2324, "original": "BASSE-CONTINUE. BASSE-FONDAMENTALE.", "english": "CONTINUO BASS. FUNDAMENTAL BASS.", "sources": [ { "pdf_page": 386, "source_image": "source-pages/bnf-386.png", "printed_page": 354, "bbox_pixels": [ 408, 501, 2137, 2694 ], "crop_image": "assets/III.44-058.png" } ], "original_title": "Quinque — Laboravi, page 14.", "english_title": "Quintet — Laboravi, page 14.", "continuesFromPreviousPage": true, "continuesOnNextPage": true, "asset_refs": [ "III.44-058" ], "music_asset_refs": [ "III.44-058" ] }, { "id": "III.44-059", "type": "music", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2325, "original": "BASSE-CONTINUE. BASSE-FONDAMENTALE.", "english": "CONTINUO BASS. FUNDAMENTAL BASS.", "sources": [ { "pdf_page": 387, "source_image": "source-pages/bnf-387.png", "printed_page": 355, "bbox_pixels": [ 408, 359, 2133, 2795 ], "crop_image": "assets/III.44-059.png" } ], "original_title": "Quinque — Laboravi, page 15.", "english_title": "Quintet — Laboravi, page 15.", "continuesFromPreviousPage": true, "continuesOnNextPage": false, "asset_refs": [ "III.44-059" ], "music_asset_refs": [ "III.44-059" ] }, { "id": "III.44-060", "type": "paragraph", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2326, "original": "Cet Exemple contient quatre Fugues differentes, & il n’y a guéres de Musique où il s’en trouve davantage à la fois ; l’on se contente même souvent de n’y en inserer qu’une ou deux, mais avec cela on peut les renverser, ce qui ne contribuë pas peu à la perfection de l’Ouvrage.", "english": "This example contains four different fugues, and scarcely any music has more at once. Often one or two suffice; they may also be inverted, contributing considerably to the work’s perfection.", "sources": [ { "pdf_page": 388, "source_image": "source-pages/bnf-388.png", "printed_page": 356, "bbox_pixels": [ 469, 396, 2137, 383 ], "crop_image": "assets/III.44-060.png" } ] }, { "id": "III.44-061", "type": "paragraph", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2327, "original": "La Fugue de Raucæ factæ sunt, &c. qui, pour Réponse à la Dominante, se termine presque par tout sur la seconde Notte, seroit encore plus parfaite, si elle se terminoit sur la Notte tonique, comme cela se trouve à l’endroit où la Basse chante cette Fugue. Cependant cette seconde Notte que nous subrogeons ici à la Tonique, peut bien se tolerer, sur tout lorsque l’on y est gêné par d’autres Fugues, qui en commençant ou finissant avec celle-ci, ne peuvent s’accorder qu’avec cette seconde Notte. De plus, la suite des Accords où même le bon goût, nous porte quelquefois à interrompre le veritable Chant de la Fugue ; ce qui provient souvent de l’adresse de l’Auteur, pour introduire plus de diversité dans le cours de sa Piece, bien que cela ne doive être permis qu’après que les Entrées de la Fugue ont été suffisamment entenduës.", "english": "The fugue on “Raucæ factæ sunt,” whose answer to the dominant ends almost everywhere on the second note, would be more perfect if it ended on the tonic, as when the bass sings it. Yet this second note substituted for the tonic is tolerable, especially when other fugues beginning or ending with it can agree only with that second note. Chord succession or even good taste sometimes leads us to interrupt the fugue’s true melody. This often reflects the composer’s skill in introducing variety, but should be allowed only after the subject’s entries have been heard sufficiently.", "sources": [ { "pdf_page": 388, "source_image": "source-pages/bnf-388.png", "printed_page": 356, "bbox_pixels": [ 467, 774, 2139, 972 ], "crop_image": "assets/III.44-061.png" } ] }, { "id": "III.44-062", "type": "paragraph", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2328, "original": "Souvenez-vous de la liberté que l’on a de faire passer entre les Temps de la Mesure, plusieurs Nottes pour le goût du Chant ; & pour pouvoir les distinguer, il n’y qu’à examiner la Basse-fondamentale qui pour lors ne forme point d’Harmonie avec ces Nottes.", "english": "Remember the freedom to pass several notes between beats for melodic taste. To distinguish them, examine the fundamental bass, which then forms no harmony with those notes.", "sources": [ { "pdf_page": 388, "source_image": "source-pages/bnf-388.png", "printed_page": 356, "bbox_pixels": [ 469, 1741, 2137, 301 ], "crop_image": "assets/III.44-062.png" } ] }, { "id": "III.44-063", "type": "paragraph", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2329, "original": "La Basse-fondamentale n’est jointe aux autres Parties, que pour prouver qu’il ne se rencontre dans tout le cours de la Piece que des Accords parfaits ou de Septiéme, & que le tout y est tiré des Regles établies sur ces deux Accords ; c’est pourquoi l’on ne doit point l’examiner avec le reste, quant à l’ordre ou au progrès des Consonances & des Dissonances, mais seulement quant au fond des Accords, cet ordre ou ce progrès n’étant observé qu’entre les cinq Parties superieures & la Basse-continuë ; & le fond des Accords se trouvant dans cette Basse-fondamentale qui contient presque toutes les differentes progressions d’où nos Regles ont été puisées, pendant que les autres Parties n’en forment jamais que l’Octave, la Quinte, la Tierce ou la Septiéme, excepté dans les Cadences irreguliéres, & dans les Accords par supposition, ou par emprunt ; ce qui a été suffisamment expliqué au Second Livre.", "english": "The fundamental bass is joined to the other parts only to prove that the entire piece contains perfect or seventh chords alone, and that everything derives from the rules established on those two chords. Do not therefore judge its consonant and dissonant order or progression against the rest; consider only chord foundations. The order and progression are observed only among the five upper parts and continuo. The fundamental bass supplies the chord foundations and nearly all the different progressions from which our rules were drawn. The other parts form only its octave, fifth, third, or seventh, except in irregular cadences and chords by supposition or borrowing, as sufficiently explained in Book II.", "sources": [ { "pdf_page": 388, "source_image": "source-pages/bnf-388.png", "printed_page": 356, "bbox_pixels": [ 471, 2040, 2137, 1051 ], "crop_image": "assets/III.44-063.png" } ] }, { "id": "III.44-064", "type": "paragraph", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2330, "original": "Comme on peut trouver autant de Fugues differentes qu’il y a de Chants differens, il nous seroit impossible d’en épuiser le nombre ; ainsi nous devons en abandonner le choix au bon goût, pourvû que l’on observe d’ailleurs ce que nous en avons déja dit au sujet du commencement, de la fin, & de la Réponse. Au reste, il est bon de sçavoir que lorsque l’on veut faire entendre plusieurs Fugues à la fois, il faut qu’il y en ait toûjours une qui nous guide ; on peut choisir, en ce cas, celle que l’on veut ; de sorte que quand le Chant d’une Fugue plaît, l’on peut y ajoûter trois ou quatre Parties, trouver dans ces Parties ajoûtées les nouvelles Fugues que l’on cherche. Cependant comme plusieurs Fugues differentes qui commenceroient & finiroient en même temps, & où il se rencontreroit la même quantité & la même valeur de Nottes, deviendroient insipides, en ne paroissant plus pour lors qu’un accompagnement les unes des autres ; il faut tâcher d’éviter ce defaut, en se souvenant des Regles que nous venons de prescrire sur ce sujet à la tête du dernier Exemple. Les Paroles en Prose qui n’observent presque jamais la même quantité entre-elles, nous portent naturellement à cette diversité, que nous devons toûjours chercher ; mais les Paroles en Vers également mesurez, demandent pour lors le soin de faire commencer ou finir l’une des Fugues plûtôt ou plus tard que l’autre, & d’inserer quelques roulemens dans celles qui peuvent les souffrir, pour y introduire encore plus de diversité, mais que le tout soit sans confusion ; car il faut que les Entrées de chaque Fugue soient entenduës distinctement, sans que l’une offusque l’autre, faisant cesser à propos pour quelque temps la Partie qui doit reprendre une Fugue, & ce silence ne pouvant se faire que sur une Consonance. La premiere fois même que l’on entend une Fugue, il ne faut pas qu’elle serve de suite au Chant qui la précede, bien que le contraire puisse se pratiquer avec succès, pourvû que cette Fugue ait été entenduë au moins une fois dans chaque Partie.", "english": "As many fugues may be found as there are different melodies; their number cannot be exhausted. Leave the choice to good taste while observing the rules already given for beginning, ending, and answer. When several fugues sound together, one must always guide us, and any may be chosen. Thus, if a fugue melody pleases, add three or four parts and find the new fugues within them. But different fugues beginning and ending together with identical numbers and values of notes become insipid, seeming merely accompaniments to one another. Avoid this by remembering the rules preceding the last example. Prose words, almost never equal in quantity, naturally lead to the variety we should always seek. Equally measured verse requires care: begin or end one fugue before or after another, and insert runs where possible for further variety, but without confusion. Each entry must be distinct, none obscuring another. Let a part rest appropriately before taking up a fugue, and allow this silence only on a consonance. At its first appearance, a fugue must not continue the preceding melody directly, although that can work successfully after it has been heard at least once in every part.", "sources": [ { "pdf_page": 388, "source_image": "source-pages/bnf-388.png", "printed_page": 356, "bbox_pixels": [ 486, 3087, 2122, 449 ], "crop_image": "assets/III.44-064.png" }, { "pdf_page": 389, "source_image": "source-pages/bnf-389.png", "printed_page": 357, "bbox_pixels": [ 436, 408, 2133, 1868 ], "crop_image": "assets/III.44-065.png" } ] }, { "id": "III.44-066", "type": "paragraph", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2331, "original": "L’on peut faire entendre toutes les Entrées de la premiere Fugue, sans qu’il soit question des autres ; puis on passe à la seconde, à la troisième, &c. où pour lors on entre-mêle les Fugues précédentes avec les nouvelles ; l’on peut aussi les faire entendre chacune indépendamment les unes des autres, & ne les entre-mêler qu’après. Si l’on veut faire entrer plusieurs Fugues à la fois, en mettant l’une de ces Fugues dans une Partie, & l’autre dans une autre Partie ; c’est-là où la confusion est fort à craindre ; souvent un Dessein fait oublier l’autre, cependant il faut que l’Auditeur les ait également presens : C’est donc par la diversité des Desseins, en leur donnant une progression opposée, en les faisant entrer dans des differens Tons de la Mesure, &c. que l’on peut rendre sensible chaque Fugue. Souvent une même Partie chante successivement deux Fugues, qui d’abord ne paroissent qu’une, & qui par la suite se partagent en deux, ce qui produit encore un effet très-agreable ; mais il faut pour lors que la seconde Partie, qui reprend ces Fugues, entre immediatement à l’endroit où elles peuvent être partagées, bien que l’on puisse avancer ou retarder cette Entrée de quelques Temps, & même de plus d’une Mesure.", "english": "All entries of the first fugue may be heard before any others appear; then introduce the second, third, and so on, mingling earlier fugues with new ones. Or present each independently and combine them afterward. Simultaneous first entries of different fugues in different parts risk confusion: one design often makes the other forgotten, though listeners must retain both. Distinct designs, opposing motion, entries in different “tones” of the measure, and so forth make each perceptible. Often one part sings two successive fugues that initially seem one and later divide into two, another very pleasing effect. The second part taking them up should then enter precisely where they may divide, although the entry may be advanced or delayed by several beats or even more than a measure.", "sources": [ { "pdf_page": 389, "source_image": "source-pages/bnf-389.png", "printed_page": 357, "bbox_pixels": [ 449, 2272, 2128, 1273 ], "crop_image": "assets/III.44-066.png" }, { "pdf_page": 390, "source_image": "source-pages/bnf-390.png", "printed_page": 358, "bbox_pixels": [ 469, 411, 2137, 155 ], "crop_image": "assets/III.44-067.png" } ] }, { "id": "III.44-068", "type": "paragraph", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2332, "original": "Il faut que le même nombre de Soupirs ou de Mesures qui se trouve dans la premiere Partie, qui reprend une Fugue, soit également observé dans celles qui poursuivent la même Fugue, c’est-à-dire, que si la premiere Partie qui reprend la Fugue a compté ; par exemple, une Mesure après celle qui la précede, chacune des autres Parties doit compter le même nombre de Mesures après celle qui la précede immediatement. Cette Regle n’est cependant pas si generale, qu’on ne puisse y contrevenir quelquefois, sur tout quand la Fugue a été entenduë dans chaque Partie ; & nous croyons que l’on peut fort bien faire avancer ou retarder d’une Mesure, mais non pas d’un quart ni d’une demie Mesure, ni de plus d’une Mesure la troisième Partie qui reprend la même Fugue ; de sorte que si la seconde Partie a compté deux Mesures, la troisième peut n’en compter qu’une, ou en compter trois après cette seconde Partie, ainsi des autres qui repetent cette Fugue à l’Unisson ou à l’Octave de la troisième après celle qui les précede immediatement ; car il est bon de sçavoir, que comme la Dominante doit répondre à la Notte tonique, pareillement la seconde Notte à la sixiéme, &c. ce qui s’accorde d’un côté au bout d’une ou de deux Mesures, peut bien ne pas s’accorder de l’autre après un pareil nombre de Mesures. Ce seroit donc trop borner le genie d’un Auteur, de le restreindre dans les premieres limites ; & tel qui ne voudra pas en convenir, trouvera mille Desseins sous ses pas, dont peut-être aucun ne pourra s’assujettir à cette contrainte. *", "english": "The same number of quarter rests or measures observed by the first part answering a fugue must be observed by those following it. If the first answering part waits one measure after its predecessor, for example, every later part must wait the same interval after the immediately preceding one. Yet this rule may sometimes be broken, especially after the subject has sounded in every part. We believe the third entering part may be advanced or delayed by one measure, but not a quarter or half measure, nor more than one measure. If the second part waited two measures, the third may wait one or three after it; likewise for later parts repeating at the third part’s unison or octave after their immediate predecessor. Since dominant answers tonic, second answers sixth, and so forth, what agrees on one side after one or two measures may fail on the other after the same interval. Restricting a composer to the original limits would unduly constrain invention. Whoever denies this will encounter a thousand designs, perhaps none able to bear that restriction.*", "sources": [ { "pdf_page": 390, "source_image": "source-pages/bnf-390.png", "printed_page": 358, "bbox_pixels": [ 456, 559, 2154, 1720 ], "crop_image": "assets/III.44-068.png" } ] }, { "id": "III.44-069", "type": "paragraph", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2333, "original": "Quand on fait cesser toutes les Parties ensemble, pour donner plus de jour à une nouvelle Fugue, il ne faut jamais que le Chant en paroisse absolument terminé ; car il faut toûjours faire souhaiter à l’Auditeur, autant que cela se peut, ce que nous lui preparons ; de sorte que ce silence ne doit avoir lieu que dans des Cadences rompües ou irregulieres ; & si ces Cadences sont parfaites, il faut du moins que ce soit dans un Ton étranger à celui que l’on traite, comme nous l’avons observé par tout où se rencontrent de pareils silences.", "english": "When all parts stop together to give a new fugue greater clarity, the melody must never seem completely finished. As far as possible, always make listeners desire what is being prepared for them. Such silence should therefore occur only at interrupted or irregular cadences; if the cadence is perfect, it must at least be in a key foreign to the current one, as we have observed wherever such silences occur.", "sources": [ { "pdf_page": 390, "source_image": "source-pages/bnf-390.png", "printed_page": 358, "bbox_pixels": [ 449, 2275, 2161, 677 ], "crop_image": "assets/III.44-069.png" } ] }, { "id": "III.44-070", "type": "paragraph", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2334, "original": "La Fugue est un ornement dans la Musique, qui n’a pour principe que le bon goût ; de sorte que les Regles les plus generales que nous venons d’en donner, ne suffisent pas encore pour y réussir parfaitement. Les differens sentimens & les differens évenemens que l’on peut exprimer en Musique, causent à tout moment des nouveautez que l’on ne peut reduire en regles. La parfaite connoissance de l’Harmonie nous découvre à la verité toutes les routes que nous pouvons tenir en ce cas ; mais le choix de ces routes dépend de nôtre goût, & ce goût a besoin d’une certaine experience, qui ne s’acquiert qu’à force de voir & d’entendre les Ouvrages des plus habiles Auteurs dans ce genre.", "english": "Fugue is a musical ornament grounded only in good taste. Even the general rules just given cannot guarantee complete success. Different feelings and events expressible in music continually create novelties that cannot be reduced to rules. Perfect knowledge of harmony reveals all possible paths, but taste chooses among them. That taste requires experience acquired only through repeatedly seeing and hearing the works of the most skilled composers in this genre.", "sources": [ { "pdf_page": 390, "source_image": "source-pages/bnf-390.png", "printed_page": 358, "bbox_pixels": [ 447, 2950, 2161, 451 ], "crop_image": "assets/III.44-070.png" }, { "pdf_page": 391, "source_image": "source-pages/bnf-391.png", "printed_page": 359, "bbox_pixels": [ 428, 404, 2154, 387 ], "crop_image": "assets/III.44-072.png" } ] }, { "id": "III.44-071", "type": "footnote", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2335, "original": "* Voyez sur ce sujet les Fugues de Raucæ factæ sunt, & de Defecerunt oculi mei, dans l’Exemple précédent.", "english": "* On this subject, see the fugues on “Raucæ factæ sunt” and “Defecerunt oculi mei” in the preceding example.", "sources": [ { "pdf_page": 390, "source_image": "source-pages/bnf-390.png", "printed_page": 358, "bbox_pixels": [ 449, 3444, 2150, 123 ], "crop_image": "assets/III.44-071.png" } ] }, { "id": "III.44-073", "type": "paragraph", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2336, "original": "Il y a une autre espece de Fugue qu’on nomme perpetuelle, ou canon, lesquelles consistent en un Air entier, dont le Chant doit être repeté très-regulierement par toutes les Parties.", "english": "Another kind of fugue is called perpetual fugue, or canon. It consists of an entire air whose melody all the parts must repeat with strict regularity.", "sources": [ { "pdf_page": 391, "source_image": "source-pages/bnf-391.png", "printed_page": 359, "bbox_pixels": [ 432, 787, 2150, 226 ], "crop_image": "assets/III.44-073.png" } ] }, { "id": "III.44-074", "type": "paragraph", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2337, "original": "Les plus communes se prennent à l’Unisson ou à l’Octave, selon la portée des Voix ou des Instrumens, n’y ayant pour cet effet qu’à composer un Chant à son gré, auquel on joint autant de Parties que l’on veut ; puis de toutes ces Parties l’on n’en compose qu’un seul Air, faisant en sorte que le Chant de l’une puisse former une suite agréable avec celui de l’autre ; après quoi l’on fait commencer cet Air par l’une des Parties, qui est suivie immediatement d’une autre, lorsqu’elle a fini justement le premier Chant composé ; ainsi chaque Partie se suit consecutivement ; & lorsque la premiere est à la fin, elle recommence, étant toûjours suivie des autres, comme auparavant, pourvû que chaque Partie ait commencé à propos. Voyez l’Exemple ci à côté.", "english": "The commonest canons are at the unison or octave, according to the range of voices or instruments. Compose a melody as desired and add as many parts as wanted. Then combine all these parts into a single air, making each part’s melody follow the other agreeably. One part begins this air; another follows immediately when the first has just finished the originally composed melody. Each part thus follows in turn. On reaching the end, the first begins again and the others follow as before, provided each entered at the proper time. See the example alongside.", "sources": [ { "pdf_page": 391, "source_image": "source-pages/bnf-391.png", "printed_page": 359, "bbox_pixels": [ 434, 1013, 2156, 1176 ], "crop_image": "assets/III.44-074.png" } ] }, { "id": "III.44-075", "type": "music", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2338, "original": "1. 2. 3. 4. 5.", "english": "1. 2. 3. 4. 5.", "sources": [ { "pdf_page": 391, "source_image": "source-pages/bnf-391.png", "printed_page": 359, "bbox_pixels": [ 430, 1245, 725, 1320 ], "crop_image": "assets/III.44-075.png" } ], "original_title": "Cinq parties réunies pour former le Canon.", "english_title": "Five parts joined to form the canon.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.44-075" ], "music_asset_refs": [ "III.44-075" ] }, { "id": "III.44-076", "type": "paragraph", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2339, "original": "Supposé que l’on ait imaginé l’un des Chants contenus dans chacune de ces cinq Parties, on y ajoûte facilement les autres ; puis on en forme une suite d’Air la plus coulante que le bon goût puisse dicter, en quoi consiste toute la difficulté de ce Canon, dont voici l’Air.", "english": "Suppose one of the melodies in these five parts has been invented; the others are easily added. Then form from them as flowing an air as taste can dictate. This is the whole difficulty of the canon, whose air follows.", "sources": [ { "pdf_page": 391, "source_image": "source-pages/bnf-391.png", "printed_page": 359, "bbox_pixels": [ 445, 2191, 2143, 458 ], "crop_image": "assets/III.44-076.png" } ] }, { "id": "III.44-077", "type": "music", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2340, "original": "CANON. Da capo. Reveillez-vous, Dormeur sans fin, Relindindin, Relididin, Relididin, Re-", "english": "CANON. Da capo (from the beginning). Awake, endless sleeper, Relindindin, Relididin, Relididin, A-", "sources": [ { "pdf_page": 391, "source_image": "source-pages/bnf-391.png", "printed_page": 359, "bbox_pixels": [ 456, 2698, 2128, 555 ], "crop_image": "assets/III.44-077.png" } ], "original_title": "Canon : Reveillez-vous, Dormeur sans fin.", "english_title": "Canon: Awake, endless sleeper.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.44-077" ], "music_asset_refs": [ "III.44-077" ] }, { "id": "III.44-078", "type": "paragraph", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2341, "original": "L’on remarque aisément le Chant de chacune de ces cinq Parties dans ce Canon, où nous avons ajoûté quelques petites Nottes pour le goût du Chant, chacune de ces Parties devant commencer l’Air consecutivement l’une après l’autre, quand celle qui a précedé en est à la Notte, ou au Temps marqué ainsi. [signe de renvoi]", "english": "Each of the five parts’ melodies is easily recognized in this canon, to which we added a few small notes for melodic taste. Each part must begin the air successively when its predecessor reaches the note or beat marked thus: [repeat sign].", "sources": [ { "pdf_page": 391, "source_image": "source-pages/bnf-391.png", "printed_page": 359, "bbox_pixels": [ 464, 3304, 2118, 236 ], "crop_image": "assets/III.44-078.png" }, { "pdf_page": 392, "source_image": "source-pages/bnf-392.png", "printed_page": 360, "bbox_pixels": [ 479, 441, 2116, 155 ], "crop_image": "assets/III.44-079.png" } ] }, { "id": "III.44-080", "type": "image", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2342, "original": "Signe de renvoi : marque de l’entrée de chaque partie.", "english": "Repeat sign: marks each part’s entry.", "sources": [ { "pdf_page": 392, "source_image": "source-pages/bnf-392.png", "printed_page": 360, "bbox_pixels": [ 1933, 499, 90, 101 ], "crop_image": "assets/III.44-080.png" } ], "original_title": "Signe de renvoi du Canon.", "english_title": "Canon repeat sign.", "asset_refs": [ "III.44-080" ] }, { "id": "III.44-081", "type": "paragraph", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2343, "original": "L’on peut continuer ce Canon autant que l’on veut, puisqu’il est libre à la Partie qui a commencé de recommencer quand elle en est à la fin, comme cela paroît, & aux autres de la suivre de même.", "english": "This canon may continue as long as desired, since the first part may begin again on reaching the end, as shown, and the others follow in the same way.", "sources": [ { "pdf_page": 392, "source_image": "source-pages/bnf-392.png", "printed_page": 360, "bbox_pixels": [ 477, 596, 2118, 221 ], "crop_image": "assets/III.44-081.png" } ] }, { "id": "III.44-082", "type": "paragraph", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2344, "original": "L’on peut encore prendre cette Fugue perpetuelle à la Quinte ou à la Quarte, en observant que chaque Partie fasse entendre le même Chant ; mais il faut ici que l’Air soit entierement imaginé, & que l’on ajoûte des Diezes ou des B-mols selon le cas, aux Nottes dont les degrez naturels empêcheroient aux Parties, qui repetent cet Air, de se conformer en tout au premier Chant composé, sans avoir égard à aucune Modulation, mais seulement au Chant, ce qui en augmente beaucoup la difficulté ; car à chaque fois qu’une Partie reprend la Fugue, elle entre dans un nouveau Ton, qui est à la Quinte, si la Fugue se prend à la Quinte, & à la Quarte, si elle se prend à la Quarte. Au reste, si le nombre des Parties n’est point limité dans le Canon précédent, nous ne croyons pas que l’on puisse en employer ici plus de quatre, puisque même il n’en a point encore paru de la sorte à quatre Parties.", "english": "Perpetual fugue may also be taken at the fifth or fourth, each part sounding the same melody. Here the entire air must be conceived, adding sharps or flats as needed to notes whose natural degrees would prevent the answering parts from matching the original melody exactly. Consider melody alone, without regard to modulation. This greatly increases the difficulty, since each new entry begins in a new key a fifth away for a canon at the fifth or a fourth away for one at the fourth. Although the preceding canon has no limit on its number of parts, we do not believe more than four can be used here; indeed, none of this kind in four parts has yet appeared.", "sources": [ { "pdf_page": 392, "source_image": "source-pages/bnf-392.png", "printed_page": 360, "bbox_pixels": [ 469, 813, 2128, 1043 ], "crop_image": "assets/III.44-082.png" } ] }, { "id": "III.44-083", "type": "music", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2345, "original": "CANON, A LA QUINTE. Ah ! loin de rire. Ah ! loin de rire, Pleu-", "english": "CANON AT THE FIFTH. Ah! Far from laughing. Ah! Far from laughing, We-", "sources": [ { "pdf_page": 392, "source_image": "source-pages/bnf-392.png", "printed_page": 360, "bbox_pixels": [ 451, 1888, 2150, 1658 ], "crop_image": "assets/III.44-083.png" } ], "original_title": "Canon à la Quinte, première page.", "english_title": "Canon at the fifth, first page.", "continuesFromPreviousPage": false, "continuesOnNextPage": true, "asset_refs": [ "III.44-083" ], "music_asset_refs": [ "III.44-083" ] }, { "id": "III.44-084", "type": "music", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2346, "original": "Ah ! loin de rire, Pleurons, Pleurons. Ah !… A.", "english": "Ah! Far from laughing, Let us weep, let us weep. Ah!… A.", "sources": [ { "pdf_page": 393, "source_image": "source-pages/bnf-393.png", "printed_page": 361, "bbox_pixels": [ 430, 421, 2150, 1580 ], "crop_image": "assets/III.44-084.png" } ], "original_title": "Canon à la Quinte, suite.", "english_title": "Canon at the fifth, continued.", "continuesFromPreviousPage": true, "continuesOnNextPage": false, "asset_refs": [ "III.44-084" ], "music_asset_refs": [ "III.44-084" ] }, { "id": "III.44-085", "type": "paragraph", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2347, "original": "Lorsque la Voix ne peut former l’Octave à l’endroit marqué d’un A, il n’y a qu’à prendre l’Unisson de la Notte précédente.", "english": "If the voice cannot make the octave at A, simply take the unison of the preceding note.", "sources": [ { "pdf_page": 393, "source_image": "source-pages/bnf-393.png", "printed_page": 361, "bbox_pixels": [ 436, 2032, 2152, 166 ], "crop_image": "assets/III.44-085.png" } ] }, { "id": "III.44-086", "type": "paragraph", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2348, "original": "Quand on dit un Canon à la Quinte, cela doit s’entendre au-dessus ; de sorte qu’une Quinte au-dessus, ou une Quarte au-dessous, c’est la même chose ; & cela doit se permettre, sur tout pour s’accommoder à la portée des Voix.", "english": "A canon “at the fifth” means a fifth above. Thus a fifth above and a fourth below are equivalent, and this should be allowed especially to accommodate vocal ranges.", "sources": [ { "pdf_page": 393, "source_image": "source-pages/bnf-393.png", "printed_page": 361, "bbox_pixels": [ 436, 2197, 2150, 292 ], "crop_image": "assets/III.44-086.png" } ] }, { "id": "III.44-087", "type": "paragraph", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2349, "original": "Nous avons mis les quatre Parties ensemble, parce qu’il auroit été difficile d’en juger autrement, bien qu’il n’y eût qu’à avertir que chaque Partie doit prendre à la Quinte de celle qui l’a précédé après deux Mesures finies ; & quoique les Guidons [guidon] qui marquent où il faut recommencer, ne soient pas sur la ligne qui renvoye à l’endroit marqué de ce Signe [signe de renvoi]. Il ne faut pas moins poursuivre sur le même Ton designé par le Guidon, en s’imaginant une nouvelle Clef, ou bien en s’imaginant plûtôt que le Ton a changé, comme cela est effectivement, mais que la Modulation du Chant qui se trouve au renvoye, est toûjours la même ; ainsi l’on peut continuer autant que l’on veut.", "english": "We have written the four parts together because the result would otherwise be difficult to judge, though it would suffice to say that each enters a fifth above its predecessor after two complete measures. Although the cue signs [cue sign] showing where to restart are not on the line leading back to the place marked [repeat sign], continue at the pitch indicated by the cue sign. Imagine a new clef, or rather imagine that the key has changed, as it actually has, while the melody’s modulation at the return remains the same. Thus one may continue as long as desired.", "sources": [ { "pdf_page": 393, "source_image": "source-pages/bnf-393.png", "printed_page": 361, "bbox_pixels": [ 436, 2490, 2152, 834 ], "crop_image": "assets/III.44-087.png" } ] }, { "id": "III.44-088", "type": "image", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2350, "original": "Guidon indiquant le Ton sur lequel recommencer.", "english": "Cue sign indicating the pitch at which to restart.", "sources": [ { "pdf_page": 393, "source_image": "source-pages/bnf-393.png", "printed_page": 361, "bbox_pixels": [ 2184, 2718, 97, 88 ], "crop_image": "assets/III.44-088.png" } ], "original_title": "Guidon cité dans le texte.", "english_title": "Cue sign cited in the text.", "asset_refs": [ "III.44-088" ] }, { "id": "III.44-089", "type": "image", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2351, "original": "Signe de renvoi du Canon à la Quinte.", "english": "Repeat sign for the canon at the fifth.", "sources": [ { "pdf_page": 393, "source_image": "source-pages/bnf-393.png", "printed_page": 361, "bbox_pixels": [ 1615, 2853, 82, 95 ], "crop_image": "assets/III.44-089.png" } ], "original_title": "Signe de renvoi cité dans le texte.", "english_title": "Repeat sign cited in the text.", "asset_refs": [ "III.44-089" ] }, { "id": "III.44-090", "type": "music", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2352, "original": "CANON A LA QUARTE. Avec du vin, endormons-nous, endormons-nous…", "english": "CANON AT THE FOURTH. With wine, let us fall asleep, let us fall asleep…", "sources": [ { "pdf_page": 394, "source_image": "source-pages/bnf-394.png", "printed_page": 362, "bbox_pixels": [ 458, 361, 2131, 2337 ], "crop_image": "assets/III.44-090.png" } ], "original_title": "Canon à la Quarte.", "english_title": "Canon at the fourth.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "III.44-090" ], "music_asset_refs": [ "III.44-090" ] }, { "id": "III.44-091", "type": "paragraph", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2353, "original": "L’on ne peut guéres réussir dans ces deux dernieres sortes de Canon que par une intelligence parfaite du Renversement ; & il faut éviter, autant que l’on peut, d’y faire entendre la Quinte, la Quarte & la Onziéme.", "english": "These last two kinds of canon can scarcely succeed without a perfect understanding of inversion. Avoid sounding the fifth, fourth, and eleventh in them as far as possible.", "sources": [ { "pdf_page": 394, "source_image": "source-pages/bnf-394.png", "printed_page": 362, "bbox_pixels": [ 447, 2718, 2143, 297 ], "crop_image": "assets/III.44-091.png" } ] }, { "id": "III.44-092", "type": "paragraph", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2354, "original": "Pour réussir parfaitement & promptement dans la Composition, pour peu que l’on ait le goût formé, il n’y a qu’à se mettre bien au fait de la Modulation & de l’Harmonie fondamentale, qui sont les principaux & les uniques objets de toute la diversité que l’on peut y apporter par le renversement de cette Harmonie fondamentale, dont la Modulation ne change jamais.", "english": "To succeed perfectly and quickly in composition, with even a little cultivated taste, one need only master modulation and fundamental harmony. These are the principal and sole foundations of all the variety obtainable by inverting that fundamental harmony, whose modulation never changes.", "sources": [ { "pdf_page": 394, "source_image": "source-pages/bnf-394.png", "printed_page": 362, "bbox_pixels": [ 449, 3016, 2137, 454 ], "crop_image": "assets/III.44-092.png" } ] }, { "id": "III.44-093", "type": "heading", "section": "III.44", "lesson": 88, "exercise": 88, "reading_order": 2355, "original": "Fin du Troisiéme Livre.", "english": "End of Book Three.", "sources": [ { "pdf_page": 394, "source_image": "source-pages/bnf-394.png", "printed_page": 362, "bbox_pixels": [ 1159, 3511, 731, 84 ], "crop_image": "assets/III.44-093.png" } ] }, { "id": "IV.01-001", "type": "heading", "section": "IV.01", "lesson": 89, "exercise": 89, "reading_order": 2356, "original": "LIVRE QUATRIÉME.", "english": "BOOK FOUR.", "sources": [ { "pdf_page": 395, "source_image": "source-pages/bnf-395.png", "printed_page": 363, "bbox_pixels": [ 419, 578, 2171, 122 ], "crop_image": "assets/IV.01-001.png" } ] }, { "id": "IV.01-002", "type": "heading", "section": "IV.01", "lesson": 89, "exercise": 89, "reading_order": 2357, "original": "Principes d’Accompagnement.", "english": "Principles of Accompaniment.", "sources": [ { "pdf_page": 395, "source_image": "source-pages/bnf-395.png", "printed_page": 363, "bbox_pixels": [ 419, 765, 2171, 131 ], "crop_image": "assets/IV.01-002.png" } ] }, { "id": "IV.01-003", "type": "heading", "section": "IV.01", "lesson": 89, "exercise": 89, "reading_order": 2358, "original": "CHAPITRE PREMIER.", "english": "CHAPTER ONE.", "sources": [ { "pdf_page": 395, "source_image": "source-pages/bnf-395.png", "printed_page": 363, "bbox_pixels": [ 419, 1027, 2171, 103 ], "crop_image": "assets/IV.01-003.png" } ] }, { "id": "IV.01-004", "type": "heading", "section": "IV.01", "lesson": 89, "exercise": 89, "reading_order": 2359, "original": "Comment on distingue les Intervales par la disposition du Clavier.", "english": "How Intervals Are Distinguished through the Arrangement of the Keyboard.", "sources": [ { "pdf_page": 395, "source_image": "source-pages/bnf-395.png", "printed_page": 363, "bbox_pixels": [ 419, 1175, 2171, 217 ], "crop_image": "assets/IV.01-004.png" } ] }, { "id": "IV.01-005", "type": "paragraph", "section": "IV.01", "lesson": 89, "exercise": 89, "reading_order": 2360, "original": "LE premier Chapitre du Livre précédent, est absolument necessaire pour l’intelligence de ce qui suit, jusqu’à l’endroit où il est parlé des Clefs & de l’étendue des Voix, ce qui est inutile pour l’Accompagnement.", "english": "The first chapter of the preceding book is absolutely necessary for understanding what follows, up to the discussion of clefs and vocal ranges, which is unnecessary for accompaniment.", "sources": [ { "pdf_page": 395, "source_image": "source-pages/bnf-395.png", "printed_page": 363, "bbox_pixels": [ 419, 1474, 2171, 296 ], "crop_image": "assets/IV.01-005.png" } ] }, { "id": "IV.01-006", "type": "paragraph", "section": "IV.01", "lesson": 89, "exercise": 89, "reading_order": 2361, "original": "Le Clavecin ou l’Orgue contenant tous les Sons qui peuvent entrer dans la Composition des Ouvrages de Musique ; il est aisé d’en remarquer la difference, en touchant chaque Touche l’une après l’autre ; car si l’on commence à gauche en tirant à droite, l’on trouvera que les Sons vont toûjours en s’élevant ; & si l’on commence à droite en tirant à gauche, l’on trouvera qu’ils vont en baissant.", "english": "The harpsichord or organ contains every sound that can enter a musical composition. Their differences are easily noticed by playing each key in succession: moving from left to right, the sounds continually rise; moving from right to left, they descend.", "sources": [ { "pdf_page": 395, "source_image": "source-pages/bnf-395.png", "printed_page": 363, "bbox_pixels": [ 419, 1772, 2171, 520 ], "crop_image": "assets/IV.01-006.png" } ] }, { "id": "IV.01-007", "type": "paragraph", "section": "IV.01", "lesson": 89, "exercise": 89, "reading_order": 2362, "original": "En se figurant que chaque Touche du Clavier nous represente un Son different, l’on remarquera que la plus ou moins grande distance qu’il y a d’une Touche à l’autre, nous donne des Intervales plus ou moins grands, & que le plus petit de tous, qui s’appelle semi-Ton, se trouve entre deux Touches, de la plus basse desquelles on ne peut monter à l’autre, que par une progression indivisible dans l’execution, comme du Mi au Fa, entre lesquelles il ne se trouve point d’autre Touche, au lieu qu’entre Fa & Sol il y a un Ton entier, parce qu’il se trouve un Dieze entre l’un & l’autre ; ainsi toutes les Touches du Clavier, blanches & noires, sont éloignées entre-elles, & consecutivement d’un semi-Ton.", "english": "Regarding each keyboard key as a different sound, observe that greater or smaller distances between keys give greater or smaller intervals. The smallest interval, called a semitone, lies between two keys from the lower of which one can ascend to the other only by a movement indivisible in performance, as from E to F, with no intervening key. Between F and G, by contrast, is a whole tone, since a sharp lies between them. Thus all consecutive keyboard keys, white and black, stand a semitone apart.", "sources": [ { "pdf_page": 395, "source_image": "source-pages/bnf-395.png", "printed_page": 363, "bbox_pixels": [ 419, 2295, 2171, 819 ], "crop_image": "assets/IV.01-007.png" } ] }, { "id": "IV.01-008", "type": "paragraph", "section": "IV.01", "lesson": 89, "exercise": 89, "reading_order": 2363, "original": "Tournez pour voir l’Exemple.", "english": "Turn the page for the example.", "sources": [ { "pdf_page": 395, "source_image": "source-pages/bnf-395.png", "printed_page": 363, "bbox_pixels": [ 419, 3450, 2171, 101 ], "crop_image": "assets/IV.01-008.png" } ] }, { "id": "IV.01-009", "type": "heading", "section": "IV.01", "lesson": 89, "exercise": 89, "reading_order": 2364, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 396, "source_image": "source-pages/bnf-396.png", "printed_page": 364, "bbox_pixels": [ 419, 455, 2171, 90 ], "crop_image": "assets/IV.01-009.png" } ] }, { "id": "IV.01-010", "type": "image", "section": "IV.01", "lesson": 89, "exercise": 89, "reading_order": 2365, "original": "SEMI-TON.\nDe l’Ut à son Dieze.\nDu Dieze d’Ut au Ré.\nDu Ré au Mi B-mol.\nDu Mi B-mol au Mi.\nDu Mi au Fa.\nDu Fa à son Dieze.\nDu Dieze de Fa au Sol.\nDu Sol à son Dieze.\nDu Dieze de Sol au La.\nDu La au Si B-mol.\nDu Si B-mol au Si.\nDu Si à l’Ut.\n\nTON.\nD’Ut à Ré.\nDe Ré à Mi.\nDe Mi à Fa Dieze.\nDe Fa à Sol.\nDe Sol à La.\nDe La à Si.\nDe Si B-mol à Ut.\nD’Ut ♯ à Ré ♯.\nDe Mi B-mol à Fa.\nDe Fa ♯ à Sol ♯.\nDe Sol ♯ à La ♯.\nDe Si à Ut ♯.\n\nD’Ut à Mi ♭ : un Ton & demi.\nD’Ut à Mi : deux Tons.\nD’Ut à Fa : deux Tons & demi.\nD’Ut à Fa ♯ : trois Tons.\nD’Ut à Sol : trois Tons & demi.\nD’Ut à La ♭ : quatre Tons.\nD’Ut à La : quatre Tons & demi.\nD’Ut à Si ♭ : cinq Tons.\nD’Ut à Si : cinq Tons & demi.\nD’Ut à son Octave : six Tons.", "english": "SEMITONE.\nC to C♯.\nC♯ to D.\nD to E♭.\nE♭ to E.\nE to F.\nF to F♯.\nF♯ to G.\nG to G♯.\nG♯ to A.\nA to B♭.\nB♭ to B.\nB to C.\n\nWHOLE TONE.\nC to D.\nD to E.\nE to F♯.\nF to G.\nG to A.\nA to B.\nB♭ to C.\nC♯ to D♯.\nE♭ to F.\nF♯ to G♯.\nG♯ to A♯.\nB to C♯.\n\nC to E♭: one and a half whole tones.\nC to E: two whole tones.\nC to F: two and a half whole tones.\nC to F♯: three whole tones.\nC to G: three and a half whole tones.\nC to A♭: four whole tones.\nC to A: four and a half whole tones.\nC to B♭: five whole tones.\nC to B: five and a half whole tones.\nC to its octave: six whole tones.", "sources": [ { "pdf_page": 396, "source_image": "source-pages/bnf-396.png", "printed_page": 364, "bbox_pixels": [ 419, 578, 2171, 675 ], "crop_image": "assets/IV.01-010.png" } ], "original_title": "Tons et semi-Tons sur le Clavier", "english_title": "Whole Tones and Semitones on the Keyboard", "format": "preformatted", "asset_refs": [ "IV.01-010" ] }, { "id": "IV.01-011", "type": "paragraph", "section": "IV.01", "lesson": 89, "exercise": 89, "reading_order": 2366, "original": "Ces Tons & semi-Tons sont de differentes especes, mais cela doit être indifferent à ceux qui ne s’attachent qu’à la pratique.", "english": "These whole tones and semitones are of different kinds, but this need not concern those interested only in practice.", "sources": [ { "pdf_page": 396, "source_image": "source-pages/bnf-396.png", "printed_page": 364, "bbox_pixels": [ 419, 1285, 2171, 150 ], "crop_image": "assets/IV.01-011.png" } ] }, { "id": "IV.01-012", "type": "paragraph", "section": "IV.01", "lesson": 89, "exercise": 89, "reading_order": 2367, "original": "En prenant pour premier degré la Notte Ré, ou celle qu’il vous plaira, de même que nous avons pris la Notte Ut, vous connoîtrez combien il y aura de Tons ou de semi-Tons de cette premiere Notte à celle que vous voudrez lui comparer, en comptant par semi-Tons d’une Notte ou d’une Touche à celle qui en est la plus voisine.", "english": "Take D or any other note as the first degree, as we took C. You will discover how many whole tones or semitones separate that first note from any note compared with it by counting semitones from each note or key to its nearest neighbor.", "sources": [ { "pdf_page": 396, "source_image": "source-pages/bnf-396.png", "printed_page": 364, "bbox_pixels": [ 419, 1439, 2171, 438 ], "crop_image": "assets/IV.01-012.png" } ] }, { "id": "IV.01-013", "type": "paragraph", "section": "IV.01", "lesson": 89, "exercise": 89, "reading_order": 2368, "original": "Comme la pratique de l’Accompagnement ne s’acquiert que par une grande connoissance du Clavier & de la Musique, nous supposons ces connoissances à ceux qui voudront mettre ces principes en execution ; ainsi les Intervales ne leur seront pas difficiles à distinguer sur le Clavier, en faisant la même operation sur les Touches, que nous la faisons sur la Gamme par le moyen des nombres. Voyez Livre Troisiéme, Chapitre Premier.", "english": "Since practical accompaniment can be acquired only through thorough knowledge of the keyboard and music, we assume this knowledge in those wishing to put these principles into practice. They will therefore find it easy to distinguish intervals on the keyboard, performing on the keys the same operation we perform on the scale by means of numbers. See Book III, Chapter I.", "sources": [ { "pdf_page": 396, "source_image": "source-pages/bnf-396.png", "printed_page": 364, "bbox_pixels": [ 419, 1882, 2171, 520 ], "crop_image": "assets/IV.01-013.png" } ] }, { "id": "IV.01-014", "type": "paragraph", "section": "IV.01", "lesson": 89, "exercise": 89, "reading_order": 2369, "original": "Les sept Nottes Ut, Ré, Mi, Fa, Sol, La, Si, étant d’un usage incomparablement plus frequent que les autres, sont considerées dans la Musique comme les seules qui entrent dans la Composition ; c’est pourquoi nous établirons toûjours nos Regles sur ces sept Nottes, qui doivent se prendre sur les Touches naturelles du Clavier ; & il ne faut faire attention aux Diezes ni aux B-mols qui separent ces Touches, que lorsqu’ils sont absolument necessaires pour former l’Intervale que l’on s’est proposé.", "english": "The seven notes C, D, E, F, G, A, B are used incomparably more often than the others and are regarded in music as the only notes entering composition. We shall therefore always base our rules on these seven notes, taken on the keyboard's natural keys. The sharps and flats separating those keys need be considered only when absolutely necessary to form the intended interval.", "sources": [ { "pdf_page": 396, "source_image": "source-pages/bnf-396.png", "printed_page": 364, "bbox_pixels": [ 419, 2406, 2171, 597 ], "crop_image": "assets/IV.01-014.png" } ] }, { "id": "IV.01-015", "type": "paragraph", "section": "IV.01", "lesson": 89, "exercise": 89, "reading_order": 2370, "original": "Si l’on se propose donc un Intervale de Seconde, de Tierce, de Quarte, de Quinte, &c. en supposant que la Touche que l’on prend pour premier degré represente le nombre 1. l’on trouvera que la Touche qui suit la premiere immediatement en montant, & qui est par consequent la seconde Touche, formera avec cette premiere un Intervale de Seconde ; ainsi la troisiéme Touche en fera la Tierce, la quatriéme la Quarte, &c. c’est à quoi il faut bien s’attacher ; car toute la science de l’Accompagnement dépend principalement de la connoissance de ces Intervales, qui se prennent toûjours au-dessus de la Notte qui sert de premier degré ou de fondement, & jamais au-dessous.", "english": "To form a second, third, fourth, fifth, and so forth, let the key chosen as the first degree represent 1. The next natural key above it, the second key, forms a second with it; the third key forms a third, the fourth a fourth, and so on. This deserves close attention, since the entire art of accompaniment depends chiefly on knowing these intervals. They are always taken above the note serving as the first degree or foundation, never below it.", "sources": [ { "pdf_page": 396, "source_image": "source-pages/bnf-396.png", "printed_page": 364, "bbox_pixels": [ 419, 3006, 2171, 533 ], "crop_image": "assets/IV.01-015.png" }, { "pdf_page": 397, "source_image": "source-pages/bnf-397.png", "printed_page": 365, "bbox_pixels": [ 419, 331, 2171, 301 ], "crop_image": "assets/IV.01-016.png" } ] }, { "id": "IV.01-017", "type": "heading", "section": "IV.01", "lesson": 89, "exercise": 89, "reading_order": 2371, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 397, "source_image": "source-pages/bnf-397.png", "printed_page": 365, "bbox_pixels": [ 419, 625, 2171, 88 ], "crop_image": "assets/IV.01-017.png" } ] }, { "id": "IV.01-018", "type": "image", "section": "IV.01", "lesson": 89, "exercise": 89, "reading_order": 2372, "original": "Chiffres. Noms des Intervales.\n2. La Seconde : d’Ut à Ré, de Ré à Mi, de Mi à Fa, &c.\n3. La Tierce : comme d’Ut à Mi, de Ré à Fa, de Mi à Sol, &c.\n4. La Quarte : d’Ut à Fa, de Ré à Sol, de Mi à La, &c.\n5. La Quinte : d’Ut à Sol, de Ré à La, de Mi à Si, &c.\n6. La Sixte : comme d’Ut à La, de Ré à Si, de Mi à Ut, &c.\n7. La Septiéme : d’Ut à Si, de Ré à Ut, de Mi à Ré, &c.\n8. L’Octave : d’Ut à un autre Ut plus haut, &c.", "english": "Figures. Names of intervals.\n2. Second: C to D, D to E, E to F, etc.\n3. Third: C to E, D to F, E to G, etc.\n4. Fourth: C to F, D to G, E to A, etc.\n5. Fifth: C to G, D to A, E to B, etc.\n6. Sixth: C to A, D to B, E to C, etc.\n7. Seventh: C to B, D to C, E to D, etc.\n8. Octave: C to another higher C, etc.", "sources": [ { "pdf_page": 397, "source_image": "source-pages/bnf-397.png", "printed_page": 365, "bbox_pixels": [ 419, 705, 2171, 494 ], "crop_image": "assets/IV.01-018.png" } ], "original_title": "Noms des Intervales", "english_title": "Names of Intervals", "format": "preformatted", "asset_refs": [ "IV.01-018" ] }, { "id": "IV.01-019", "type": "music", "section": "IV.01", "lesson": 89, "exercise": 89, "reading_order": 2373, "original": "Unisson, premier degré ou Son fondamental ; Seconde ; Tierce ; Quarte ; Quinte ; Sixte ; Septiéme ; Octave.", "english": "Unison, First Degree or Fundamental Sound; Second; Third; Fourth; Fifth; Sixth; Seventh; Octave.", "sources": [ { "pdf_page": 397, "source_image": "source-pages/bnf-397.png", "printed_page": 365, "bbox_pixels": [ 443, 1207, 2098, 550 ], "crop_image": "assets/IV.01-019.png" } ], "original_title": "Unisson, premier degré ou Son fondamental ; Seconde ; Tierce ; Quarte ; Quinte ; Sixte ; Septiéme ; Octave.", "english_title": "Unison, First Degree or Fundamental Sound; Second; Third; Fourth; Fifth; Sixth; Seventh; Octave.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.01-019" ], "music_asset_refs": [ "IV.01-019" ] }, { "id": "IV.01-020", "type": "music", "section": "IV.01", "lesson": 89, "exercise": 89, "reading_order": 2374, "original": "Neuviéme ou Seconde ; Dixiéme ou Tierce ; Onziéme ou Quarte ; Douziéme ou Quinte ; Treiziéme ou Sixte ; Quatorziéme ou Septiéme ; Quinziéme ou Octave ; Seiziéme ou Neuviéme ou Seconde ; dix-septiéme ou dixiéme ou Tierce ; dix-huitiéme ou Onziéme ou Quarte.", "english": "Ninth or Second; Tenth or Third; Eleventh or Fourth; Twelfth or Fifth; Thirteenth or Sixth; Fourteenth or Seventh; Fifteenth or Octave; Sixteenth or Ninth or Second; Seventeenth or Tenth or Third; Eighteenth or Eleventh or Fourth.", "sources": [ { "pdf_page": 397, "source_image": "source-pages/bnf-397.png", "printed_page": 365, "bbox_pixels": [ 445, 1792, 2156, 889 ], "crop_image": "assets/IV.01-020.png" } ], "original_title": "Neuviéme ou Seconde ; Dixiéme ou Tierce ; Onziéme ou Quarte ; Douziéme ou Quinte ; Treiziéme ou Sixte ; Quatorziéme ou Septiéme ; Quinziéme ou Octave ; Seiziéme ou Neuviéme ou Seconde ; dix-septiéme ou dixiéme ou Tierce ; dix-huitiéme ou Onziéme ou Quarte.", "english_title": "Ninth or Second; Tenth or Third; Eleventh or Fourth; Twelfth or Fifth; Thirteenth or Sixth; Fourteenth or Seventh; Fifteenth or Octave; Sixteenth or Ninth or Second; Seventeenth or Tenth or Third; Eighteenth or Eleventh or Fourth.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.01-020" ], "music_asset_refs": [ "IV.01-020" ] }, { "id": "IV.01-021", "type": "paragraph", "section": "IV.01", "lesson": 89, "exercise": 89, "reading_order": 2375, "original": "L’on peut remarquer que tous les Intervales harmoniques sont contenus dans l’étenduë de l’Octave, & que ceux qui excedent cette étenduë n’en sont que la replique, comme cela se prouve par le nom des Nottes, qui est le même dans la Dix-septiéme & dans la Dixiéme que dans la Tierce, ainsi des autres ; c’est pourquoi, lorsque l’on sçait une fois que la Quinte d’Ut est un Sol, il n’importe où l’on touche ce Sol, pourvû que ce soit toûjours au-dessus de cet Ut ; & la comparaison que nous venons de faire à l’égard de la Touche Ut, doit se faire à l’égard de toute autre Touche, afin que la connoissance de ces Intervales devienne familiere, quelque Touche que l’on prenne pour premier degré.", "english": "Observe that every harmonic interval lies within the octave, and intervals exceeding it are merely replications. The note names prove this: the seventeenth and tenth have the same note name as the third, and so with the others. Once we know that the fifth of C is G, therefore, it does not matter where that G is played, provided it is always above that C. The comparison made with C must be repeated with every other key, so that intervals become familiar regardless of the key chosen as the first degree.", "sources": [ { "pdf_page": 397, "source_image": "source-pages/bnf-397.png", "printed_page": 365, "bbox_pixels": [ 419, 2701, 2171, 840 ], "crop_image": "assets/IV.01-021.png" } ] }, { "id": "IV.02-001", "type": "heading", "section": "IV.02", "lesson": 90, "exercise": 90, "reading_order": 2376, "original": "CHAPITRE SECOND.", "english": "CHAPTER TWO.", "sources": [ { "pdf_page": 398, "source_image": "source-pages/bnf-398.png", "printed_page": 366, "bbox_pixels": [ 419, 458, 2171, 97 ], "crop_image": "assets/IV.02-001.png" } ], "correction_refs": [ "supplement-267", "supplement-268", "supplement-269", "supplement-270" ] }, { "id": "IV.02-002", "type": "heading", "section": "IV.02", "lesson": 90, "exercise": 90, "reading_order": 2377, "original": "De la difference des Intervales majeurs, aux mineurs ; & de ceux qui sont justes, aux superflus & diminuez.", "english": "On the Difference between Major and Minor Intervals, and between Perfect, Augmented, and Diminished Intervals.", "sources": [ { "pdf_page": 398, "source_image": "source-pages/bnf-398.png", "printed_page": 366, "bbox_pixels": [ 419, 569, 2171, 176 ], "crop_image": "assets/IV.02-002.png" } ] }, { "id": "IV.02-003", "type": "paragraph", "section": "IV.02", "lesson": 90, "exercise": 90, "reading_order": 2378, "original": "LA Tierce & la Sixte se distinguent en majeur & en mineur.", "english": "Thirds and sixths are distinguished as major and minor.", "sources": [ { "pdf_page": 398, "source_image": "source-pages/bnf-398.png", "printed_page": 366, "bbox_pixels": [ 419, 761, 2171, 101 ], "crop_image": "assets/IV.02-003.png" } ] }, { "id": "IV.02-004", "type": "paragraph", "section": "IV.02", "lesson": 90, "exercise": 90, "reading_order": 2379, "original": "La Quinte & la Septiéme se distinguent en juste, superflu & diminué.", "english": "Fifths and sevenths are distinguished as perfect, augmented, and diminished.", "sources": [ { "pdf_page": 398, "source_image": "source-pages/bnf-398.png", "printed_page": 366, "bbox_pixels": [ 419, 855, 2171, 133 ], "crop_image": "assets/IV.02-004.png" } ] }, { "id": "IV.02-005", "type": "paragraph", "section": "IV.02", "lesson": 90, "exercise": 90, "reading_order": 2380, "original": "La Quinte & la Septiéme se distinguent en juste, superflu & diminué.", "english": "Fifths and sevenths are distinguished as perfect, augmented, and diminished.", "sources": [ { "pdf_page": 398, "source_image": "source-pages/bnf-398.png", "printed_page": 366, "bbox_pixels": [ 419, 990, 2171, 150 ], "crop_image": "assets/IV.02-005.png" } ] }, { "id": "IV.02-006", "type": "paragraph", "section": "IV.02", "lesson": 90, "exercise": 90, "reading_order": 2381, "original": "La Seconde & la Quarte se distinguent en juste & superflu.", "english": "Seconds and fourths are distinguished as perfect and augmented.", "sources": [ { "pdf_page": 398, "source_image": "source-pages/bnf-398.png", "printed_page": 366, "bbox_pixels": [ 419, 1143, 2171, 90 ], "crop_image": "assets/IV.02-006.png" } ] }, { "id": "IV.02-007", "type": "paragraph", "section": "IV.02", "lesson": 90, "exercise": 90, "reading_order": 2382, "original": "La Quarte diminuée n’a point lieu dans l’Accompagnement ni dans l’Harmonie, non plus que la Seconde diminuée.", "english": "The diminished fourth has no place in accompaniment or harmony, nor does the diminished second.", "sources": [ { "pdf_page": 398, "source_image": "source-pages/bnf-398.png", "printed_page": 366, "bbox_pixels": [ 419, 1227, 2171, 144 ], "crop_image": "assets/IV.02-007.png" } ] }, { "id": "IV.02-008", "type": "paragraph", "section": "IV.02", "lesson": 90, "exercise": 90, "reading_order": 2383, "original": "Il y a des Auteurs qui distinguent la Seconde, la Septiéme & la Neuviéme en majeures & mineures, mais c’est improprement ; c’est pourquoi si l’on trouve quelquefois de la difference d’un semi-Ton dans la juste proportion qui est affectée à l’un de ces Intervales, il ne faut y faire encore aucune attention.", "english": "Some authors distinguish seconds, sevenths, and ninths as major and minor, but improperly. Thus, if the proper proportion assigned to one of these intervals sometimes varies by a semitone, no attention need yet be paid to it.", "sources": [ { "pdf_page": 398, "source_image": "source-pages/bnf-398.png", "printed_page": 366, "bbox_pixels": [ 419, 1371, 2171, 374 ], "crop_image": "assets/IV.02-008.png" } ] }, { "id": "IV.02-009", "type": "paragraph", "section": "IV.02", "lesson": 90, "exercise": 90, "reading_order": 2384, "original": "Il ne faut s’attacher à present qu’à distinguer les Tierces des Sixtes les majeures des mineures, parce que les Diezes ou les B-mols que l’on joint aux Nottes qui forment les Intervales superflus ou diminuez, servent à nous les faire connoître ; & quand on sçait une fois qu’une telle Touche fait la Tierce, la Quarte, la Quinte ou la Sixte d’une certaine autre Touche, il n’y a plus qu’à compter les Tons ou les semi-Tons qui separent ces Touches, pour connoître si ces Intervales sont majeurs, ou mineurs, justes, superflus, ou diminuez.", "english": "For now, concentrate only on distinguishing thirds from sixths, and major from minor, since the sharps or flats attached to notes forming augmented or diminished intervals identify those intervals for us. Once we know which key forms the third, fourth, fifth, or sixth of another, we need only count the whole tones or semitones separating them to determine whether the interval is major, minor, perfect, augmented, or diminished.", "sources": [ { "pdf_page": 398, "source_image": "source-pages/bnf-398.png", "printed_page": 366, "bbox_pixels": [ 419, 1747, 2171, 595 ], "crop_image": "assets/IV.02-009.png" } ] }, { "id": "IV.02-010", "type": "heading", "section": "IV.02", "lesson": 90, "exercise": 90, "reading_order": 2385, "original": "Exemple des Tons & semi-Tons qui composent chaque Intervale.", "english": "Example of the Whole Tones and Semitones Composing Each Interval.", "sources": [ { "pdf_page": 398, "source_image": "source-pages/bnf-398.png", "printed_page": 366, "bbox_pixels": [ 419, 2344, 2171, 79 ], "crop_image": "assets/IV.02-010.png" } ] }, { "id": "IV.02-011", "type": "image", "section": "IV.02", "lesson": 90, "exercise": 90, "reading_order": 2386, "original": "2. La Seconde est composée d’un Ton ou d’un semi-Ton : d’Ut à Ré, de Mi à Fa, &c.\n2♯. La Seconde superfluë d’un Ton & demi : comme de Si ♭ à Ut ♯, de Mi ♭ à Fa ♯, &c.\n3♭. La Tierce mineure d’un Ton & demi : d’Ut à Mi ♭, de Ré à Fa, de Mi à Sol, &c.\n3♯. La Tierce majeure de deux Tons : comme d’Ut à Mi, de Sol à Si, de Ré à Fa ♯, &c.\n4. La Quarte de deux Tons & demi : d’Ut à Fa, de Ré à Sol, de Fa à Si ♭, &c.\n4♯. La Quarte superfluë, dite Tri-Ton, de trois Tons : comme de Fa à Si, d’Ut à Fa ♯, &c.\n5/. La Quinte diminuée, dite fausse-Quinte, de trois Tons : de Si à Fa, de Mi à Si ♭, &c.\n5. La Quinte de trois Tons & demi : d’Ut à Sol, de Si à Fa ♯, &c.\n5♯. La Quinte superfluë de quatre Tons : d’Ut à Sol ♯, de Ré à La ♯, &c.\n6♭. La Sixte mineure de quatre Tons : d’Ut à La ♭, de Ré à Si ♭, &c.\n6♯. La Sixte majeure de quatre Tons & demi : comme de Ré à Si, de Mi à Ut ♯, &c.\n7♭. La Septiéme diminuée de quatre Tons & demi : d’Ut à Si ♭, de Sol à Fa, &c.\n7. La Septiéme de cinq Tons : d’Ut à Si ♭, de Ré à Ut, &c.\n7♯. La Septiéme superfluë de cinq Tons & demi : comme d’Ut à Si, de Ré à Ut ♯, &c.\n9. La Neuviéme se prend sur les mêmes Touches que la Seconde, excepté qu’elle doit se trouver naturellement une Octave plus haut.", "english": "2. Second: one whole tone or one semitone; C to D, E to F, etc.\n2♯. Augmented second: one and a half tones; B♭ to C♯, E♭ to F♯, etc.\n3♭. Minor third: one and a half tones; C to E♭, D to F, E to G, etc.\n3♯. Major third: two tones; C to E, G to B, D to F♯, etc.\n4. Fourth: two and a half tones; C to F, D to G, F to B♭, etc.\n4♯. Augmented fourth, called tritone: three tones; F to B, C to F♯, etc.\n5/. Diminished fifth, called false fifth: three tones; B to F, E to B♭, etc.\n5. Fifth: three and a half tones; C to G, B to F♯, etc.\n5♯. Augmented fifth: four tones; C to G♯, D to A♯, etc.\n6♭. Minor sixth: four tones; C to A♭, D to B♭, etc.\n6♯. Major sixth: four and a half tones; D to B, E to C♯, etc.\n7♭. Diminished seventh: four and a half tones; C to B♭, G to F, etc.\n7. Seventh: five tones; C to B♭, D to C, etc.\n7♯. Augmented seventh: five and a half tones; C to B, D to C♯, etc.\n9. Ninth: the same keys as the second, except that it should naturally lie an octave higher.", "sources": [ { "pdf_page": 398, "source_image": "source-pages/bnf-398.png", "printed_page": 366, "bbox_pixels": [ 419, 2415, 2171, 1128 ], "crop_image": "assets/IV.02-011.png" } ], "original_title": "Composition des Intervales en Tons et semi-Tons", "english_title": "Whole Tones and Semitones Composing the Intervals", "format": "preformatted", "asset_refs": [ "IV.02-011" ] }, { "id": "IV.02-012", "type": "paragraph", "section": "IV.02", "lesson": 90, "exercise": 90, "reading_order": 2387, "original": "Les Intervales, qui, quoique differens, sont composez ici d’un pareil nombre de Tons, se distinguent autrement dans la Théorie ; mais cela est inutile à sçavoir dans la pratique, & nous verrons ailleurs la seule distinction que l’on en fait par rapport à un ♯ ou à un ♭.", "english": "Intervals that differ in name yet contain the same number of whole tones here are distinguished otherwise in theory. This knowledge is unnecessary in practice; elsewhere we shall see the sole distinction made between them with regard to a ♯ or ♭.", "sources": [ { "pdf_page": 399, "source_image": "source-pages/bnf-399.png", "printed_page": 367, "bbox_pixels": [ 419, 382, 2171, 382 ], "crop_image": "assets/IV.02-012.png" } ] }, { "id": "IV.02-013", "type": "heading", "section": "IV.02", "lesson": 90, "exercise": 90, "reading_order": 2388, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 399, "source_image": "source-pages/bnf-399.png", "printed_page": 367, "bbox_pixels": [ 419, 726, 2171, 92 ], "crop_image": "assets/IV.02-013.png" } ] }, { "id": "IV.02-014", "type": "music", "section": "IV.02", "lesson": 90, "exercise": 90, "reading_order": 2389, "original": "Secondes.", "english": "Seconds.", "sources": [ { "pdf_page": 399, "source_image": "source-pages/bnf-399.png", "printed_page": 367, "bbox_pixels": [ 426, 797, 1544, 256 ], "crop_image": "assets/IV.02-014.png" } ], "original_title": "Secondes.", "english_title": "Seconds.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.02-014" ], "music_asset_refs": [ "IV.02-014" ] }, { "id": "IV.02-015", "type": "music", "section": "IV.02", "lesson": 90, "exercise": 90, "reading_order": 2390, "original": "Secondes superflues.", "english": "Augmented Seconds.", "sources": [ { "pdf_page": 399, "source_image": "source-pages/bnf-399.png", "printed_page": 367, "bbox_pixels": [ 1963, 752, 591, 301 ], "crop_image": "assets/IV.02-015.png" } ], "original_title": "Secondes superflues.", "english_title": "Augmented Seconds.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.02-015" ], "music_asset_refs": [ "IV.02-015" ] }, { "id": "IV.02-016", "type": "music", "section": "IV.02", "lesson": 90, "exercise": 90, "reading_order": 2391, "original": "Tierces mineures [rangée sans titre imprimé].", "english": "Minor Thirds [Row without a Printed Title].", "sources": [ { "pdf_page": 399, "source_image": "source-pages/bnf-399.png", "printed_page": 367, "bbox_pixels": [ 426, 1087, 2135, 219 ], "crop_image": "assets/IV.02-016.png" } ], "original_title": "Tierces mineures [rangée sans titre imprimé].", "english_title": "Minor Thirds [Row without a Printed Title].", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.02-016" ], "music_asset_refs": [ "IV.02-016" ] }, { "id": "IV.02-017", "type": "music", "section": "IV.02", "lesson": 90, "exercise": 90, "reading_order": 2392, "original": "Tierces majeures.", "english": "Major Thirds.", "sources": [ { "pdf_page": 399, "source_image": "source-pages/bnf-399.png", "printed_page": 367, "bbox_pixels": [ 432, 1362, 2131, 258 ], "crop_image": "assets/IV.02-017.png" } ], "original_title": "Tierces majeures.", "english_title": "Major Thirds.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.02-017" ], "music_asset_refs": [ "IV.02-017" ] }, { "id": "IV.02-018", "type": "music", "section": "IV.02", "lesson": 90, "exercise": 90, "reading_order": 2393, "original": "Quartes.", "english": "Fourths.", "sources": [ { "pdf_page": 399, "source_image": "source-pages/bnf-399.png", "printed_page": 367, "bbox_pixels": [ 432, 1693, 2135, 249 ], "crop_image": "assets/IV.02-018.png" } ], "original_title": "Quartes.", "english_title": "Fourths.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.02-018" ], "music_asset_refs": [ "IV.02-018" ] }, { "id": "IV.02-019", "type": "music", "section": "IV.02", "lesson": 90, "exercise": 90, "reading_order": 2394, "original": "Tritons.", "english": "Tritones.", "sources": [ { "pdf_page": 399, "source_image": "source-pages/bnf-399.png", "printed_page": 367, "bbox_pixels": [ 434, 2002, 2137, 262 ], "crop_image": "assets/IV.02-019.png" } ], "original_title": "Tritons.", "english_title": "Tritones.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.02-019" ], "music_asset_refs": [ "IV.02-019" ] }, { "id": "IV.02-020", "type": "music", "section": "IV.02", "lesson": 90, "exercise": 90, "reading_order": 2395, "original": "Fausses-Quintes.", "english": "Diminished Fifths.", "sources": [ { "pdf_page": 399, "source_image": "source-pages/bnf-399.png", "printed_page": 367, "bbox_pixels": [ 439, 2331, 2143, 260 ], "crop_image": "assets/IV.02-020.png" } ], "original_title": "Fausses-Quintes.", "english_title": "Diminished Fifths.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.02-020" ], "music_asset_refs": [ "IV.02-020" ] }, { "id": "IV.02-021", "type": "music", "section": "IV.02", "lesson": 90, "exercise": 90, "reading_order": 2396, "original": "Quintes.", "english": "Fifths.", "sources": [ { "pdf_page": 399, "source_image": "source-pages/bnf-399.png", "printed_page": 367, "bbox_pixels": [ 439, 2664, 2146, 256 ], "crop_image": "assets/IV.02-021.png" } ], "original_title": "Quintes.", "english_title": "Fifths.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.02-021" ], "music_asset_refs": [ "IV.02-021" ] }, { "id": "IV.02-022", "type": "music", "section": "IV.02", "lesson": 90, "exercise": 90, "reading_order": 2397, "original": "Quintes superflues.", "english": "Augmented Fifths.", "sources": [ { "pdf_page": 399, "source_image": "source-pages/bnf-399.png", "printed_page": 367, "bbox_pixels": [ 447, 2986, 2141, 243 ], "crop_image": "assets/IV.02-022.png" } ], "original_title": "Quintes superflues.", "english_title": "Augmented Fifths.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.02-022" ], "music_asset_refs": [ "IV.02-022" ] }, { "id": "IV.02-023", "type": "music", "section": "IV.02", "lesson": 90, "exercise": 90, "reading_order": 2398, "original": "Sixtes mineurs.", "english": "Minor Sixths.", "sources": [ { "pdf_page": 399, "source_image": "source-pages/bnf-399.png", "printed_page": 367, "bbox_pixels": [ 445, 3309, 2152, 258 ], "crop_image": "assets/IV.02-023.png" } ], "original_title": "Sixtes mineurs.", "english_title": "Minor Sixths.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.02-023" ], "music_asset_refs": [ "IV.02-023" ] }, { "id": "IV.02-024", "type": "music", "section": "IV.02", "lesson": 90, "exercise": 90, "reading_order": 2399, "original": "Sixtes majeures.", "english": "Major Sixths.", "sources": [ { "pdf_page": 400, "source_image": "source-pages/bnf-400.png", "printed_page": 368, "bbox_pixels": [ 432, 397, 2141, 275 ], "crop_image": "assets/IV.02-024.png" } ], "original_title": "Sixtes majeures.", "english_title": "Major Sixths.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.02-024" ], "music_asset_refs": [ "IV.02-024" ] }, { "id": "IV.02-025", "type": "music", "section": "IV.02", "lesson": 90, "exercise": 90, "reading_order": 2400, "original": "Septiémes diminuées.", "english": "Diminished Sevenths.", "sources": [ { "pdf_page": 400, "source_image": "source-pages/bnf-400.png", "printed_page": 368, "bbox_pixels": [ 434, 730, 2148, 260 ], "crop_image": "assets/IV.02-025.png" } ], "original_title": "Septiémes diminuées.", "english_title": "Diminished Sevenths.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.02-025" ], "music_asset_refs": [ "IV.02-025" ] }, { "id": "IV.02-026", "type": "music", "section": "IV.02", "lesson": 90, "exercise": 90, "reading_order": 2401, "original": "Septiémes.", "english": "Sevenths.", "sources": [ { "pdf_page": 400, "source_image": "source-pages/bnf-400.png", "printed_page": 368, "bbox_pixels": [ 432, 1121, 2161, 211 ], "crop_image": "assets/IV.02-026.png" } ], "original_title": "Septiémes.", "english_title": "Sevenths.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.02-026" ], "music_asset_refs": [ "IV.02-026" ] }, { "id": "IV.02-027", "type": "music", "section": "IV.02", "lesson": 90, "exercise": 90, "reading_order": 2402, "original": "Septiémes superflues.", "english": "Augmented Sevenths.", "sources": [ { "pdf_page": 400, "source_image": "source-pages/bnf-400.png", "printed_page": 368, "bbox_pixels": [ 432, 1437, 2156, 256 ], "crop_image": "assets/IV.02-027.png" } ], "original_title": "Septiémes superflues.", "english_title": "Augmented Sevenths.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.02-027" ], "music_asset_refs": [ "IV.02-027" ] }, { "id": "IV.02-028", "type": "music", "section": "IV.02", "lesson": 90, "exercise": 90, "reading_order": 2403, "original": "Neuviémes.", "english": "Ninths.", "sources": [ { "pdf_page": 400, "source_image": "source-pages/bnf-400.png", "printed_page": 368, "bbox_pixels": [ 430, 1760, 2165, 292 ], "crop_image": "assets/IV.02-028.png" } ], "original_title": "Neuviémes.", "english_title": "Ninths.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.02-028" ], "music_asset_refs": [ "IV.02-028" ] }, { "id": "IV.02-029", "type": "paragraph", "section": "IV.02", "lesson": 90, "exercise": 90, "reading_order": 2404, "original": "La nature & les diverses especes de chaque Intervale étant expliquées, il faut que celui qui veut sçavoir l’Accompagnement, s’applique à trouver de lui-même sur le Clavier tous les differens Intervales de chaque Notte, ou Touche, & toutes leurs diverses especes, en se rendant cette connoissance si familiere, que quelque Notte ou Touche qu’il s’imagine, il puisse dire & toucher tout d’un coup celle qui en est la Tierce mineure ou majeure, la Sixte, le Tri-Ton, la Quinte juste, diminuée ou superfluë, la Septiéme, &c.", "english": "Now that the nature and different kinds of every interval have been explained, anyone wishing to learn accompaniment must practice finding on the keyboard every interval above every note or key, in all its forms. This knowledge must become so familiar that, whatever starting note or key is imagined, its minor or major third, sixth, tritone, perfect, diminished, or augmented fifth, seventh, and so forth can immediately be named and played.", "sources": [ { "pdf_page": 400, "source_image": "source-pages/bnf-400.png", "printed_page": 368, "bbox_pixels": [ 419, 2090, 2171, 677 ], "crop_image": "assets/IV.02-029.png" } ] }, { "id": "IV.02-030", "type": "paragraph", "section": "IV.02", "lesson": 90, "exercise": 90, "reading_order": 2405, "original": "1°. Pour en venir plus facilement à bout, il faut d’abord s’attacher à connoître les Tierces & les Quintes de chaque Touche ; parce que les Quartes & les fausses-Quintes se trouvent entre la Tierce & la Quinte ; les Quintes superflues & les Sixtes se trouveront immediatement au-dessus de la Quinte ; les Septiémes au-dessous de l’Octave ; les Secondes & les Neuviémes au-dessus de la Notte prise pour premier degré, ou au-dessus de son Octave.", "english": "1. To achieve this more easily, first learn the thirds and fifths of each key. Fourths and diminished fifths lie between the third and fifth; augmented fifths and sixths lie immediately above the fifth; sevenths below the octave; seconds and ninths above the note taken as the first degree or above its octave.", "sources": [ { "pdf_page": 400, "source_image": "source-pages/bnf-400.png", "printed_page": 368, "bbox_pixels": [ 419, 2771, 2171, 526 ], "crop_image": "assets/IV.02-030.png" } ] }, { "id": "IV.02-031", "type": "paragraph", "section": "IV.02", "lesson": 90, "exercise": 90, "reading_order": 2406, "original": "2°. Si dans la disposition du Clavier il se trouve des Touches, qui, quoique éloignées d’une Quarte, d’une Quinte & d’une Septiéme, ne forment pas toûjours ces Intervales dans la proportion qui leur est prescrite ; il suffit néanmoins que le nom de la Touche s’y trouve, parce qu’il ne s’agira plus que de mettre à sa place son ♯ ou son ♭ ; Par exemple, la Quinte de Si est Fa ; cependant la quantité des Tons qui composent cette Quinte ne s’y trouvent pas ; il faut donc mettre le ♯ de Fa à la place de ce Fa, & l’on trouve de cette façon la Quinte que l’on cherche. Pareillement si la Quarte de Fa se trouve être Si sur le Clavier, il n’y a qu’à prendre le B-mol de ce Si comme cela se trouvera, en comptant par les Tons qui composent la Quarte, ainsi des autres Intervales.", "english": "2. Some keyboard keys, though a fourth, fifth, or seventh apart by name, do not give those intervals in their prescribed proportions. It is nevertheless enough to find the correct note name; then substitute its sharp or flat. For example, the fifth of B is F, but it lacks the required number of whole tones. Replace F with F♯ to obtain the fifth sought. Similarly, if the fourth of F is B on the keyboard, take B♭, as counting the tones of a fourth will show. The same applies to other intervals.", "sources": [ { "pdf_page": 400, "source_image": "source-pages/bnf-400.png", "printed_page": 368, "bbox_pixels": [ 419, 3300, 2171, 238 ], "crop_image": "assets/IV.02-031.png" }, { "pdf_page": 401, "source_image": "source-pages/bnf-401.png", "printed_page": 369, "bbox_pixels": [ 419, 361, 2171, 670 ], "crop_image": "assets/IV.02-032.png" } ] }, { "id": "IV.02-033", "type": "paragraph", "section": "IV.02", "lesson": 90, "exercise": 90, "reading_order": 2407, "original": "3°. Pour lever toute difficulté, il est bon de sçavoir que dans l’Harmonie il y a deux Consonances immuables, qui sont la Quinte & la Quarte, sans parler de l’Octave ; de sorte que la Touche que l’on se propose étant Dieze ou B-mol, il faut que sa Quinte & sa Quarte soient de même ; ainsi le Fa est censé B-mol, puisqu’en termes de Musique, tous les B-mols s’appellent Fa ; & le Si est censé Dieze, puisque tous les Diezes s’appellent Si.", "english": "3. To remove every difficulty, know that harmony has two immutable consonances, the fifth and fourth, apart from the octave. Thus, if the proposed key is sharp or flat, its fifth and fourth must be likewise. F is therefore reckoned flat, since in musical terminology all flats are called “fa”; B is reckoned sharp, since all sharps are called “si.”", "sources": [ { "pdf_page": 401, "source_image": "source-pages/bnf-401.png", "printed_page": 369, "bbox_pixels": [ 419, 1036, 2171, 526 ], "crop_image": "assets/IV.02-033.png" } ] }, { "id": "IV.02-034", "type": "paragraph", "section": "IV.02", "lesson": 90, "exercise": 90, "reading_order": 2408, "original": "Il y a encore trois Dissonances que l’on peut appeller immuables, qui sont la Septiéme, la Seconde & la Neuviéme, la Septiéme se trouvant naturellement un Ton au-dessous de l’Octave, & la Seconde un Ton au-dessus ; ce qui ne souffre d’exception que dans de certaines occasions, dont il n’est pas encore temps de parler.", "english": "There are also three dissonances that may be called immutable: seventh, second, and ninth. The seventh naturally lies a whole tone below the octave, and the second a whole tone above. Exceptions occur only in certain circumstances not yet appropriate to discuss.", "sources": [ { "pdf_page": 401, "source_image": "source-pages/bnf-401.png", "printed_page": 369, "bbox_pixels": [ 419, 1564, 2171, 445 ], "crop_image": "assets/IV.02-034.png" } ] }, { "id": "IV.02-035", "type": "paragraph", "section": "IV.02", "lesson": 90, "exercise": 90, "reading_order": 2409, "original": "4°. Le nom de la Notte qui doit former un certain Intervale ne change jamais ; Par exemple, si la Tierce majeure de Fa est La, sa Tierce mineure doit être La B-mol, & non pas Sol Dieze ; cette Touche que vous connoissez ordinairement sur le Clavier pour être le Dieze de Sol, perd ce nom en ce cas, & devient le B-mol de La ; car Sol ne peut faire Tierce avec Fa.", "english": "4. The note name required to form a given interval never changes. If F's major third is A, its minor third must be A♭, not G♯. The key ordinarily known as G♯ loses that name here and becomes A♭, for G cannot form a third with F.", "sources": [ { "pdf_page": 401, "source_image": "source-pages/bnf-401.png", "printed_page": 369, "bbox_pixels": [ 419, 2011, 2171, 449 ], "crop_image": "assets/IV.02-035.png" } ] }, { "id": "IV.02-036", "type": "paragraph", "section": "IV.02", "lesson": 90, "exercise": 90, "reading_order": 2410, "original": "Nous tirerons de-là une consequence, que chaque Notte a son Dieze & son B-mol ; ainsi la Tierce majeure de Si doit être Ré Dieze, & non pas Mi B-mol, quoique ce soit la même Touche ; la Tierce majeure de Sol Dieze doit être Si Dieze, & non pas Ut ; la Sixte majeure de Sol Dieze, doit être Mi Dieze, & non pas Fa, ainsi des autres, toutes les Touches du Clavier prenant toûjours le nom des Nottes qui se trouvent naturellement selon l’ordre des nombres qui composent l’Intervale que l’on veut toucher ; De-là vient qu’une Seconde Dieze & une Tierce B-mol se forment des mêmes Touches, ainsi de la 7♭ avec la 6♯ ; de la 5♯ avec la 6♭ ; de la fausse-Quinte avec le Tri-Ton, &c. Par consequent, si le Tri-Ton de Ré est le ♯ de Sol, la fausse-Quinte de ce même Ré sera le ♭ de La, quoique le ♯ de Sol & le ♭ de La ne soient qu’une même Touche ; mais pour ne pas s’y tromper, il n’y a qu’à se souvenir que tout ce qui est Quarte, doit avoir un Intervale de Quarte, comme du Ré au Sol ; & que tout ce qui est Quinte, doit avoir un Intervale de Quinte, comme du Ré au La, ainsi du reste.", "english": "It follows that every note has its sharp and flat. Thus B's major third must be D♯, not E♭, although they are the same key. G♯'s major third must be B♯, not C; its major sixth must be E♯, not F, and so forth. Every keyboard key takes the note name naturally required by the numerical order of the intended interval. Hence an augmented second and minor third use the same keys, as do 7♭ and 6♯, 5♯ and 6♭, diminished fifth and tritone, and so forth. Therefore, if D's tritone is G♯, its diminished fifth is A♭, although G♯ and A♭ are one key. To avoid confusion, remember that every fourth must span a fourth by name, as D to G, and every fifth a fifth, as D to A, and similarly for the rest.", "sources": [ { "pdf_page": 401, "source_image": "source-pages/bnf-401.png", "printed_page": 369, "bbox_pixels": [ 419, 2462, 2171, 1057 ], "crop_image": "assets/IV.02-036.png" }, { "pdf_page": 402, "source_image": "source-pages/bnf-402.png", "printed_page": 370, "bbox_pixels": [ 419, 410, 2171, 226 ], "crop_image": "assets/IV.02-037.png" } ] }, { "id": "IV.02-038", "type": "heading", "section": "IV.02", "lesson": 90, "exercise": 90, "reading_order": 2411, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 402, "source_image": "source-pages/bnf-402.png", "printed_page": 370, "bbox_pixels": [ 419, 636, 2171, 92 ], "crop_image": "assets/IV.02-038.png" } ] }, { "id": "IV.02-039", "type": "music", "section": "IV.02", "lesson": 90, "exercise": 90, "reading_order": 2412, "original": "Mêmes Touches. Idem. Idem. Tri-Ton ou Quarte superfluë ; Fausse-Quinte ; Fausse-Quinte ; Tri-Ton ; Fausse Quinte ; Tri-Ton.", "english": "Same Keys. Likewise. Likewise. Tritone or Augmented Fourth; Diminished Fifth; Diminished Fifth; Tritone; Diminished Fifth; Tritone.", "sources": [ { "pdf_page": 402, "source_image": "source-pages/bnf-402.png", "printed_page": 370, "bbox_pixels": [ 417, 761, 2141, 376 ], "crop_image": "assets/IV.02-039.png" } ], "original_title": "Mêmes Touches. Idem. Idem. Tri-Ton ou Quarte superfluë ; Fausse-Quinte ; Fausse-Quinte ; Tri-Ton ; Fausse Quinte ; Tri-Ton.", "english_title": "Same Keys. Likewise. Likewise. Tritone or Augmented Fourth; Diminished Fifth; Diminished Fifth; Tritone; Diminished Fifth; Tritone.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.02-039" ], "music_asset_refs": [ "IV.02-039" ] }, { "id": "IV.02-040", "type": "music", "section": "IV.02", "lesson": 90, "exercise": 90, "reading_order": 2413, "original": "Mêmes Touches. Idem. Idem. Seconde superfluë ; Tierce mineure ; Septiéme diminuée ; Sixte majeure ; Quinte superfluë ; Sixte mineure.", "english": "Same Keys. Likewise. Likewise. Augmented Second; Minor Third; Diminished Seventh; Major Sixth; Augmented Fifth; Minor Sixth.", "sources": [ { "pdf_page": 402, "source_image": "source-pages/bnf-402.png", "printed_page": 370, "bbox_pixels": [ 411, 1171, 2148, 327 ], "crop_image": "assets/IV.02-040.png" } ], "original_title": "Mêmes Touches. Idem. Idem. Seconde superfluë ; Tierce mineure ; Septiéme diminuée ; Sixte majeure ; Quinte superfluë ; Sixte mineure.", "english_title": "Same Keys. Likewise. Likewise. Augmented Second; Minor Third; Diminished Seventh; Major Sixth; Augmented Fifth; Minor Sixth.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.02-040" ], "music_asset_refs": [ "IV.02-040" ] }, { "id": "IV.02-041", "type": "paragraph", "section": "IV.02", "lesson": 90, "exercise": 90, "reading_order": 2414, "original": "Pour trouver facilement un Intervale diminué, il faut choisir pour premier degré une Touche qui soit plûtôt Dieze que B-mol, & faire le contraire pour trouver un Intervale superflu.", "english": "To find a diminished interval easily, choose a sharp rather than flat key as the first degree; do the reverse to find an augmented interval.", "sources": [ { "pdf_page": 402, "source_image": "source-pages/bnf-402.png", "printed_page": 370, "bbox_pixels": [ 419, 1525, 2171, 228 ], "crop_image": "assets/IV.02-041.png" } ] }, { "id": "IV.02-042", "type": "paragraph", "section": "IV.02", "lesson": 90, "exercise": 90, "reading_order": 2415, "original": "La fausse-Quinte & le Tri-Ton divisent l’Octave en deux parties égales, (selon la pratique) comme on peut le voir par l’Exemple suivant.", "english": "The diminished fifth and tritone divide the octave into two equal parts in practice, as the following example shows.", "sources": [ { "pdf_page": 402, "source_image": "source-pages/bnf-402.png", "printed_page": 370, "bbox_pixels": [ 419, 1755, 2171, 228 ], "crop_image": "assets/IV.02-042.png" } ] }, { "id": "IV.02-043", "type": "music", "section": "IV.02", "lesson": 90, "exercise": 90, "reading_order": 2416, "original": "Fausse-Quinte. Tri-Ton.", "english": "Diminished Fifth. Tritone.", "sources": [ { "pdf_page": 402, "source_image": "source-pages/bnf-402.png", "printed_page": 370, "bbox_pixels": [ 424, 1974, 2143, 238 ], "crop_image": "assets/IV.02-043.png" } ], "original_title": "Fausse-Quinte. Tri-Ton.", "english_title": "Diminished Fifth. Tritone.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.02-043" ], "music_asset_refs": [ "IV.02-043" ] }, { "id": "IV.02-044", "type": "paragraph", "section": "IV.02", "lesson": 90, "exercise": 90, "reading_order": 2417, "original": "Cela doit vous servir à trouver l’un de ces Intervales, quand vous avez trouvé l’autre, n’y ayant qu’à prendre indifferemment pour premier degré l’une des Touches qui forment l’un de ces deux Intervales.", "english": "This helps find either interval once the other is known: simply take either key forming one of the intervals as the first degree.", "sources": [ { "pdf_page": 402, "source_image": "source-pages/bnf-402.png", "printed_page": 370, "bbox_pixels": [ 419, 2239, 2171, 301 ], "crop_image": "assets/IV.02-044.png" } ] }, { "id": "IV.02-045", "type": "paragraph", "section": "IV.02", "lesson": 90, "exercise": 90, "reading_order": 2418, "original": "L’on trouve un pareil rapport entre la Tierce majeure & la Sixte mineure.", "english": "A similar relationship holds between the major third and minor sixth.", "sources": [ { "pdf_page": 402, "source_image": "source-pages/bnf-402.png", "printed_page": 370, "bbox_pixels": [ 419, 2542, 2171, 148 ], "crop_image": "assets/IV.02-045.png" } ] }, { "id": "IV.02-046", "type": "paragraph", "section": "IV.02", "lesson": 90, "exercise": 90, "reading_order": 2419, "original": "Entre la Tierce mineure & la Sixte majeure.\nEntre la Quarte & la Quinte.\nEntre la Seconde & la Septiéme.\nEt entre la Seconde superfluë & la Septiéme diminuée.", "english": "Between the minor third and major sixth.\nBetween the fourth and fifth.\nBetween the second and seventh.\nAnd between the augmented second and diminished seventh.", "sources": [ { "pdf_page": 402, "source_image": "source-pages/bnf-402.png", "printed_page": 370, "bbox_pixels": [ 419, 2690, 2171, 312 ], "crop_image": "assets/IV.02-046.png" } ], "format": "preformatted" }, { "id": "IV.02-047", "type": "heading", "section": "IV.02", "lesson": 90, "exercise": 90, "reading_order": 2420, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 402, "source_image": "source-pages/bnf-402.png", "printed_page": 370, "bbox_pixels": [ 419, 3040, 2171, 92 ], "crop_image": "assets/IV.02-047.png" } ] }, { "id": "IV.02-048", "type": "music", "section": "IV.02", "lesson": 90, "exercise": 90, "reading_order": 2421, "original": "Tierce majeure ; Sixte mineure ; Tierce mineure ; Sixte majeure ; Quarte ; Quinte ; Seconde ; Septiéme ; Seconde superfluë ; Septiéme diminuée.", "english": "Major Third; Minor Sixth; Minor Third; Major Sixth; Fourth; Fifth; Second; Seventh; Augmented Second; Diminished Seventh.", "sources": [ { "pdf_page": 402, "source_image": "source-pages/bnf-402.png", "printed_page": 370, "bbox_pixels": [ 449, 3152, 2116, 305 ], "crop_image": "assets/IV.02-048.png" } ], "original_title": "Tierce majeure ; Sixte mineure ; Tierce mineure ; Sixte majeure ; Quarte ; Quinte ; Seconde ; Septiéme ; Seconde superfluë ; Septiéme diminuée.", "english_title": "Major Third; Minor Sixth; Minor Third; Major Sixth; Fourth; Fifth; Second; Seventh; Augmented Second; Diminished Seventh.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.02-048" ], "music_asset_refs": [ "IV.02-048" ] }, { "id": "IV.02-049", "type": "paragraph", "section": "IV.02", "lesson": 90, "exercise": 90, "reading_order": 2422, "original": "Remarquez donc bien qu’après avoir trouvé un Intervale quelconque, il n’y qu’à porter à son Octave au-dessus la Touche qui aura servi de premier degré, pour trouver l’autre Intervale qui s’y rapporte ; & la connoissance de tout ce qui vient d’être dit, vous doit être bien familiere, avant que de passer outre.", "english": "Observe carefully: once any interval has been found, raise the key serving as its first degree to the octave above to find the related interval. All that has been explained must be thoroughly familiar before proceeding.", "sources": [ { "pdf_page": 402, "source_image": "source-pages/bnf-402.png", "printed_page": 370, "bbox_pixels": [ 419, 3472, 2171, 103 ], "crop_image": "assets/IV.02-049.png" }, { "pdf_page": 403, "source_image": "source-pages/bnf-403.png", "printed_page": 371, "bbox_pixels": [ 419, 363, 2171, 305 ], "crop_image": "assets/IV.02-050.png" } ] }, { "id": "IV.03-001", "type": "heading", "section": "IV.03", "lesson": 91, "exercise": 91, "reading_order": 2423, "original": "CHAPITRE TROISIÉME.", "english": "CHAPTER III.", "sources": [ { "pdf_page": 403, "source_image": "source-pages/bnf-403.png", "printed_page": 371, "bbox_pixels": [ 419, 812, 2171, 92 ], "crop_image": "assets/IV.03-001.png" } ] }, { "id": "IV.03-002", "type": "heading", "section": "IV.03", "lesson": 91, "exercise": 91, "reading_order": 2424, "original": "De la Position de la Main, & de l’Arrangement des Doigts.", "english": "On hand position and the arrangement of the fingers.", "sources": [ { "pdf_page": 403, "source_image": "source-pages/bnf-403.png", "printed_page": 371, "bbox_pixels": [ 419, 952, 2171, 99 ], "crop_image": "assets/IV.03-002.png" } ] }, { "id": "IV.03-003", "type": "paragraph", "section": "IV.03", "lesson": 91, "exercise": 91, "reading_order": 2425, "original": "CE que nous avons appellé premier degré ou Son fondamental, est ce qu’on appelle Basse dans la pratique ; & cette Basse se touche de la main gauche, pendant que les Intervales que l’on compare à cette Basse, se touchent de la main droite. Comme on touche ordinairement trois ou quatre de ces Intervales ensemble, nous n’en parlerons plus que sous le nom d’Accord ; ainsi ce que nous appellerons Accord dans la suite, devra être toûjours touché de la main droite.", "english": "What we have called the first degree or fundamental sound is called the bass in practice. It is played by the left hand, while the intervals reckoned against it are played by the right. Since three or four of these intervals are usually played together, we shall henceforth refer to them only as a chord. Thus, whatever we call a chord in what follows is always to be played by the right hand.", "sources": [ { "pdf_page": 403, "source_image": "source-pages/bnf-403.png", "printed_page": 371, "bbox_pixels": [ 419, 1121, 2171, 604 ], "crop_image": "assets/IV.03-003.png" } ] }, { "id": "IV.03-004", "type": "paragraph", "section": "IV.03", "lesson": 91, "exercise": 91, "reading_order": 2426, "original": "1°. L’on ne touche de la main gauche qu’une Notte l’une après l’autre, & il faut bien observer que les doigts passent les uns après les autres, en évitant qu’un même doigt touche des Nottes differentes de suite ; l’on suivra, pour cet effet, l’arrangement des doigts, que nous avons eu soin de marquer avec des chiffres.", "english": "1°. The left hand plays only one note after another. Take care that the fingers follow one another, avoiding the use of the same finger for successive different notes. To this end, follow the fingering that we have carefully indicated with numbers.", "sources": [ { "pdf_page": 403, "source_image": "source-pages/bnf-403.png", "printed_page": 371, "bbox_pixels": [ 419, 1729, 2171, 367 ], "crop_image": "assets/IV.03-004.png" } ] }, { "id": "IV.03-005", "type": "paragraph", "section": "IV.03", "lesson": 91, "exercise": 91, "reading_order": 2427, "original": "2°. L’on ne doit jamais se servir du pouce de la main droite, qu’en certaines occasions, dont nous parlerons dans la suite ; car lorsque nous y sommes obligez par rapport à la petitesse de la main, cela retarde beaucoup l’habitude, qui est aussi necessaire dans la Pratique, que la Science.", "english": "2°. Never use the right-hand thumb except on certain occasions to be discussed later. When the smallness of the hand forces us to use it, this greatly delays the acquisition of habit, which is as necessary in practice as knowledge.", "sources": [ { "pdf_page": 403, "source_image": "source-pages/bnf-403.png", "printed_page": 371, "bbox_pixels": [ 419, 2099, 2171, 376 ], "crop_image": "assets/IV.03-005.png" } ] }, { "id": "IV.03-006", "type": "paragraph", "section": "IV.03", "lesson": 91, "exercise": 91, "reading_order": 2428, "original": "3°. L’on touche au moins trois Nottes ensemble de la main droite ; il faut remarquer que le second doigt touche toûjours la Notte d’en-bas, & le petit doigt celle d’en-haut, le troisiéme & le quatriéme doigt servant alternativement pour la Notte du milieu, en quoi il faut observer absolument la Position que nous avons marqué avec les chiffres mis à côté des Nottes, le pouce y étant representé par le chiffre 1. le doigt qui le joint par le chiffre 2. & ainsi de suite jusqu’au petit doigt, qui est representé par le chiffre 5.", "english": "3°. Play at least three notes together with the right hand. The second finger always plays the lowest note and the little finger the highest. The third and fourth fingers alternate for the middle note. In this, follow exactly the position shown by the numbers beside the notes: the thumb is represented by 1, the adjacent finger by 2, and so on up to the little finger, represented by 5.", "sources": [ { "pdf_page": 403, "source_image": "source-pages/bnf-403.png", "printed_page": 371, "bbox_pixels": [ 419, 2477, 2171, 593 ], "crop_image": "assets/IV.03-006.png" } ] }, { "id": "IV.03-007", "type": "paragraph", "section": "IV.03", "lesson": 91, "exercise": 91, "reading_order": 2429, "original": "4°. Il faut que ce soit les doigts qui frappent l’Accord, & non pas la main, c’est-à-dire, qu’il faut que le mouvement des doigts soit independant de celui de la main, en remarquant que ce mouvement se prend à la jointure qui détache les doigts de la main.", "english": "4°. The fingers, not the hand, must strike the chord. That is, the fingers must move independently of the hand, with their movement originating at the joint that separates them from the hand.", "sources": [ { "pdf_page": 403, "source_image": "source-pages/bnf-403.png", "printed_page": 371, "bbox_pixels": [ 419, 3072, 2171, 296 ], "crop_image": "assets/IV.03-007.png" } ] }, { "id": "IV.03-008", "type": "paragraph", "section": "IV.03", "lesson": 91, "exercise": 91, "reading_order": 2430, "original": "5°. Il faut que le doigt qui frappe le premier, parte toûjours avec la Basse, & que les autres se suivent, de façon qu’il semble que le tout soit ensemble ; quoique cela doive former une espece d’Harpegement, comme quand on fait passer trois ou quatre triples Croches l’une après l’autre avec vîtesse.", "english": "5°. The finger that strikes first must always begin with the bass. The others follow so that the whole seems simultaneous, although it should form a kind of arpeggiation, like three or four thirty-second notes played rapidly one after another.", "sources": [ { "pdf_page": 403, "source_image": "source-pages/bnf-403.png", "printed_page": 371, "bbox_pixels": [ 419, 3369, 2171, 153 ], "crop_image": "assets/IV.03-008.png" }, { "pdf_page": 404, "source_image": "source-pages/bnf-404.png", "printed_page": 372, "bbox_pixels": [ 419, 393, 2171, 228 ], "crop_image": "assets/IV.03-009.png" } ] }, { "id": "IV.03-010", "type": "paragraph", "section": "IV.03", "lesson": 91, "exercise": 91, "reading_order": 2431, "original": "6°. Il ne faut jamais lever tous les doigts ensemble, excepté dans des changemens si prompts, qu’on ne puisse mieux faire. Le doigt qui frappe le premier se leve seul, ou pour mieux dire, se coule d’une Touche à l’autre, en partant avec la Basse, & les autres le suivent immediatement, comme il a été deja dit ; si bien que les doigts ne doivent jamais demeurer en l’air ; s’ils quittent une Touche, ce doit être pour en toucher une autre dans le même moment, en sorte que le mouvement du lever & du toucher ne fasse qu’un temps, sans qu’on puisse s’appercevoir d’aucun intervale de temps entre ce lever & ce toucher.", "english": "6°. Never lift all the fingers together, except in changes so rapid that nothing better is possible. The finger that strikes first lifts alone—or rather, glides from one key to another—beginning with the bass. The others immediately follow, as already stated. Thus the fingers should never remain in the air. If they leave one key, it must be to touch another at the same instant, so that releasing and striking make a single movement, with no perceptible interval of time between them.", "sources": [ { "pdf_page": 404, "source_image": "source-pages/bnf-404.png", "printed_page": 372, "bbox_pixels": [ 419, 623, 2171, 743 ], "crop_image": "assets/IV.03-010.png" } ] }, { "id": "IV.03-011", "type": "paragraph", "section": "IV.03", "lesson": 91, "exercise": 91, "reading_order": 2432, "original": "7°. Il faut laisser prendre aux doigts leur mouvement naturel, sans jamais se forcer ; ainsi la vîtesse s’acquiert par la bonne habitude, & non pas en forçant.", "english": "7°. Allow the fingers their natural movement, without ever forcing them. Speed is acquired through good habit, not through force.", "sources": [ { "pdf_page": 404, "source_image": "source-pages/bnf-404.png", "printed_page": 372, "bbox_pixels": [ 419, 1369, 2171, 223 ], "crop_image": "assets/IV.03-011.png" } ] }, { "id": "IV.03-012", "type": "paragraph", "section": "IV.03", "lesson": 91, "exercise": 91, "reading_order": 2433, "original": "Ces remarques sont essentielles : les Accords ont tant de rapport entre-eux, que les doigts prennent l’habitude de s’approcher ou de s’éloigner, selon la suite de ces Accords, qui est presque toûjours la même ; & outre que l’Accompagnement est bien plus gracieux de cette maniere, c’est que la perfection s’acquiert encore plus vîte ; car si on levoit la main à chaque Accord, l’on seroit obligé de quitter souvent la vuë de dessus le Livre, pour chercher un Accord que les doigts auroient trouvé d’eux-mêmes, s’ils n’eussent point quitté le Clavier.", "english": "These observations are essential. Chords are so closely related that the fingers acquire the habit of moving closer together or farther apart according to the succession of chords, which is almost always the same. Besides making the accompaniment much more graceful, this also brings mastery more quickly. If you lifted the hand for every chord, you would often have to look away from the book to find a chord that the fingers would have found by themselves had they not left the keyboard.", "sources": [ { "pdf_page": 404, "source_image": "source-pages/bnf-404.png", "printed_page": 372, "bbox_pixels": [ 419, 1594, 2171, 668 ], "crop_image": "assets/IV.03-012.png" } ] }, { "id": "IV.03-013", "type": "paragraph", "section": "IV.03", "lesson": 91, "exercise": 91, "reading_order": 2434, "original": "Cette Position de la main, qui regarde principalement le Clavecin, ne souffre d’exception pour l’Orgue, qu’en ce que les Nottes de chaque Accord doivent y être touchées ensemble ; qu’il ne faut jamais quitter une Touche, qui après avoir servi à un Accord, peut encore servir à celui qui suit, & que les Sons doivent y être liez, autant que cela se peut.", "english": "This hand position, which concerns the harpsichord chiefly, has only these exceptions for the organ: all the notes of each chord must be struck together; a key that has served one chord and can still serve the next must never be released; and the sounds should be connected as far as possible.", "sources": [ { "pdf_page": 404, "source_image": "source-pages/bnf-404.png", "printed_page": 372, "bbox_pixels": [ 419, 2262, 2171, 451 ], "crop_image": "assets/IV.03-013.png" } ] }, { "id": "IV.04-001", "type": "heading", "section": "IV.04", "lesson": 92, "exercise": 92, "reading_order": 2435, "original": "CHAPITRE QUATRIÉME.", "english": "CHAPTER FOUR.", "sources": [ { "pdf_page": 404, "source_image": "source-pages/bnf-404.png", "printed_page": 372, "bbox_pixels": [ 419, 2860, 2171, 97 ], "crop_image": "assets/IV.04-001.png" } ] }, { "id": "IV.04-002", "type": "heading", "section": "IV.04", "lesson": 92, "exercise": 92, "reading_order": 2436, "original": "De la maniere de trouver les Accords sur le Clavier.", "english": "How to Find Chords on the Keyboard.", "sources": [ { "pdf_page": 404, "source_image": "source-pages/bnf-404.png", "printed_page": 372, "bbox_pixels": [ 419, 2999, 2171, 99 ], "crop_image": "assets/IV.04-002.png" } ] }, { "id": "IV.04-003", "type": "paragraph", "section": "IV.04", "lesson": 92, "exercise": 92, "reading_order": 2437, "original": "NOus commencerons par donner une Table des Accords, où les chiffres qui servent à marquer les Intervales, doivent servir encore à nous faire souvenir de la Composition de chaque Accord ; car dans l’Accompagnement un seul chiffre dénote presque toûjours un Accord composé de trois, de quatre, ou de cinq Sons ; Ainsi, vous devez avoir très-presens à l’esprit les Intervales qui doivent accompagner chaque chiffres, afin que vous puissiez concevoir la construction d’un Accord aussi-tôt que le chiffre qui le dénote se presente à l’œil ; Par exemple, si l’on vous demandoit, de quoi s’accompagne la Septiéme ? il faudroit répondre sur le champ, de la Tierce & de la Quinte, ainsi de tous les autres, dont nous allons donner le détail.", "english": "We shall begin with a table of chords, in which the figures marking intervals must also remind us of each chord's composition. In accompaniment a single figure almost always denotes a chord of three, four, or five sounds. Keep clearly in mind the intervals accompanying each figure, so that you can conceive a chord's construction as soon as its figure appears. For example, if asked what accompanies the seventh, you should answer immediately: the third and fifth. The same applies to every other chord, detailed below.", "sources": [ { "pdf_page": 404, "source_image": "source-pages/bnf-404.png", "printed_page": 372, "bbox_pixels": [ 419, 3165, 2171, 387 ], "crop_image": "assets/IV.04-003.png" }, { "pdf_page": 405, "source_image": "source-pages/bnf-405.png", "printed_page": 373, "bbox_pixels": [ 376, 335, 2214, 529 ], "crop_image": "assets/IV.04-004.png" } ] }, { "id": "IV.04-005", "type": "heading", "section": "IV.04", "lesson": 92, "exercise": 92, "reading_order": 2438, "original": "Dénombrement des Accords les plus necessaires.", "english": "List of the Most Necessary Chords.", "sources": [ { "pdf_page": 405, "source_image": "source-pages/bnf-405.png", "printed_page": 373, "bbox_pixels": [ 419, 926, 2171, 95 ], "crop_image": "assets/IV.04-005.png" } ] }, { "id": "IV.04-006", "type": "image", "section": "IV.04", "lesson": 92, "exercise": 92, "reading_order": 2439, "original": "[Sans chiffre] L’Accord parfait ne se chiffre pas ordinairement, il est composé de : 3. 5. 8.\n6. L’Accord de la Sixte s’accompagne de : 3. 8.\n6/4. Autre Accord de Sixte, qu’on nomme Sixte-quarte, & qui s’accompagne de : 8.\n6. Autre Accord de Sixte, qu’on nomme petite Sixte, & qui s’accompagne de : 3. 4.\n6/5. Autre Accord de Sixte, qu’on nomme grande Sixte, & qui s’accompagne de : 3.\n7. L’Accord de la Septiéme s’accomp. de : 3. 5.\n4. L’Accord de la Quarte s’accomp. de : 5. 8.\n2. L’Accord de la Seconde s’accomp. de : 4. 6.\n4♯, ou 4. L’Accord du Tri-Ton s’accomp. de : 2. 6.\n5/, ou 5♭. L’Accord de la fausse-Quinte s’accomp. de : 3. 6.", "english": "[No figure] The perfect chord is usually unfigured. It contains: 3. 5. 8.\n6. The sixth chord is accompanied by: 3. 8.\n6/4. Another sixth chord, called sixth–fourth, accompanied by: 8.\n6. Another sixth chord, called small sixth, accompanied by: 3. 4.\n6/5. Another sixth chord, called great sixth, accompanied by: 3.\n7. The seventh chord is accompanied by: 3. 5.\n4. The fourth chord is accompanied by: 5. 8.\n2. The second chord is accompanied by: 4. 6.\n4♯, or 4. The tritone chord is accompanied by: 2. 6.\n5/, or 5♭. The diminished-fifth chord is accompanied by: 3. 6.", "sources": [ { "pdf_page": 405, "source_image": "source-pages/bnf-405.png", "printed_page": 373, "bbox_pixels": [ 383, 1083, 2208, 1081 ], "crop_image": "assets/IV.04-006.png" } ], "original_title": "Dénombrement des Accords les plus necessaires", "english_title": "List of the Most Necessary Chords", "format": "preformatted", "asset_refs": [ "IV.04-006" ] }, { "id": "IV.04-007", "type": "paragraph", "section": "IV.04", "lesson": 92, "exercise": 92, "reading_order": 2440, "original": "Les chiffres marquent les principaux Intervales de l’Accord, & ceux qui doivent les accompagner ne se marquent presque jamais, de sorte qu’il faut donc s’en ressouvenir.", "english": "The figures mark a chord's principal intervals. Those accompanying them are almost never written, so they must be remembered.", "sources": [ { "pdf_page": 405, "source_image": "source-pages/bnf-405.png", "printed_page": 373, "bbox_pixels": [ 383, 2215, 2208, 234 ], "crop_image": "assets/IV.04-007.png" } ] }, { "id": "IV.04-008", "type": "paragraph", "section": "IV.04", "lesson": 92, "exercise": 92, "reading_order": 2441, "original": "Le ♯ seul signifie que la Tierce doit être majeure, & le ♭ seul signifie qu’elle doit être mineure ; s’ils sont seuls au-dessus ou au-dessous d’une Notte, ils servent à marquer l’Accord parfait, dont la Tierce doit être telle que ces signes la representent.", "english": "A ♯ alone means the third must be major; a ♭ alone means it must be minor. Standing alone above or below a note, these signs indicate a perfect chord whose third has the quality they specify.", "sources": [ { "pdf_page": 405, "source_image": "source-pages/bnf-405.png", "printed_page": 373, "bbox_pixels": [ 383, 2449, 2208, 296 ], "crop_image": "assets/IV.04-008.png" } ] }, { "id": "IV.04-009", "type": "paragraph", "section": "IV.04", "lesson": 92, "exercise": 92, "reading_order": 2442, "original": "Si le ♯ est joint à quelques chiffres, il en augmente l’Intervale d’un semi-Ton, & le ♭ le diminuë de même.", "english": "A ♯ attached to a figure enlarges its interval by a semitone; a ♭ reduces it by the same amount.", "sources": [ { "pdf_page": 405, "source_image": "source-pages/bnf-405.png", "printed_page": 373, "bbox_pixels": [ 383, 2748, 2208, 142 ], "crop_image": "assets/IV.04-009.png" } ] }, { "id": "IV.04-010", "type": "paragraph", "section": "IV.04", "lesson": 92, "exercise": 92, "reading_order": 2443, "original": "Deux ou plusieurs chiffres au-dessus l’un de l’autre, servent à un même Accord ; mais quand ils sont à la suite l’un de l’autre, ils marquent autant d’Accords differens.", "english": "Two or more figures placed vertically belong to one chord; figures placed successively indicate as many different chords.", "sources": [ { "pdf_page": 405, "source_image": "source-pages/bnf-405.png", "printed_page": 373, "bbox_pixels": [ 383, 2894, 2208, 228 ], "crop_image": "assets/IV.04-010.png" } ] }, { "id": "IV.04-011", "type": "paragraph", "section": "IV.04", "lesson": 92, "exercise": 92, "reading_order": 2444, "original": "Tournez, pour en voir l’Exemple.", "english": "Turn the page for the example.", "sources": [ { "pdf_page": 405, "source_image": "source-pages/bnf-405.png", "printed_page": 373, "bbox_pixels": [ 419, 3392, 2171, 90 ], "crop_image": "assets/IV.04-011.png" } ] }, { "id": "IV.04-012", "type": "heading", "section": "IV.04", "lesson": 92, "exercise": 92, "reading_order": 2445, "original": "Exemple de l’Accord parfait, & de la Maniere d’arranger les doigts.", "english": "Example of the Perfect Chord and the Arrangement of the Fingers.", "sources": [ { "pdf_page": 406, "source_image": "source-pages/bnf-406.png", "printed_page": 374, "bbox_pixels": [ 419, 380, 2171, 174 ], "crop_image": "assets/IV.04-012.png" } ] }, { "id": "IV.04-013", "type": "music", "section": "IV.04", "lesson": 92, "exercise": 92, "reading_order": 2446, "original": "Accord parfait ; positions successives et doigtés.", "english": "Perfect Chord: Successive Positions and Fingerings.", "sources": [ { "pdf_page": 406, "source_image": "source-pages/bnf-406.png", "printed_page": 374, "bbox_pixels": [ 372, 623, 2085, 664 ], "crop_image": "assets/IV.04-013.png" } ], "original_title": "Accord parfait ; positions successives et doigtés.", "english_title": "Perfect Chord: Successive Positions and Fingerings.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.04-013" ], "music_asset_refs": [ "IV.04-013" ] }, { "id": "IV.04-014", "type": "music", "section": "IV.04", "lesson": 92, "exercise": 92, "reading_order": 2447, "original": "Accord parfait ; quatre groupes de positions transposées.", "english": "Perfect Chord: Four Groups of Transposed Positions.", "sources": [ { "pdf_page": 406, "source_image": "source-pages/bnf-406.png", "printed_page": 374, "bbox_pixels": [ 374, 1399, 2081, 660 ], "crop_image": "assets/IV.04-014.png" } ], "original_title": "Accord parfait ; quatre groupes de positions transposées.", "english_title": "Perfect Chord: Four Groups of Transposed Positions.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.04-014" ], "music_asset_refs": [ "IV.04-014" ] }, { "id": "IV.04-015", "type": "music", "section": "IV.04", "lesson": 92, "exercise": 92, "reading_order": 2448, "original": "Accord parfait ; cinq groupes de positions transposées.", "english": "Perfect Chord: Five Groups of Transposed Positions.", "sources": [ { "pdf_page": 406, "source_image": "source-pages/bnf-406.png", "printed_page": 374, "bbox_pixels": [ 378, 2166, 2083, 651 ], "crop_image": "assets/IV.04-015.png" } ], "original_title": "Accord parfait ; cinq groupes de positions transposées.", "english_title": "Perfect Chord: Five Groups of Transposed Positions.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.04-015" ], "music_asset_refs": [ "IV.04-015" ] }, { "id": "IV.04-016", "type": "music", "section": "IV.04", "lesson": 92, "exercise": 92, "reading_order": 2449, "original": "Accord parfait ; cinq groupes de positions transposées.", "english": "Perfect Chord: Five Groups of Transposed Positions.", "sources": [ { "pdf_page": 406, "source_image": "source-pages/bnf-406.png", "printed_page": 374, "bbox_pixels": [ 372, 2909, 2088, 672 ], "crop_image": "assets/IV.04-016.png" } ], "original_title": "Accord parfait ; cinq groupes de positions transposées.", "english_title": "Perfect Chord: Five Groups of Transposed Positions.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.04-016" ], "music_asset_refs": [ "IV.04-016" ] }, { "id": "IV.04-017", "type": "music", "section": "IV.04", "lesson": 92, "exercise": 92, "reading_order": 2450, "original": "Suite des positions de l’Accord parfait ; trois groupes.", "english": "Further Perfect-Chord Positions: Three Groups.", "sources": [ { "pdf_page": 407, "source_image": "source-pages/bnf-407.png", "printed_page": 375, "bbox_pixels": [ 428, 432, 2146, 608 ], "crop_image": "assets/IV.04-017.png" } ], "original_title": "Suite des positions de l’Accord parfait ; trois groupes.", "english_title": "Further Perfect-Chord Positions: Three Groups.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.04-017" ], "music_asset_refs": [ "IV.04-017" ] }, { "id": "IV.04-018", "type": "music", "section": "IV.04", "lesson": 92, "exercise": 92, "reading_order": 2451, "original": "Suite des positions de l’Accord parfait ; trois groupes.", "english": "Further Perfect-Chord Positions: Three Groups.", "sources": [ { "pdf_page": 407, "source_image": "source-pages/bnf-407.png", "printed_page": 375, "bbox_pixels": [ 428, 1156, 2152, 621 ], "crop_image": "assets/IV.04-018.png" } ], "original_title": "Suite des positions de l’Accord parfait ; trois groupes.", "english_title": "Further Perfect-Chord Positions: Three Groups.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.04-018" ], "music_asset_refs": [ "IV.04-018" ] }, { "id": "IV.04-019", "type": "music", "section": "IV.04", "lesson": 92, "exercise": 92, "reading_order": 2452, "original": "Suite des positions de l’Accord parfait ; deux groupes.", "english": "Further Perfect-Chord Positions: Two Groups.", "sources": [ { "pdf_page": 407, "source_image": "source-pages/bnf-407.png", "printed_page": 375, "bbox_pixels": [ 428, 1897, 2156, 627 ], "crop_image": "assets/IV.04-019.png" } ], "original_title": "Suite des positions de l’Accord parfait ; deux groupes.", "english_title": "Further Perfect-Chord Positions: Two Groups.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.04-019" ], "music_asset_refs": [ "IV.04-019" ] }, { "id": "IV.04-020", "type": "paragraph", "section": "IV.04", "lesson": 92, "exercise": 92, "reading_order": 2453, "original": "Comme le second doigt & le cinquiéme occupent toûjours les extremitez de chaque Accord, nous nous sommes contentez de marquer seulement les doigts du milieu, ce que nous observerons par tout, excepté aux endroits où le pouce doit prendre la place du second doigt. Au reste, l’arrangement des trois premiers Accords doit servir pour tous les autres ; & l’on doit se ressouvenir que le chiffre 1. marque le pouce, ainsi 2. 3. 4. & 5. en continuant jusqu’au petit doigt.", "english": "Since the second and fifth fingers always occupy the outer positions of each chord, we have marked only the middle fingers. We shall do so throughout, except where the thumb replaces the second finger. The arrangement of the first three chords applies to all the others. Remember that 1 means the thumb, and 2, 3, 4, 5 continue in order to the little finger.", "sources": [ { "pdf_page": 407, "source_image": "source-pages/bnf-407.png", "printed_page": 375, "bbox_pixels": [ 419, 2578, 2171, 602 ], "crop_image": "assets/IV.04-020.png" } ] }, { "id": "IV.04-021", "type": "paragraph", "section": "IV.04", "lesson": 92, "exercise": 92, "reading_order": 2454, "original": "Avant que de passer outre, il faut pouvoir promener chacun de ces Accords parfaits par tout le Clavier, tant en montant qu’en descendant, comme nous l’avons marqué sur l’Octave d’Ut, faisant en sorte que chaque Accord soit harpegé également d’un bout du Clavier à l’autre, comme si toutes les Nottes en étoient égales ; Si bien que le mouvement du doigt qui recommence un Accord, ne soit ni plus vif, ni plus lent que celui du doigt par lequel a fini l’Accord précédent.", "english": "Before proceeding, be able to move each perfect chord across the entire keyboard, ascending and descending as shown over the octave of C. Arpeggiate every chord evenly from one end of the keyboard to the other, as though all the notes were equal. The finger beginning a new chord must move neither faster nor slower than the finger ending the preceding chord.", "sources": [ { "pdf_page": 407, "source_image": "source-pages/bnf-407.png", "printed_page": 375, "bbox_pixels": [ 419, 3180, 2171, 382 ], "crop_image": "assets/IV.04-021.png" }, { "pdf_page": 408, "source_image": "source-pages/bnf-408.png", "printed_page": 376, "bbox_pixels": [ 419, 374, 2171, 223 ], "crop_image": "assets/IV.04-022.png" } ] }, { "id": "IV.04-023", "type": "paragraph", "section": "IV.04", "lesson": 92, "exercise": 92, "reading_order": 2455, "original": "Lorsque les Accords vont en montant, il faut les commencer du second doigt ; & lorsqu’ils vont en descendant, il faut les commencer du cinquiéme doigt ; mais lorsqu’on accompagne, il faut les commencer toûjours du second doigt, ou du pouce, au cas que l’on soit obligé de se servir du pouce.", "english": "When chords ascend, begin with the second finger; when they descend, begin with the fifth. In accompaniment, however, always begin with the second finger, or with the thumb if its use is required.", "sources": [ { "pdf_page": 408, "source_image": "source-pages/bnf-408.png", "printed_page": 376, "bbox_pixels": [ 419, 602, 2171, 385 ], "crop_image": "assets/IV.04-023.png" } ] }, { "id": "IV.04-024", "type": "heading", "section": "IV.04", "lesson": 92, "exercise": 92, "reading_order": 2456, "original": "Exemple de l’Accord de la Sixte, qui s’accompagne de la Tierce & de l’Octave.", "english": "Example of the Sixth Chord, Accompanied by the Third and Octave.", "sources": [ { "pdf_page": 408, "source_image": "source-pages/bnf-408.png", "printed_page": 376, "bbox_pixels": [ 419, 1003, 2171, 153 ], "crop_image": "assets/IV.04-024.png" } ] }, { "id": "IV.04-025", "type": "music", "section": "IV.04", "lesson": 92, "exercise": 92, "reading_order": 2457, "original": "Main droite : Accords. Main gauche : Basse. Sixte ; deux positions possibles de la Basse.", "english": "Right Hand: Chords. Left Hand: Bass. Sixth Chord; Two Possible Bass Positions.", "sources": [ { "pdf_page": 408, "source_image": "source-pages/bnf-408.png", "printed_page": 376, "bbox_pixels": [ 391, 1164, 774, 653 ], "crop_image": "assets/IV.04-025.png" } ], "original_title": "Main droite : Accords. Main gauche : Basse. Sixte ; deux positions possibles de la Basse.", "english_title": "Right Hand: Chords. Left Hand: Bass. Sixth Chord; Two Possible Bass Positions.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.04-025" ], "music_asset_refs": [ "IV.04-025" ] }, { "id": "IV.04-026", "type": "paragraph", "section": "IV.04", "lesson": 92, "exercise": 92, "reading_order": 2458, "original": "Pour trouver facilement un Accord de Sixte, il n’y a qu’à toucher le Parfait d’une Notte quelconque ; & sans changer l’Accord, l’on porte la Notte de la Basse une Tierce plus haut, ou une Sixte plus bas, ce qui est la même chose, de sorte que cet Accord parfait de la premiere Notte, forme celui de la Sixte de la Notte changée à la Basse, comme cela paroît dans l’Exemple.", "english": "To find a sixth chord easily, play the perfect chord of any note. Without changing that chord, move the bass note a third higher or a sixth lower, which amounts to the same thing. The first note's perfect chord then forms a sixth chord above the changed bass, as the example shows.", "sources": [ { "pdf_page": 408, "source_image": "source-pages/bnf-408.png", "printed_page": 376, "bbox_pixels": [ 419, 1238, 2171, 670 ], "crop_image": "assets/IV.04-026.png" } ] }, { "id": "IV.04-027", "type": "heading", "section": "IV.04", "lesson": 92, "exercise": 92, "reading_order": 2459, "original": "Exemple de l’Accord de Sixte-quarte, qui s’accompagne de l’Octave.", "english": "Example of the Sixth–Fourth Chord, Accompanied by the Octave.", "sources": [ { "pdf_page": 408, "source_image": "source-pages/bnf-408.png", "printed_page": 376, "bbox_pixels": [ 419, 1921, 2171, 88 ], "crop_image": "assets/IV.04-027.png" } ] }, { "id": "IV.04-028", "type": "music", "section": "IV.04", "lesson": 92, "exercise": 92, "reading_order": 2460, "original": "Main droite : Accords. Main gauche : Basse. Sixte-quarte ; deux positions possibles de la Basse.", "english": "Right Hand: Chords. Left Hand: Bass. Sixth–Fourth Chord; Two Possible Bass Positions.", "sources": [ { "pdf_page": 408, "source_image": "source-pages/bnf-408.png", "printed_page": 376, "bbox_pixels": [ 389, 2009, 770, 655 ], "crop_image": "assets/IV.04-028.png" } ], "original_title": "Main droite : Accords. Main gauche : Basse. Sixte-quarte ; deux positions possibles de la Basse.", "english_title": "Right Hand: Chords. Left Hand: Bass. Sixth–Fourth Chord; Two Possible Bass Positions.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.04-028" ], "music_asset_refs": [ "IV.04-028" ] }, { "id": "IV.04-029", "type": "paragraph", "section": "IV.04", "lesson": 92, "exercise": 92, "reading_order": 2461, "original": "Cet Accord se trouve de même que l’autre, en portant la Notte de la Basse une Quinte plus haut, ou une Quarte plus bas.", "english": "Find this chord in the same way by moving the bass note a fifth higher or a fourth lower.", "sources": [ { "pdf_page": 408, "source_image": "source-pages/bnf-408.png", "printed_page": 376, "bbox_pixels": [ 1161, 2153, 1430, 303 ], "crop_image": "assets/IV.04-029.png" } ] }, { "id": "IV.04-030", "type": "heading", "section": "IV.04", "lesson": 92, "exercise": 92, "reading_order": 2462, "original": "Exemple de l’Accord de la Septiéme, qui s’accompagne de la Tierce & de la Quinte.", "english": "Example of the Seventh Chord, Accompanied by the Third and Fifth.", "sources": [ { "pdf_page": 408, "source_image": "source-pages/bnf-408.png", "printed_page": 376, "bbox_pixels": [ 419, 2671, 2171, 165 ], "crop_image": "assets/IV.04-030.png" } ] }, { "id": "IV.04-031", "type": "music", "section": "IV.04", "lesson": 92, "exercise": 92, "reading_order": 2463, "original": "Main droite : Accords. Main gauche : Basse. Septiéme, déplacement de Basse ; ou 7 ajoûté à l’Accord parfait.", "english": "Right Hand: Chords. Left Hand: Bass. Seventh Chord by Moving the Bass, or 7 Added to the Perfect Chord.", "sources": [ { "pdf_page": 408, "source_image": "source-pages/bnf-408.png", "printed_page": 376, "bbox_pixels": [ 389, 2860, 1213, 677 ], "crop_image": "assets/IV.04-031.png" } ], "original_title": "Main droite : Accords. Main gauche : Basse. Septiéme, déplacement de Basse ; ou 7 ajoûté à l’Accord parfait.", "english_title": "Right Hand: Chords. Left Hand: Bass. Seventh Chord by Moving the Bass, or 7 Added to the Perfect Chord.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.04-031" ], "music_asset_refs": [ "IV.04-031" ] }, { "id": "IV.04-032", "type": "paragraph", "section": "IV.04", "lesson": 92, "exercise": 92, "reading_order": 2464, "original": "Cet Accord se trouve encore de même que les précédens, en portant la Notte de la Basse une Tierce au-dessous, ou une Sixte au-dessus ; ou bien il n’y a qu’à ajoûter la Septiéme à un Accord parfait, sans rien changer d’ailleurs ; parce que la Septiéme s’accompagne de même que l’Accord parfait, à la reserve de l’Octave, dont on n’y fait point mention, étant libre de la joindre à un Accord de Septiéme, & de l’en retrancher, quand on le juge à propos ; & quand on y ajoûte l’Octave, il faut se servir pour lors de quatre doigts sans le pouce.", "english": "This chord is found like the preceding ones by moving the bass a third lower or a sixth higher. Alternatively, simply add the seventh to a perfect chord without changing anything else. The seventh has the same accompaniment as the perfect chord except for the octave, which is not specified: it may freely be added to or removed from a seventh chord as appropriate. When the octave is added, use all four fingers without the thumb.", "sources": [ { "pdf_page": 408, "source_image": "source-pages/bnf-408.png", "printed_page": 376, "bbox_pixels": [ 1591, 2842, 1000, 683 ], "crop_image": "assets/IV.04-032.png" }, { "pdf_page": 409, "source_image": "source-pages/bnf-409.png", "printed_page": 377, "bbox_pixels": [ 419, 376, 2171, 382 ], "crop_image": "assets/IV.04-033.png" } ] }, { "id": "IV.04-034", "type": "heading", "section": "IV.04", "lesson": 92, "exercise": 92, "reading_order": 2465, "original": "Exemple de l’Accord du Tri-Ton, qui s’accompagne de la Seconde & de la Sixte ; & de celui de la Seconde, qui s’accompagne de la Quarte & de la Sixte.", "english": "Example of the Tritone Chord, Accompanied by the Second and Sixth, and the Second Chord, Accompanied by the Fourth and Sixth.", "sources": [ { "pdf_page": 409, "source_image": "source-pages/bnf-409.png", "printed_page": 377, "bbox_pixels": [ 419, 771, 2171, 226 ], "crop_image": "assets/IV.04-034.png" } ] }, { "id": "IV.04-035", "type": "music", "section": "IV.04", "lesson": 92, "exercise": 92, "reading_order": 2466, "original": "Main droite : Accords. Main gauche : Basse. Tri-Ton et Seconde.", "english": "Right Hand: Chords. Left Hand: Bass. Tritone and Second.", "sources": [ { "pdf_page": 409, "source_image": "source-pages/bnf-409.png", "printed_page": 377, "bbox_pixels": [ 426, 1001, 1157, 619 ], "crop_image": "assets/IV.04-035.png" } ], "original_title": "Main droite : Accords. Main gauche : Basse. Tri-Ton et Seconde.", "english_title": "Right Hand: Chords. Left Hand: Bass. Tritone and Second.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.04-035" ], "music_asset_refs": [ "IV.04-035" ] }, { "id": "IV.04-036", "type": "paragraph", "section": "IV.04", "lesson": 92, "exercise": 92, "reading_order": 2467, "original": "L’on trouve encore ces Accords de même que les précédens, en portant la Notte de la Basse un Ton plus bas, où il faut observer que la Tierce de l’Accord parfait soit toûjours majeure, lorsqu’on veut en former celui du Tri-Ton, & qu’elle soit mineure lorsqu’on veut en former celui de la Seconde.", "english": "These chords too are found as before, by moving the bass note a whole tone lower. The perfect chord's third must always be major when forming the tritone chord, and minor when forming the second chord.", "sources": [ { "pdf_page": 409, "source_image": "source-pages/bnf-409.png", "printed_page": 377, "bbox_pixels": [ 419, 1010, 2171, 681 ], "crop_image": "assets/IV.04-036.png" } ] }, { "id": "IV.04-037", "type": "heading", "section": "IV.04", "lesson": 92, "exercise": 92, "reading_order": 2468, "original": "Exemple de l’Accord de la Quarte, qui s’accompagne de la Quinte & de l’Octave.", "english": "Example of the Fourth Chord, Accompanied by the Fifth and Octave.", "sources": [ { "pdf_page": 409, "source_image": "source-pages/bnf-409.png", "printed_page": 377, "bbox_pixels": [ 419, 1717, 2171, 155 ], "crop_image": "assets/IV.04-037.png" } ] }, { "id": "IV.04-038", "type": "music", "section": "IV.04", "lesson": 92, "exercise": 92, "reading_order": 2469, "original": "Main droite : Accords. Main gauche : Basse. Quarte et doigté 4.", "english": "Right Hand: Chords. Left Hand: Bass. Fourth and Fingering 4.", "sources": [ { "pdf_page": 409, "source_image": "source-pages/bnf-409.png", "printed_page": 377, "bbox_pixels": [ 426, 1904, 1038, 709 ], "crop_image": "assets/IV.04-038.png" } ], "original_title": "Main droite : Accords. Main gauche : Basse. Quarte et doigté 4.", "english_title": "Right Hand: Chords. Left Hand: Bass. Fourth and Fingering 4.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.04-038" ], "music_asset_refs": [ "IV.04-038" ] }, { "id": "IV.04-039", "type": "paragraph", "section": "IV.04", "lesson": 92, "exercise": 92, "reading_order": 2470, "original": "Pour trouver cet Accord, l’on prend le Parfait d’une Notte, & l’on porte la Tierce de cette Notte sur sa Quarte ; souvenez-vous que lorsque l’Octave se trouve au milieu, il faut toûjours la toucher du quatriéme doigt.", "english": "To find this chord, take a note's perfect chord and move its third to its fourth. Remember that when the octave lies in the middle, it must always be played with the fourth finger.", "sources": [ { "pdf_page": 409, "source_image": "source-pages/bnf-409.png", "printed_page": 377, "bbox_pixels": [ 1456, 1904, 1135, 529 ], "crop_image": "assets/IV.04-039.png" } ] }, { "id": "IV.04-040", "type": "paragraph", "section": "IV.04", "lesson": 92, "exercise": 92, "reading_order": 2471, "original": "Quoique nous n’ayons donné des Exemples de ces derniers Accords que sur un seul endroit du Clavier, il ne faut pas moins les pratiquer sur toutes sortes de Nottes & par tout le Clavier, comme on aura dû le faire de l’Accord parfait, sans rien changer à l’arrangement des doigts, car il est le même par tout.", "english": "Although these last chords have been illustrated in only one place on the keyboard, practice them on every kind of note and throughout the keyboard, as already required for the perfect chord. Do not alter the fingering, which remains the same everywhere.", "sources": [ { "pdf_page": 409, "source_image": "source-pages/bnf-409.png", "printed_page": 377, "bbox_pixels": [ 419, 2434, 2171, 535 ], "crop_image": "assets/IV.04-040.png" } ] }, { "id": "IV.05-001", "type": "heading", "section": "IV.05", "lesson": 93, "exercise": 93, "reading_order": 2472, "original": "CHAPITRE CINQUIÉME.", "english": "CHAPTER FIVE.", "sources": [ { "pdf_page": 409, "source_image": "source-pages/bnf-409.png", "printed_page": 377, "bbox_pixels": [ 419, 3008, 2171, 101 ], "crop_image": "assets/IV.05-001.png" } ] }, { "id": "IV.05-002", "type": "heading", "section": "IV.05", "lesson": 93, "exercise": 93, "reading_order": 2473, "original": "Remarques utiles sur tous les Accords.", "english": "Useful Observations on All Chords.", "sources": [ { "pdf_page": 409, "source_image": "source-pages/bnf-409.png", "printed_page": 377, "bbox_pixels": [ 419, 3137, 2171, 95 ], "crop_image": "assets/IV.05-002.png" } ] }, { "id": "IV.05-003", "type": "paragraph", "section": "IV.05", "lesson": 93, "exercise": 93, "reading_order": 2474, "original": "VOus ne trouverez dans l’Accompagnement de même que dans toute l’Harmonie que deux Accords differens, qui sont le Consonant & le Dissonant ; le premier est le Parfait, & le second est celui de la Septiéme.", "english": "In accompaniment, as in all harmony, there are only two different chords: consonant and dissonant. The first is the perfect chord, the second the seventh chord.", "sources": [ { "pdf_page": 409, "source_image": "source-pages/bnf-409.png", "printed_page": 377, "bbox_pixels": [ 419, 3261, 2171, 292 ], "crop_image": "assets/IV.05-003.png" } ] }, { "id": "IV.05-004", "type": "paragraph", "section": "IV.05", "lesson": 93, "exercise": 93, "reading_order": 2475, "original": "En touchant le premier sur le Clavier, vous trouverez qu’il forme tous les Consonans, dont il est l’origine ; & vous remarquerez qu’il n’est composé que de trois Sons differens, qui sont la Notte de la Basse, sa Tierce & sa Quinte, comme, par exemple, Ut, Mi, Sol ; car l’Octave, qui est un autre Ut, n’est pas un Son different du premier Ut, il en est seulement la replique.", "english": "Play the first on the keyboard and you will find that it forms every consonant chord, of which it is the source. It contains only three different sounds: the bass note, its third, and its fifth, for example C, E, G. The octave, another C, is not different from the first C; it merely replicates it.", "sources": [ { "pdf_page": 410, "source_image": "source-pages/bnf-410.png", "printed_page": 378, "bbox_pixels": [ 419, 393, 2171, 458 ], "crop_image": "assets/IV.05-004.png" } ] }, { "id": "IV.05-005", "type": "paragraph", "section": "IV.05", "lesson": 93, "exercise": 93, "reading_order": 2476, "original": "Ces trois Sons Ut, Mi, Sol, composeront donc l’Accord que nous appellons Parfait, en prenant Ut pour Basse. Si nous prenons à present Mi pour Basse, en touchant Ut & Sol de la main droite, nous trouverons l’Accord que nous appellons Accord de Sixte ; & si nous prenons ensuite Sol pour Basse, en touchant Ut & Mi de la main droite, nous trouverons l’Accord que nous appellons Accord de Sixte-quarte, en quoi consistent tous les Accords consonans, n’y ayant qu’à ajoûter de la main droite l’Octave de la Notte que vous touchez à la Basse, pour rendre ces Accords complets ; & pour une plus prompte intelligence, il n’y a qu’à toucher de la main droite tel Accord parfait que l’on voudra, en touchant de la main gauche l’Octave en bas de chacune de ces Nottes, où l’on trouvera les trois Accords consonans en question.", "english": "These three sounds, C, E, G, therefore form the perfect chord with C as bass. Take E as bass and play C and G in the right hand: we find the sixth chord. Then take G as bass and play C and E in the right hand: we find the sixth–fourth chord. These comprise all consonant chords. Add the bass note's octave in the right hand to complete each. For a quicker understanding, play any perfect chord in the right hand, then play each of its notes an octave lower with the left. The three consonant chords in question will result.", "sources": [ { "pdf_page": 410, "source_image": "source-pages/bnf-410.png", "printed_page": 378, "bbox_pixels": [ 419, 855, 2171, 969 ], "crop_image": "assets/IV.05-005.png" } ] }, { "id": "IV.05-006", "type": "heading", "section": "IV.05", "lesson": 93, "exercise": 93, "reading_order": 2477, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 410, "source_image": "source-pages/bnf-410.png", "printed_page": 378, "bbox_pixels": [ 419, 1863, 2171, 92 ], "crop_image": "assets/IV.05-006.png" } ] }, { "id": "IV.05-007", "type": "music", "section": "IV.05", "lesson": 93, "exercise": 93, "reading_order": 2478, "original": "Main droite : Accords. Main gauche : Premiere Basse, Seconde Basse, Troisiéme Basse.", "english": "Right Hand: Chords. Left Hand: First Bass, Second Bass, Third Bass.", "sources": [ { "pdf_page": 410, "source_image": "source-pages/bnf-410.png", "printed_page": 378, "bbox_pixels": [ 432, 1959, 2128, 1089 ], "crop_image": "assets/IV.05-007.png" } ], "original_title": "Main droite : Accords. Main gauche : Premiere Basse, Seconde Basse, Troisiéme Basse.", "english_title": "Right Hand: Chords. Left Hand: First Bass, Second Bass, Third Bass.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.05-007" ], "music_asset_refs": [ "IV.05-007" ] }, { "id": "IV.05-008", "type": "paragraph", "section": "IV.05", "lesson": 93, "exercise": 93, "reading_order": 2479, "original": "Remarquez bien que l’Accord parfait de la premiere Basse fait celui de la Sixte de la seconde Basse, & celui de la Sixte-Quarte de la troisiéme Basse, se trouvant dans ces trois Basses les trois mêmes Nottes qui composent l’Accord.", "english": "Observe that the perfect chord over the first bass becomes the sixth chord over the second and the sixth–fourth chord over the third. These three basses contain the same three notes composing the chord.", "sources": [ { "pdf_page": 410, "source_image": "source-pages/bnf-410.png", "printed_page": 378, "bbox_pixels": [ 419, 3081, 2171, 301 ], "crop_image": "assets/IV.05-008.png" } ] }, { "id": "IV.05-009", "type": "paragraph", "section": "IV.05", "lesson": 93, "exercise": 93, "reading_order": 2480, "original": "L’Accord dissonant de la Septiéme contient quatre Sons differens ; de sorte que si l’on prend alternativement pour Basse l’un des quatre Sons qui le composent, l’on trouvera tous les Accords dissonans qui peuvent avoir lieu dans l’Harmonie, avec quelques exceptions, dont il n’est pas temps de parler.", "english": "The dissonant seventh chord contains four different sounds. Take each sound in turn as bass, and every dissonant chord that can occur in harmony will be found, with a few exceptions not yet appropriate to discuss.", "sources": [ { "pdf_page": 410, "source_image": "source-pages/bnf-410.png", "printed_page": 378, "bbox_pixels": [ 419, 3384, 2171, 157 ], "crop_image": "assets/IV.05-009.png" }, { "pdf_page": 411, "source_image": "source-pages/bnf-411.png", "printed_page": 379, "bbox_pixels": [ 419, 374, 2171, 232 ], "crop_image": "assets/IV.05-010.png" } ] }, { "id": "IV.05-011", "type": "heading", "section": "IV.05", "lesson": 93, "exercise": 93, "reading_order": 2481, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 411, "source_image": "source-pages/bnf-411.png", "printed_page": 379, "bbox_pixels": [ 419, 662, 2171, 92 ], "crop_image": "assets/IV.05-011.png" } ] }, { "id": "IV.05-012", "type": "music", "section": "IV.05", "lesson": 93, "exercise": 93, "reading_order": 2482, "original": "Main droite : Accords. Six Basses alternatives de la main gauche.", "english": "Right Hand: Chords. Six Alternative Left-Hand Basses.", "sources": [ { "pdf_page": 411, "source_image": "source-pages/bnf-411.png", "printed_page": 379, "bbox_pixels": [ 389, 806, 1604, 2430 ], "crop_image": "assets/IV.05-012.png" } ], "original_title": "Main droite : Accords. Six Basses alternatives de la main gauche.", "english_title": "Right Hand: Chords. Six Alternative Left-Hand Basses.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.05-012" ], "music_asset_refs": [ "IV.05-012" ] }, { "id": "IV.05-013", "type": "paragraph", "section": "IV.05", "lesson": 93, "exercise": 93, "reading_order": 2483, "original": "Les Accords sont ceux de la Septiéme au-dessus de cette Basse.", "english": "Above this bass, the chords are seventh chords.", "sources": [ { "pdf_page": 411, "source_image": "source-pages/bnf-411.png", "printed_page": 379, "bbox_pixels": [ 2008, 1182, 583, 161 ], "crop_image": "assets/IV.05-013.png" } ] }, { "id": "IV.05-014", "type": "paragraph", "section": "IV.05", "lesson": 93, "exercise": 93, "reading_order": 2484, "original": "Les Accords sont ici ceux de la grande Sixte ou de la fausse-Quinte ; la difference de ces deux Accords provenant de celle de la Tierce de la premiere Basse qui est icy mineure & là majeure.", "english": "Here the chords are great-sixth or diminished-fifth chords. Their difference comes from the first bass's third, minor in one case and major in the other.", "sources": [ { "pdf_page": 411, "source_image": "source-pages/bnf-411.png", "printed_page": 379, "bbox_pixels": [ 2004, 1525, 587, 370 ], "crop_image": "assets/IV.05-014.png" } ] }, { "id": "IV.05-015", "type": "paragraph", "section": "IV.05", "lesson": 93, "exercise": 93, "reading_order": 2485, "original": "Les Accords sont ici ceux de la petite Sixte, qui se trouve majeure ou mineure, selon les Tierces de la premiere Basse.", "english": "Here the chords are small-sixth chords, major or minor according to the thirds of the first bass.", "sources": [ { "pdf_page": 411, "source_image": "source-pages/bnf-411.png", "printed_page": 379, "bbox_pixels": [ 2008, 1897, 583, 258 ], "crop_image": "assets/IV.05-015.png" } ] }, { "id": "IV.05-016", "type": "paragraph", "section": "IV.05", "lesson": 93, "exercise": 93, "reading_order": 2486, "original": "Les Accords sont ici ceux de la Seconde ou du Tri-Ton, la difference de ces deux Accords provenant encore de celle des Tierces de la premiere Basse.", "english": "Here the chords are second or tritone chords, again differing according to the thirds of the first bass.", "sources": [ { "pdf_page": 411, "source_image": "source-pages/bnf-411.png", "printed_page": 379, "bbox_pixels": [ 2014, 2239, 576, 320 ], "crop_image": "assets/IV.05-016.png" } ] }, { "id": "IV.05-017", "type": "paragraph", "section": "IV.05", "lesson": 93, "exercise": 93, "reading_order": 2487, "original": "Les Accords sont ici ceux de la Neuviéme ou de la Quinte superfluë, difference qui provient toûjours des Tierces de la premiere Basse.", "english": "Here the chords are ninth or augmented-fifth chords, the difference still arising from the first bass's thirds.", "sources": [ { "pdf_page": 411, "source_image": "source-pages/bnf-411.png", "printed_page": 379, "bbox_pixels": [ 2019, 2561, 572, 318 ], "crop_image": "assets/IV.05-017.png" } ] }, { "id": "IV.05-018", "type": "paragraph", "section": "IV.05", "lesson": 93, "exercise": 93, "reading_order": 2488, "original": "Les Accords sont ici ceux de la Onziéme, dite Quarte, ou de la Septiéme superfluë, difference &c.", "english": "Here the chords are eleventh chords, called fourths, or augmented-seventh chords; the difference, and so forth.", "sources": [ { "pdf_page": 411, "source_image": "source-pages/bnf-411.png", "printed_page": 379, "bbox_pixels": [ 2019, 2933, 572, 208 ], "crop_image": "assets/IV.05-018.png" } ] }, { "id": "IV.05-019", "type": "paragraph", "section": "IV.05", "lesson": 93, "exercise": 93, "reading_order": 2489, "original": "Il ne faut pas se fixer sur ce premier Accord qui n’est qu’accidentel.", "english": "Do not dwell on this first chord, which is merely incidental.", "sources": [ { "pdf_page": 411, "source_image": "source-pages/bnf-411.png", "printed_page": 379, "bbox_pixels": [ 408, 3251, 565, 159 ], "crop_image": "assets/IV.05-019.png" } ] }, { "id": "IV.05-020", "type": "paragraph", "section": "IV.05", "lesson": 93, "exercise": 93, "reading_order": 2490, "original": "Il ne faut pas faire encore attention aux Accords de ces deux dernieres Basses.", "english": "Do not yet concern yourself with the chords of these last two basses.", "sources": [ { "pdf_page": 411, "source_image": "source-pages/bnf-411.png", "printed_page": 379, "bbox_pixels": [ 2023, 3251, 568, 170 ], "crop_image": "assets/IV.05-020.png" } ] }, { "id": "IV.05-021", "type": "paragraph", "section": "IV.05", "lesson": 93, "exercise": 93, "reading_order": 2491, "original": "L’on peut prendre l’Accord parfait, ou celui de la Septiéme de telle Notte que l’on voudra, en ajoûtant l’Octave de la Basse à cet Accord de Septiéme, & toucher ensuite à la Basse l’une des Nottes qui composent l’Accord que l’on tiendra, où l’on trouvera les mêmes Accords qui sont marquez dans les Exemples précédens ; l’on trouvera, dis-je, en touchant l’Accord parfait d’une certaine Notte, que celle qui fait la Tierce de cette même Notte étant mise à la Basse, portera l’Accord de Sixte, formé de ce même Accord parfait ; & que celle qui en fait la Quinte étant mise à la Basse, portera l’Accord de Sixte-quarte, formé de ce même Accord parfait. Pareillement si l’on touche l’Accord de la Septiéme d’une certaine Notte, l’on trouvera qu’il formera celui de la grande Sixte ou de la fausse-Quinte sur la Notte qui fait la Tierce de cette premiere Notte ; celui de la petite Sixte sur la Notte qui en fait la Quinte, & celui de la Seconde ou du Tri-Ton sur la Notte qui en fait la Septiéme ; & au cas que l’on touchât un Accord de petite Sixte, de grande Sixte, de fausse-Quinte, de Tri-Ton ou de Seconde, & qu’on voulût le rapporter à celui de la Septiéme dont il dérive, il n’y auroit qu’à ajoûter toûjours l’Octave de la Basse à l’Accord que l’on toucheroit, en remarquant que si les doigts étoient pour lors arrangez par Tierce, ce seroit la Notte que touche le doigt d’en-bas, qui étant mise à la Basse, porteroit l’Accord de la Septiéme que l’on tient de la main droite ; sinon, il se trouveroit toûjours deux doigts qui se joindroient, & ce seroit pour lors la Notte que touche le plus haut de ces deux doigts, qu’il faudroit mettre à la Basse pour trouver cet Accord de septiéme. Voyez encore le Chap. XI. du Troisiéme Livre, où il en est parlé. A l’égard des Accords consonans, ils sont assez faciles à reconnoître d’eux-mêmes, & il n’y a qu’à toucher l’Accord dans un certain endroit du Clavier, où les doigts puissent être arrangez par Tierces, pour voir que la Notte que l’on tient du second doigt de la main droite, est celle qui porteroit l’Accord parfait, si elle étoit à la Basse.", "english": "Take the perfect or seventh chord of any note, adding the bass's octave to the seventh chord, then play in the bass one of the sounds belonging to the chord held above. The same chords shown in the preceding examples will appear. With a perfect chord, putting its third in the bass gives a sixth chord formed from that same perfect chord; putting its fifth in the bass gives a sixth–fourth chord. Likewise, a seventh chord forms a great-sixth or diminished-fifth chord on the third of its original bass, a small-sixth chord on the fifth, and a second or tritone chord on the seventh. If you are playing a small-sixth, great-sixth, diminished-fifth, tritone, or second chord and wish to identify its source seventh chord, always add the bass's octave to the chord. If the fingers then lie in thirds, the lowest finger's note, put in the bass, will support the seventh chord held by the right hand. Otherwise two fingers will always lie together; put the higher of those two fingers' notes in the bass to find the seventh chord. See also Book III, Chapter XI, where this is discussed. Consonant chords are easy enough to recognize by themselves. Play the chord in a keyboard position where the fingers lie in thirds: the note under the right hand's second finger is the one that would bear the perfect chord if placed in the bass.", "sources": [ { "pdf_page": 412, "source_image": "source-pages/bnf-412.png", "printed_page": 380, "bbox_pixels": [ 419, 397, 2171, 2413 ], "crop_image": "assets/IV.05-021.png" } ] }, { "id": "IV.05-022", "type": "paragraph", "section": "IV.05", "lesson": 93, "exercise": 93, "reading_order": 2492, "original": "On ne peut trop faire attention à ce rapport des Accords, il en facilite beaucoup la connoissance & la pratique, sur tout, quand on peut sentir sur le champ qu’un tel Accord en formera un tel autre, en portant la Notte de la Basse, une Tierce, une Quinte ou une Septiéme plus haut ; souvenez-vous ici qu’une Septiéme plus haut, ou une Seconde plus bas, c’est la même chose, de même qu’une Tierce plus haut, ou une Sixte plus bas ; une Quinte plus haut, ou une Quarte plus bas ; une Tierce plus bas, ou une Sixte plus haut, &c.", "english": "These chord relationships cannot receive too much attention. They greatly ease understanding and practice, especially when one immediately recognizes which new chord will result from moving the bass a third, fifth, or seventh upward. Remember that a seventh up equals a second down; a third up equals a sixth down; a fifth up equals a fourth down; a third down equals a sixth up, and so forth.", "sources": [ { "pdf_page": 412, "source_image": "source-pages/bnf-412.png", "printed_page": 380, "bbox_pixels": [ 419, 2812, 2171, 672 ], "crop_image": "assets/IV.05-022.png" } ] }, { "id": "IV.06-001", "type": "heading", "section": "IV.06", "lesson": 94, "exercise": 94, "reading_order": 2493, "original": "CHAPITRE SIXIÉME.", "english": "CHAPTER SIX.", "sources": [ { "pdf_page": 413, "source_image": "source-pages/bnf-413.png", "printed_page": 381, "bbox_pixels": [ 419, 537, 2171, 101 ], "crop_image": "assets/IV.06-001.png" } ], "correction_refs": [ "supplement-271", "supplement-273" ] }, { "id": "IV.06-002", "type": "heading", "section": "IV.06", "lesson": 94, "exercise": 94, "reading_order": 2494, "original": "Des Tons & des Modes.", "english": "On Keys and Modes.", "sources": [ { "pdf_page": 413, "source_image": "source-pages/bnf-413.png", "printed_page": 381, "bbox_pixels": [ 419, 688, 2171, 99 ], "crop_image": "assets/IV.06-002.png" } ] }, { "id": "IV.06-003", "type": "paragraph", "section": "IV.06", "lesson": 94, "exercise": 94, "reading_order": 2495, "original": "IL est difficile de bien accompagner, si l’on n’a pas une connoissance certaine des Tons & des Modes ; ainsi l’on ne peut se dispenser de voir ce que nous en disons au Troisiéme Livre, Chap. VIII. & XII. après quoi l’on tâchera de se rendre aisée la pratique des Octaves qui suivent, dont nous avons marqué les Accords dans les differens endroits du Clavier, avec l’arrangement des doigts pour chaque main ; & pour prouver qu’il ne s’y rencontre que l’Accord parfait & celui de la Septiéme, nous avons mis au-dessous des deux premieres Basses une autre Basse, que nous appellons Fondamentale, où vous verrez que les differens Accords qui sont marquez sur la Basse qui monte & qui descend diatoniquement, ne sont formez que du Parfait, ou de celui de la Septiéme chiffrez sur cette Basse-fondamentale. Pour en donner une intelligence encore plus distincte, nous avons écrit le nom de chaque Notte, afin que l’on y remarquât que celle qui porte un tel Accord est une Tierce, une Quinte ou une Septiéme au-dessus de celle qui doit porter l’Accord parfait ou celui de la Septiéme, & que ces Nottes qui portent de pareils Accords tiennent ordinairement le même rang dans chaque Ton.", "english": "Good accompaniment is difficult without certain knowledge of keys and modes. You must therefore consult Book III, Chapters VIII and XII, then work to make the following octave exercises easy. Their chords are shown in different keyboard positions, with fingering for each hand. To prove that only the perfect and seventh chords occur, we have placed beneath the first two basses another bass called fundamental. It shows that the different chords marked above the diatonically ascending and descending bass arise only from the perfect and seventh chords figured on this fundamental bass. To make this clearer, each note is named, so that you can see that a note carrying a given chord lies a third, fifth, or seventh above the note that should bear the perfect or seventh chord, and that notes bearing such chords ordinarily occupy the same degree in every key.", "sources": [ { "pdf_page": 413, "source_image": "source-pages/bnf-413.png", "printed_page": 381, "bbox_pixels": [ 383, 851, 2208, 1418 ], "crop_image": "assets/IV.06-003.png" } ] }, { "id": "IV.06-004", "type": "paragraph", "section": "IV.06", "lesson": 94, "exercise": 94, "reading_order": 2496, "original": "Il ne faut se servir de la Basse-fondamentale que pour la preuve dont nous venons de parler, car elle est inutile à la pratique & même les Accords ne sont pas arrangez selon les Regles par rapport à cette Basse, ils le sont seulement par rapport à la Basse-continuë, que l’on doit toucher de la main gauche.", "english": "Use the fundamental bass only for the proof just described. It is unnecessary in practice; indeed, the chords are not arranged according to the rules relative to it, but only relative to the continuo bass, which is played with the left hand.", "sources": [ { "pdf_page": 413, "source_image": "source-pages/bnf-413.png", "printed_page": 381, "bbox_pixels": [ 383, 2273, 2208, 380 ], "crop_image": "assets/IV.06-004.png" } ] }, { "id": "IV.06-005", "type": "paragraph", "section": "IV.06", "lesson": 94, "exercise": 94, "reading_order": 2497, "original": "Si l’on trouvoit un peu d’obscurité dans les observations que nous venons de faire, l’on peut ne s’attacher uniquement qu’à la pratique des Accords, en attendant que la suite nous aide à comprendre ce qui peut nous arrêter à présent.", "english": "If these observations seem somewhat obscure, concentrate simply on practicing the chords until what follows helps explain the present difficulty.", "sources": [ { "pdf_page": 413, "source_image": "source-pages/bnf-413.png", "printed_page": 381, "bbox_pixels": [ 383, 2658, 2208, 303 ], "crop_image": "assets/IV.06-005.png" } ] }, { "id": "IV.06-006", "type": "heading", "section": "IV.06", "lesson": 94, "exercise": 94, "reading_order": 2498, "original": "Exemple des Tons & des Modes, avec tous les Accords qui doivent se faire sur chaque Notte d’un Ton dans une Progression diatonique de la Basse, tant en montant qu’en descendant d’une Octave.", "english": "Example of Keys and Modes, with All Chords Required on Each Note of a Key When the Bass Ascends and Descends Diatonically through an Octave.", "sources": [ { "pdf_page": 414, "source_image": "source-pages/bnf-414.png", "printed_page": 382, "bbox_pixels": [ 419, 400, 2171, 228 ], "crop_image": "assets/IV.06-006.png" } ] }, { "id": "IV.06-007", "type": "music", "section": "IV.06", "lesson": 94, "exercise": 94, "reading_order": 2499, "original": "Ton majeur d’Ut. Trois positions de la main droite ; Basse-Continuë et Basse-fondamentale.", "english": "C Major. Three Right-Hand Positions; Continuo Bass and Fundamental Bass.", "sources": [ { "pdf_page": 414, "source_image": "source-pages/bnf-414.png", "printed_page": 382, "bbox_pixels": [ 434, 655, 2156, 2958 ], "crop_image": "assets/IV.06-007.png" } ], "original_title": "Ton majeur d’Ut. Trois positions de la main droite ; Basse-Continuë et Basse-fondamentale.", "english_title": "C Major. Three Right-Hand Positions; Continuo Bass and Fundamental Bass.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.06-007" ], "music_asset_refs": [ "IV.06-007" ] }, { "id": "IV.06-008", "type": "music", "section": "IV.06", "lesson": 94, "exercise": 94, "reading_order": 2500, "original": "Ton Mineur de Ré. Trois positions de la main droite ; Basse-Continuë et Basse-fondamentale.", "english": "D Minor. Three Right-Hand Positions; Continuo Bass and Fundamental Bass.", "sources": [ { "pdf_page": 415, "source_image": "source-pages/bnf-415.png", "printed_page": 383, "bbox_pixels": [ 417, 357, 2174, 3143 ], "crop_image": "assets/IV.06-008.png" } ], "original_title": "Ton Mineur de Ré. Trois positions de la main droite ; Basse-Continuë et Basse-fondamentale.", "english_title": "D Minor. Three Right-Hand Positions; Continuo Bass and Fundamental Bass.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.06-008" ], "music_asset_refs": [ "IV.06-008" ] }, { "id": "IV.06-009", "type": "footnote", "section": "IV.06", "lesson": 94, "exercise": 94, "reading_order": 2501, "original": "Quelques-uns disent premier degré, second degré, &c. au lieu de Notte tonique, de seconde Notte, &c. mais cela doit être indifferent ; car à proprement parler, ces differens termes sont synonymes.", "english": "Some say first degree, second degree, and so forth instead of tonic note, second note, and so forth. This should make no difference: properly speaking, these terms are synonymous.", "sources": [ { "pdf_page": 415, "source_image": "source-pages/bnf-415.png", "printed_page": 383, "bbox_pixels": [ 419, 3493, 2171, 114 ], "crop_image": "assets/IV.06-009.png" } ] }, { "id": "IV.06-010", "type": "paragraph", "section": "IV.06", "lesson": 94, "exercise": 94, "reading_order": 2502, "original": "Il faut toûjours posseder parfaitement un Ton avant que de passer à un autre, en les étudiant tous dans les trois differens endroits du Clavier, & avec le même arrangement des doigts marquez ci-dessus, tant pour n’être pas surpris dans quelque endroit que la main se trouve, que pour n’être pas obligé de la lever.", "english": "Always master one key thoroughly before moving to another. Study each in the three different keyboard positions, using the fingering shown above, both to avoid surprise wherever the hand lies and to avoid having to lift it.", "sources": [ { "pdf_page": 416, "source_image": "source-pages/bnf-416.png", "printed_page": 384, "bbox_pixels": [ 486, 395, 2148, 380 ], "crop_image": "assets/IV.06-010.png" } ] }, { "id": "IV.06-011", "type": "paragraph", "section": "IV.06", "lesson": 94, "exercise": 94, "reading_order": 2503, "original": "Il faut remarquer la liaison des Accords, par une des Nottes de l’un de ces Accords qui sert presque toûjours à celui qui le suit, ce qui en aide beaucoup la pratique.", "english": "Observe how chords are linked: a note from one chord almost always also belongs to the next. This greatly assists playing them.", "sources": [ { "pdf_page": 416, "source_image": "source-pages/bnf-416.png", "printed_page": 384, "bbox_pixels": [ 486, 778, 2148, 226 ], "crop_image": "assets/IV.06-011.png" } ] }, { "id": "IV.06-012", "type": "paragraph", "section": "IV.06", "lesson": 94, "exercise": 94, "reading_order": 2504, "original": "Pour connoître le rapport des Accords de la Basse-continuë avec ceux de la fondamentale, il n’y a qu’à ajoûter l’Octave de la Basse-continuë aux Accords où elle ne se trouve pas.", "english": "To understand the relationship between the continuo-bass chords and the fundamental-bass chords, add the continuo bass's octave wherever it is absent.", "sources": [ { "pdf_page": 416, "source_image": "source-pages/bnf-416.png", "printed_page": 384, "bbox_pixels": [ 486, 1003, 2148, 232 ], "crop_image": "assets/IV.06-012.png" } ] }, { "id": "IV.06-013", "type": "paragraph", "section": "IV.06", "lesson": 94, "exercise": 94, "reading_order": 2505, "original": "Nous avons mis les Accords sur le Mode majeur & sur le mineur avec l’arrangement des doigts, & le nom de chaque Notte du Ton, pour que cela serve à tous les autres Tons, qui ne different en rien les uns des autres, que par rapport au Clavier ; car celui qui a la Théorie des deux premiers, a celle de tous les autres, en rapportant les Tons majeurs aux majeurs, & les mineurs aux mineurs.", "english": "We have given chords in the major and minor modes, with fingering and the name of each note's place in the key, so they may serve for every other key. Keys differ only with respect to the keyboard: knowing the theory of these first two gives the theory of all the others, by relating major keys to major and minor keys to minor.", "sources": [ { "pdf_page": 416, "source_image": "source-pages/bnf-416.png", "printed_page": 384, "bbox_pixels": [ 486, 1235, 2148, 447 ], "crop_image": "assets/IV.06-013.png" } ] }, { "id": "IV.06-014", "type": "paragraph", "section": "IV.06", "lesson": 94, "exercise": 94, "reading_order": 2506, "original": "L’on double quelquefois la Tierce ou la Sixte, au lieu de l’Octave de la Basse dans un Accord de Sixte qui suit le Parfait en progression diatonique ; & cela, tant pour la commodité de la main, que pour éviter de faire entendre deux Octaves de suite, le pouce est pour lors nécessaire.", "english": "When a sixth chord follows a perfect chord in a diatonic progression, the third or sixth is sometimes doubled instead of the bass's octave. This both suits the hand and avoids consecutive octaves. The thumb is then necessary.", "sources": [ { "pdf_page": 416, "source_image": "source-pages/bnf-416.png", "printed_page": 384, "bbox_pixels": [ 486, 1684, 2148, 370 ], "crop_image": "assets/IV.06-014.png" } ] }, { "id": "IV.06-015", "type": "heading", "section": "IV.06", "lesson": 94, "exercise": 94, "reading_order": 2507, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 416, "source_image": "source-pages/bnf-416.png", "printed_page": 384, "bbox_pixels": [ 419, 2121, 2171, 103 ], "crop_image": "assets/IV.06-015.png" } ] }, { "id": "IV.06-016", "type": "music", "section": "IV.06", "lesson": 94, "exercise": 94, "reading_order": 2508, "original": "Ton mineur de LA.", "english": "A Minor.", "sources": [ { "pdf_page": 416, "source_image": "source-pages/bnf-416.png", "printed_page": 384, "bbox_pixels": [ 490, 2252, 2128, 428 ], "crop_image": "assets/IV.06-016.png" } ], "original_title": "Ton mineur de LA.", "english_title": "A Minor.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.06-016" ], "music_asset_refs": [ "IV.06-016" ] }, { "id": "IV.06-017", "type": "music", "section": "IV.06", "lesson": 94, "exercise": 94, "reading_order": 2509, "original": "Ton majeur de SOL.", "english": "G Major.", "sources": [ { "pdf_page": 416, "source_image": "source-pages/bnf-416.png", "printed_page": 384, "bbox_pixels": [ 490, 2716, 2128, 410 ], "crop_image": "assets/IV.06-017.png" } ], "original_title": "Ton majeur de SOL.", "english_title": "G Major.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.06-017" ], "music_asset_refs": [ "IV.06-017" ] }, { "id": "IV.06-018", "type": "music", "section": "IV.06", "lesson": 94, "exercise": 94, "reading_order": 2510, "original": "Ton mineur de SOL.", "english": "G Minor.", "sources": [ { "pdf_page": 416, "source_image": "source-pages/bnf-416.png", "printed_page": 384, "bbox_pixels": [ 490, 3158, 2133, 370 ], "crop_image": "assets/IV.06-018.png" } ], "original_title": "Ton mineur de SOL.", "english_title": "G Minor.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.06-018" ], "music_asset_refs": [ "IV.06-018" ] }, { "id": "IV.06-019", "type": "music", "section": "IV.06", "lesson": 94, "exercise": 94, "reading_order": 2511, "original": "Ton majeur de FA.", "english": "F Major.", "sources": [ { "pdf_page": 417, "source_image": "source-pages/bnf-417.png", "printed_page": 385, "bbox_pixels": [ 432, 421, 2150, 318 ], "crop_image": "assets/IV.06-019.png" } ], "original_title": "Ton majeur de FA.", "english_title": "F Major.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.06-019" ], "music_asset_refs": [ "IV.06-019" ] }, { "id": "IV.06-020", "type": "music", "section": "IV.06", "lesson": 94, "exercise": 94, "reading_order": 2512, "original": "Ton majeur de RÉ.", "english": "D Major.", "sources": [ { "pdf_page": 417, "source_image": "source-pages/bnf-417.png", "printed_page": 385, "bbox_pixels": [ 432, 754, 2152, 352 ], "crop_image": "assets/IV.06-020.png" } ], "original_title": "Ton majeur de RÉ.", "english_title": "D Major.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.06-020" ], "music_asset_refs": [ "IV.06-020" ] }, { "id": "IV.06-021", "type": "music", "section": "IV.06", "lesson": 94, "exercise": 94, "reading_order": 2513, "original": "Ton majeur de LA.", "english": "A Major.", "sources": [ { "pdf_page": 417, "source_image": "source-pages/bnf-417.png", "printed_page": 385, "bbox_pixels": [ 432, 1152, 2152, 350 ], "crop_image": "assets/IV.06-021.png" } ], "original_title": "Ton majeur de LA.", "english_title": "A Major.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.06-021" ], "music_asset_refs": [ "IV.06-021" ] }, { "id": "IV.06-022", "type": "music", "section": "IV.06", "lesson": 94, "exercise": 94, "reading_order": 2514, "original": "Ton mineur d’Ut.", "english": "C Minor.", "sources": [ { "pdf_page": 417, "source_image": "source-pages/bnf-417.png", "printed_page": 385, "bbox_pixels": [ 426, 1534, 2159, 357 ], "crop_image": "assets/IV.06-022.png" } ], "original_title": "Ton mineur d’Ut.", "english_title": "C Minor.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.06-022" ], "music_asset_refs": [ "IV.06-022" ] }, { "id": "IV.06-023", "type": "music", "section": "IV.06", "lesson": 94, "exercise": 94, "reading_order": 2515, "original": "Ton mineur de MI.", "english": "E Minor.", "sources": [ { "pdf_page": 417, "source_image": "source-pages/bnf-417.png", "printed_page": 385, "bbox_pixels": [ 426, 1934, 2161, 346 ], "crop_image": "assets/IV.06-023.png" } ], "original_title": "Ton mineur de MI.", "english_title": "E Minor.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.06-023" ], "music_asset_refs": [ "IV.06-023" ] }, { "id": "IV.06-024", "type": "music", "section": "IV.06", "lesson": 94, "exercise": 94, "reading_order": 2516, "original": "Ton majeur de MI.", "english": "E Major.", "sources": [ { "pdf_page": 417, "source_image": "source-pages/bnf-417.png", "printed_page": 385, "bbox_pixels": [ 426, 2316, 2163, 354 ], "crop_image": "assets/IV.06-024.png" } ], "original_title": "Ton majeur de MI.", "english_title": "E Major.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.06-024" ], "music_asset_refs": [ "IV.06-024" ] }, { "id": "IV.06-025", "type": "music", "section": "IV.06", "lesson": 94, "exercise": 94, "reading_order": 2517, "original": "Ton majeur de SI ♭.", "english": "B♭ Major.", "sources": [ { "pdf_page": 417, "source_image": "source-pages/bnf-417.png", "printed_page": 385, "bbox_pixels": [ 424, 2716, 2169, 350 ], "crop_image": "assets/IV.06-025.png" } ], "original_title": "Ton majeur de SI ♭.", "english_title": "B♭ Major.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.06-025" ], "music_asset_refs": [ "IV.06-025" ] }, { "id": "IV.06-026", "type": "music", "section": "IV.06", "lesson": 94, "exercise": 94, "reading_order": 2518, "original": "Ton mineur de SI ♮.", "english": "B♮ Minor.", "sources": [ { "pdf_page": 417, "source_image": "source-pages/bnf-417.png", "printed_page": 385, "bbox_pixels": [ 419, 3104, 2176, 372 ], "crop_image": "assets/IV.06-026.png" } ], "original_title": "Ton mineur de SI ♮.", "english_title": "B♮ Minor.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.06-026" ], "music_asset_refs": [ "IV.06-026" ] }, { "id": "IV.06-027", "type": "music", "section": "IV.06", "lesson": 94, "exercise": 94, "reading_order": 2519, "original": "Ton majeur de SI ♮.", "english": "B♮ Major.", "sources": [ { "pdf_page": 418, "source_image": "source-pages/bnf-418.png", "printed_page": 386, "bbox_pixels": [ 432, 436, 2161, 350 ], "crop_image": "assets/IV.06-027.png" } ], "original_title": "Ton majeur de SI ♮.", "english_title": "B♮ Major.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.06-027" ], "music_asset_refs": [ "IV.06-027" ] }, { "id": "IV.06-028", "type": "music", "section": "IV.06", "lesson": 94, "exercise": 94, "reading_order": 2520, "original": "Ton mineur de FA.", "english": "F Minor.", "sources": [ { "pdf_page": 418, "source_image": "source-pages/bnf-418.png", "printed_page": 386, "bbox_pixels": [ 430, 855, 2161, 361 ], "crop_image": "assets/IV.06-028.png" } ], "original_title": "Ton mineur de FA.", "english_title": "F Minor.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.06-028" ], "music_asset_refs": [ "IV.06-028" ] }, { "id": "IV.06-029", "type": "music", "section": "IV.06", "lesson": 94, "exercise": 94, "reading_order": 2521, "original": "Ton majeur de MI ♭.", "english": "E♭ Major.", "sources": [ { "pdf_page": 418, "source_image": 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2523, "original": "Ton majeur de FA ♯.", "english": "F♯ Major.", "sources": [ { "pdf_page": 418, "source_image": "source-pages/bnf-418.png", "printed_page": 386, "bbox_pixels": [ 428, 2080, 2165, 320 ], "crop_image": "assets/IV.06-031.png" } ], "original_title": "Ton majeur de FA ♯.", "english_title": "F♯ Major.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.06-031" ], "music_asset_refs": [ "IV.06-031" ] }, { "id": "IV.06-032", "type": "music", "section": "IV.06", "lesson": 94, "exercise": 94, "reading_order": 2524, "original": "Ton mineur d’UT ♯.", "english": "C♯ Minor.", "sources": [ { "pdf_page": 418, "source_image": "source-pages/bnf-418.png", "printed_page": 386, "bbox_pixels": [ 434, 2458, 2161, 354 ], "crop_image": "assets/IV.06-032.png" } ], "original_title": "Ton mineur d’UT ♯.", "english_title": "C♯ Minor.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.06-032" ], "music_asset_refs": [ "IV.06-032" ] }, { "id": "IV.06-033", "type": "music", "section": "IV.06", "lesson": 94, "exercise": 94, "reading_order": 2525, "original": "Ton majeur d’UT ♯.", "english": "C♯ Major.", "sources": [ { "pdf_page": 418, "source_image": "source-pages/bnf-418.png", "printed_page": 386, "bbox_pixels": [ 436, 2849, 2159, 387 ], "crop_image": "assets/IV.06-033.png" } ], "original_title": "Ton majeur d’UT ♯.", "english_title": "C♯ Major.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.06-033" ], "music_asset_refs": [ "IV.06-033" ] }, { "id": "IV.06-034", "type": "music", "section": "IV.06", "lesson": 94, "exercise": 94, "reading_order": 2526, "original": "Ton mineur de SOL ♯.", "english": "G♯ Minor.", "sources": [ { "pdf_page": 418, "source_image": "source-pages/bnf-418.png", "printed_page": 386, "bbox_pixels": [ 439, 3218, 2156, 354 ], "crop_image": "assets/IV.06-034.png" } ], "original_title": "Ton mineur de SOL ♯.", "english_title": "G♯ Minor.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.06-034" ], "music_asset_refs": [ "IV.06-034" ] }, { "id": "IV.06-035", "type": "music", "section": "IV.06", "lesson": 94, "exercise": 94, "reading_order": 2527, "original": "Ton majeur de LA ♭.", "english": "A♭ Major.", "sources": [ { "pdf_page": 419, "source_image": "source-pages/bnf-419.png", "printed_page": 387, "bbox_pixels": [ 432, 402, 2161, 370 ], "crop_image": "assets/IV.06-035.png" } ], "original_title": "Ton majeur de LA ♭.", "english_title": "A♭ Major.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.06-035" ], "music_asset_refs": [ "IV.06-035" ] }, { "id": "IV.06-036", "type": "music", "section": "IV.06", "lesson": 94, "exercise": 94, "reading_order": 2528, "original": "Ton mineur de SI ♭.", "english": "B♭ Minor.", "sources": [ { "pdf_page": 419, "source_image": "source-pages/bnf-419.png", "printed_page": 387, "bbox_pixels": [ 432, 804, 2159, 335 ], "crop_image": "assets/IV.06-036.png" } ], "original_title": "Ton mineur de SI ♭.", "english_title": "B♭ Minor.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.06-036" ], "music_asset_refs": [ "IV.06-036" ] }, { "id": "IV.06-037", "type": "music", "section": "IV.06", "lesson": 94, "exercise": 94, "reading_order": 2529, "original": "Ton mineur de MI ♭.", "english": "E♭ Minor.", "sources": [ { "pdf_page": 419, "source_image": "source-pages/bnf-419.png", "printed_page": 387, "bbox_pixels": [ 432, 1167, 2159, 357 ], "crop_image": "assets/IV.06-037.png" } ], "original_title": "Ton mineur de MI ♭.", "english_title": "E♭ Minor.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.06-037" ], "music_asset_refs": [ "IV.06-037" ] }, { "id": "IV.06-038", "type": "music", "section": "IV.06", "lesson": 94, "exercise": 94, "reading_order": 2530, "original": "Ton mineur de RÉ ♯.", "english": "D♯ Minor.", "sources": [ { "pdf_page": 419, "source_image": "source-pages/bnf-419.png", "printed_page": 387, "bbox_pixels": [ 430, 1568, 2167, 363 ], "crop_image": "assets/IV.06-038.png" } ], "original_title": "Ton mineur de RÉ ♯.", "english_title": "D♯ Minor.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.06-038" ], "music_asset_refs": [ "IV.06-038" ] }, { "id": "IV.06-039", "type": "paragraph", "section": "IV.06", "lesson": 94, "exercise": 94, "reading_order": 2531, "original": "Ces deux derniers Tons se joüent sur les mêmes Touches sous des noms differens, ce qui doit servir d’exemple pour tous les autres Tons, qui peuvent se marquer de même sous deux noms differens ; car la Notte Ut peut être marquée sous le nom de Si ♯, & l’Ut ♯ sous le nom de Ré ♭ ; de sorte que toutes les Nottes de l’Octave changeroient en même-temps de nom ; mais cela est si peu usité, que nous avons crû qu’il suffiroit d’en donner seulement une idée, laissant à un chacun la liberté de prendre cette double connoissance du Clavier, connoissance très-necessaire à ceux qui veulent être à l’épreuve des plus grandes difficultez.", "english": "These last two keys are played on the same keys under different names. This illustrates every other key that can likewise be written under two names: C can be called B♯, and C♯ D♭, so all the notes of the octave change names together. This is so little used that we thought a general indication sufficient, leaving everyone free to acquire this double knowledge of the keyboard, which is very necessary for those wishing to withstand the greatest difficulties.", "sources": [ { "pdf_page": 419, "source_image": "source-pages/bnf-419.png", "printed_page": 387, "bbox_pixels": [ 419, 2004, 2171, 748 ], "crop_image": "assets/IV.06-039.png" } ] }, { "id": "IV.06-040", "type": "paragraph", "section": "IV.06", "lesson": 94, "exercise": 94, "reading_order": 2532, "original": "Il faut tâcher de regarder toûjours son Livre en accompagnant, & ne regarder ses doigts que lorsqu’on ne peut mieux faire, ce qui s’acquiert par la pratique, l’oreille qui se forme à l’Harmonie, devenant plus sensible aux fautes que l’œil ; & par le moyen de ces Octaves, les doigts prennent une certaine habitude, qui les porte naturellement sur les Touches dont les Accords doivent être formez. Ne négligez donc pas la Position de la main, ni l’arrangement des doigts, cela est d’une consequence plus grande que l’on ne peut s’imaginer.", "english": "Try always to look at the book while accompanying, looking at the fingers only when unavoidable. Practice develops this: the ear, trained in harmony, becomes more sensitive to errors than the eye. These octave exercises also give the fingers a habit that naturally guides them to the keys composing each chord. Do not neglect hand position or fingering; their importance is greater than you may imagine.", "sources": [ { "pdf_page": 419, "source_image": "source-pages/bnf-419.png", "printed_page": 387, "bbox_pixels": [ 419, 2752, 2171, 677 ], "crop_image": "assets/IV.06-040.png" } ] }, { "id": "IV.06-041", "type": "paragraph", "section": "IV.06", "lesson": 94, "exercise": 94, "reading_order": 2533, "original": "Quand on possede une fois la pratique de toutes ces Octaves, il faut pouvoir nommer en soi-même tous les Accords qu’on y fait, sans voir son Livre ni sa main ; & dire encore, si cela se peut, cet Accord dérive du Parfait, ou de celui de la Septiéme d’une telle Notte, après lequel je passe ordinairement à celui-ci, qui dérive encore de celui-là ; car l’on ne peut s’y prendre de trop de façons, lorsque l’on veut posseder promptement & parfaitement la connoissance de quoique ce soit, d’autant plus qu’on est presque au bout de toutes les difficultez, quand on est une fois parvenu au point de connoître la suite des Accords dans l’Octave de chaque Ton, en se souvenant que cette suite est la même dans quelque Ton que ce soit.", "english": "Once all these octave exercises are mastered, be able to name inwardly every chord you play without looking at either book or hand. If possible, also say: this chord derives from the perfect or seventh chord of such a note; I ordinarily pass next to this chord, derived from that one. No number of approaches is excessive when seeking prompt and thorough knowledge. Once the chord succession throughout every key's octave is known, nearly all the difficulties are overcome. Remember that this succession is the same in every key.", "sources": [ { "pdf_page": 419, "source_image": "source-pages/bnf-419.png", "printed_page": 387, "bbox_pixels": [ 419, 3433, 2171, 101 ], "crop_image": "assets/IV.06-041.png" }, { "pdf_page": 420, "source_image": "source-pages/bnf-420.png", "printed_page": 388, "bbox_pixels": [ 419, 374, 2171, 825 ], "crop_image": "assets/IV.06-042.png" } ] }, { "id": "IV.06-043", "type": "paragraph", "section": "IV.06", "lesson": 94, "exercise": 94, "reading_order": 2534, "original": "Ceux qui s’ennuïront à étudier tous ces Tons, pourront passer outre après les seize ou dix-huit premiers, & ne reprendre les autres que lorsqu’ils voudront ne douter de rien.", "english": "Those who tire of studying every key may continue after the first sixteen or eighteen, returning to the others when they wish to leave nothing uncertain.", "sources": [ { "pdf_page": 420, "source_image": "source-pages/bnf-420.png", "printed_page": 388, "bbox_pixels": [ 419, 1201, 2171, 226 ], "crop_image": "assets/IV.06-043.png" } ] }, { "id": "IV.07-001", "type": "heading", "section": "IV.07", "lesson": 95, "exercise": 95, "reading_order": 2535, "original": "CHAPITRE SEPTIÉME.", "english": "CHAPTER VII.", "sources": [ { "pdf_page": 420, "source_image": "source-pages/bnf-420.png", "printed_page": 388, "bbox_pixels": [ 419, 1540, 2171, 95 ], "crop_image": "assets/IV.07-001.png" } ] }, { "id": "IV.07-002", "type": "heading", "section": "IV.07", "lesson": 95, "exercise": 95, "reading_order": 2536, "original": "De l’ordre qu’il faut se prescrire pour la suite des Accords qui se rencontrent dans l’étenduë de l’Octave de chaque Ton.", "english": "The order to follow in the succession of chords found within the octave of each key.", "sources": [ { "pdf_page": 420, "source_image": "source-pages/bnf-420.png", "printed_page": 388, "bbox_pixels": [ 419, 1652, 2171, 183 ], "crop_image": "assets/IV.07-002.png" } ] }, { "id": "IV.07-003", "type": "paragraph", "section": "IV.07", "lesson": 95, "exercise": 95, "reading_order": 2537, "original": "IL faut s’imaginer d’abord que toute Notte qui porte l’Accord parfait est la Tonique, que dans chaque Ton il n’y a que la Notte tonique & sa Dominante qui ayent ce privilege, & que quand même cette Dominante porteroit l’Accord de la Septiéme, elle peut être toûjours prise pour Tonique ; ce qui détermine plus promptement la connoissance des Accords qui doivent se faire sur les Nottes qui précedent cette Notte tonique ou sa Dominante, car ils sont à peu près toûjours les mêmes.", "english": "First imagine that every note bearing the perfect chord is the tonic; that in each key only the tonic and its dominant have this privilege; and that even when this dominant bears the seventh chord, it may still be taken as a tonic. This makes it easier to recognize the chords that should precede the tonic or its dominant, for they are almost always the same.", "sources": [ { "pdf_page": 420, "source_image": "source-pages/bnf-420.png", "printed_page": 388, "bbox_pixels": [ 419, 1882, 2171, 602 ], "crop_image": "assets/IV.07-003.png" } ] }, { "id": "IV.07-004", "type": "paragraph", "section": "IV.07", "lesson": 95, "exercise": 95, "reading_order": 2538, "original": "1°. Si la Notte tonique doit être précedée d’un Accord de Septiéme, lorsque la Basse monte de Quarte ou descend de Quinte (ce qui est la même chose) sa Dominante doit l’être également en pareille progression.", "english": "1°. If the tonic must be preceded by a seventh chord when the bass rises a fourth or falls a fifth—which amounts to the same thing—its dominant must likewise be preceded by that chord in the same progression.", "sources": [ { "pdf_page": 420, "source_image": "source-pages/bnf-420.png", "printed_page": 388, "bbox_pixels": [ 419, 2488, 2171, 296 ], "crop_image": "assets/IV.07-004.png" } ] }, { "id": "IV.07-005", "type": "heading", "section": "IV.07", "lesson": 95, "exercise": 95, "reading_order": 2539, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 420, "source_image": "source-pages/bnf-420.png", "printed_page": 388, "bbox_pixels": [ 419, 2787, 2171, 86 ], "crop_image": "assets/IV.07-005.png" } ] }, { "id": "IV.07-006", "type": "music", "section": "IV.07", "lesson": 95, "exercise": 95, "reading_order": 2540, "original": "Progression de Quarte en montant sur la Notte tonique ; Progression de Quarte en montant sur la Dominante.", "english": "Ascending-fourth progression to the tonic; ascending-fourth progression to the dominant.", "sources": [ { "pdf_page": 420, "source_image": "source-pages/bnf-420.png", "printed_page": 388, "bbox_pixels": [ 993, 2879, 1597, 709 ], "crop_image": "assets/IV.07-006.png" } ], "original_title": "Progression de Quarte en montant sur la Notte tonique ; Progression de Quarte en montant sur la Dominante.", "english_title": "Ascending-fourth progression to the tonic; ascending-fourth progression to the dominant.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.07-006" ], "music_asset_refs": [ "IV.07-006" ] }, { "id": "IV.07-007", "type": "paragraph", "section": "IV.07", "lesson": 95, "exercise": 95, "reading_order": 2541, "original": "2°. Si la Notte tonique doit être précedée de l’Accord de petite Sixte en descendant diatoniquement sur elle, & de l’Accord de la fausse-Quinte en y montant de même, la Dominante le sera également en pareille progression.", "english": "2°. If the tonic must be preceded by the small-sixth chord when the bass descends diatonically to it, and by the diminished-fifth chord when the bass similarly ascends to it, the dominant will likewise be preceded in the same progression.", "sources": [ { "pdf_page": 421, "source_image": "source-pages/bnf-421.png", "printed_page": 389, "bbox_pixels": [ 363, 352, 2227, 296 ], "crop_image": "assets/IV.07-007.png" } ] }, { "id": "IV.07-008", "type": "heading", "section": "IV.07", "lesson": 95, "exercise": 95, "reading_order": 2542, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 421, "source_image": "source-pages/bnf-421.png", "printed_page": 389, "bbox_pixels": [ 419, 645, 2171, 95 ], "crop_image": "assets/IV.07-008.png" } ] }, { "id": "IV.07-009", "type": "music", "section": "IV.07", "lesson": 95, "exercise": 95, "reading_order": 2543, "original": "Notte tonique précedée en descendant, ou en montant diatoniquement. Dominante précedée en montant ou en descendant diatoniquement.", "english": "Tonic approached by descending or ascending diatonic motion. Dominant approached by ascending or descending diatonic motion.", "sources": [ { "pdf_page": 421, "source_image": "source-pages/bnf-421.png", "printed_page": 389, "bbox_pixels": [ 355, 754, 2165, 666 ], "crop_image": "assets/IV.07-009.png" } ], "original_title": "Notte tonique précedée en descendant, ou en montant diatoniquement. Dominante précedée en montant ou en descendant diatoniquement.", "english_title": "Tonic approached by descending or ascending diatonic motion. Dominant approached by ascending or descending diatonic motion.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.07-009" ], "music_asset_refs": [ "IV.07-009" ] }, { "id": "IV.07-010", "type": "paragraph", "section": "IV.07", "lesson": 95, "exercise": 95, "reading_order": 2544, "original": "Vous venez de voir que lorsque la Dominante porte l’Accord parfait, on ajoûte un ♯ à la Sixte qui la précede ; de sorte que l’Accord de la petite Sixte qui en est formé, étant composé de même que celui qui a précédé la Notte tonique en pareille progression, l’on ne peut distinguer pour lors cette Dominante de la Notte tonique que par ce qui suit ; mais si l’on doit faire la Septiéme sur cette Dominante, cela doit vous la faire distinguer d’abord.", "english": "You have just seen that when the dominant bears the perfect chord, a ♯ is added to the sixth preceding it. The resulting small-sixth chord is thus composed like the one that preceded the tonic in the same progression. At that moment one can distinguish this dominant from the tonic only by what follows. But if a seventh is to be played on the dominant, that should identify it immediately.", "sources": [ { "pdf_page": 421, "source_image": "source-pages/bnf-421.png", "printed_page": 389, "bbox_pixels": [ 374, 1439, 2217, 520 ], "crop_image": "assets/IV.07-010.png" } ] }, { "id": "IV.07-011", "type": "paragraph", "section": "IV.07", "lesson": 95, "exercise": 95, "reading_order": 2545, "original": "A l’égard de la Notte tonique & de sa Dominante précédées de l’Accord de la fausse-Quinte en montant diatoniquement, vous y trouverez une difference, en ce que c’est l’Accord de la fausse-Quinte qui précede la Notte tonique, & que c’est celui de la grande Sixte qui précede la Dominante ; mais la difference de ces deux Accords ne consiste que dans la Basse, qui monte d’un semi-Ton sur la Notte tonique, & d’un Ton sur la Dominante ; car d’ailleurs les Accords sont disposez de même, comme l’Exemple vous le prouve ; & cela doit vous servir à distinguer une Notte sensible d’une quatriéme Notte, & une Notte tonique de sa Dominante.", "english": "As for the tonic and dominant approached diatonically from a diminished-fifth chord, you will find this difference: the diminished-fifth chord precedes the tonic, whereas the great-sixth chord precedes the dominant. These two chords differ only in the bass, which rises a semitone to the tonic and a whole tone to the dominant. Otherwise the chords are arranged alike, as the example shows. This should help distinguish a leading note from a fourth degree, and a tonic from its dominant.", "sources": [ { "pdf_page": 421, "source_image": "source-pages/bnf-421.png", "printed_page": 389, "bbox_pixels": [ 374, 1962, 2217, 741 ], "crop_image": "assets/IV.07-011.png" } ] }, { "id": "IV.07-012", "type": "heading", "section": "IV.07", "lesson": 95, "exercise": 95, "reading_order": 2546, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 421, "source_image": "source-pages/bnf-421.png", "printed_page": 389, "bbox_pixels": [ 419, 2729, 2171, 95 ], "crop_image": "assets/IV.07-012.png" } ] }, { "id": "IV.07-013", "type": "music", "section": "IV.07", "lesson": 95, "exercise": 95, "reading_order": 2547, "original": "Notte sensible qui monte d’un semi-Ton sur la Notte tonique. Quatriéme Notte qui monte d’un Ton sur la Dominante.", "english": "Leading note rising a semitone to the tonic. Fourth degree rising a whole tone to the dominant.", "sources": [ { "pdf_page": 421, "source_image": "source-pages/bnf-421.png", "printed_page": 389, "bbox_pixels": [ 959, 2847, 1632, 735 ], "crop_image": "assets/IV.07-013.png" } ], "original_title": "Notte sensible qui monte d’un semi-Ton sur la Notte tonique. Quatriéme Notte qui monte d’un Ton sur la Dominante.", "english_title": "Leading note rising a semitone to the tonic. Fourth degree rising a whole tone to the dominant.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.07-013" ], "music_asset_refs": [ "IV.07-013" ] }, { "id": "IV.07-014", "type": "paragraph", "section": "IV.07", "lesson": 95, "exercise": 95, "reading_order": 2548, "original": "Remarquez, qui plus est, que les Accords de Septiéme, de petite & grande Sixte, ou de fausse-Quinte, dont la Notte tonique & sa Dominante ont été précédées, selon la differente progression de la Basse, ne sont differens qu’en apparence, puisqu’ils proviennent tous de celui de la Septiéme ; d’où vous devez conclure, que toute Notte qui en précede une autre en montant de Quarte, ou en descendant de Quinte, doit porter l’Accord de la Septiéme ; & que si la progression de cette premiere Notte à l’autre, est diatonique, elle doit porter un Accord dérivé de celui de la Septiéme, supposé que la Notte où l’on tombe porte l’Accord parfait, ou celui de la Septiéme, ce qui se connoît par les chiffres, car les Commençans ne doivent jamais accompagner sans chiffres.", "english": "Observe also that the seventh, small-sixth, great-sixth and diminished-fifth chords that have preceded the tonic and its dominant, according to the bass’s different progressions, differ only in appearance: they all derive from the seventh chord. Therefore any note preceding another by rising a fourth or falling a fifth must bear a seventh chord. If the progression from the first note to the next is diatonic, it must bear a chord derived from the seventh chord, provided the arrival note bears the perfect chord or seventh chord. The figures show this, for beginners should never accompany without figures.", "sources": [ { "pdf_page": 422, "source_image": "source-pages/bnf-422.png", "printed_page": 390, "bbox_pixels": [ 419, 322, 2171, 902 ], "crop_image": "assets/IV.07-014.png" } ] }, { "id": "IV.07-015", "type": "heading", "section": "IV.07", "lesson": 95, "exercise": 95, "reading_order": 2549, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 422, "source_image": "source-pages/bnf-422.png", "printed_page": 390, "bbox_pixels": [ 419, 1293, 2171, 90 ], "crop_image": "assets/IV.07-015.png" } ] }, { "id": "IV.07-016", "type": "music", "section": "IV.07", "lesson": 95, "exercise": 95, "reading_order": 2550, "original": "Basse qui monte de Quarte, ou descend de Quinte. Basse qui descend diatoniquement. Basse qui monte diatoniquement.", "english": "Bass rising a fourth or falling a fifth. Bass descending diatonically. Bass ascending diatonically.", "sources": [ { "pdf_page": 422, "source_image": "source-pages/bnf-422.png", "printed_page": 390, "bbox_pixels": [ 993, 1437, 1597, 1399 ], "crop_image": "assets/IV.07-016.png" } ], "original_title": "Basse qui monte de Quarte, ou descend de Quinte. Basse qui descend diatoniquement. Basse qui monte diatoniquement.", "english_title": "Bass rising a fourth or falling a fifth. Bass descending diatonically. Bass ascending diatonically.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.07-016" ], "music_asset_refs": [ "IV.07-016" ] }, { "id": "IV.07-017", "type": "paragraph", "section": "IV.07", "lesson": 95, "exercise": 95, "reading_order": 2551, "original": "Les mêmes Accords servent ici pour chaque Basse, où l’on voit que ceux de fausse-Quinte, de petite & de grande Sixte sont formez des mêmes Nottes qui composent celui de la Septiéme de cette Notte, qui a monté de Quarte ; & que ces Accords ne prennent des noms differens que par rapport à la differente progression de la Basse, puisque dans le fonds ils proviennent tous d’un même Accord.", "english": "The same chords serve each bass here. The diminished-fifth, small-sixth and great-sixth chords consist of the same notes as the seventh chord on the note that rose a fourth. These chords receive different names only because of the different bass progressions; fundamentally they all come from the same chord.", "sources": [ { "pdf_page": 422, "source_image": "source-pages/bnf-422.png", "printed_page": 390, "bbox_pixels": [ 419, 2883, 2171, 531 ], "crop_image": "assets/IV.07-017.png" } ] }, { "id": "IV.07-018", "type": "paragraph", "section": "IV.07", "lesson": 95, "exercise": 95, "reading_order": 2552, "original": "Pour ce qui est de la difference du majeur au mineur qui peut se rencontrer dans les Accords, comme entre la fausse-Quinte & la grande Sixte, &c. cela se connoît ou par la progression de la Basse, ou par la Modulation, qui nous oblige de n’employer que certaines Nottes ou Touches dans un tel Ton ; car si le Ton change, on trouve pour lors quelques Diezes ou B-mols associez aux chiffres, qui le font remarquer.", "english": "Any major–minor difference that may occur in the chords, as between the diminished fifth and great sixth, and so forth, is recognized either from the bass progression or from the modulation, which requires us to use only certain notes or keys in a given key. If the key changes, sharps or flats attached to the figures indicate it.", "sources": [ { "pdf_page": 422, "source_image": "source-pages/bnf-422.png", "printed_page": 390, "bbox_pixels": [ 419, 3416, 2171, 103 ], "crop_image": "assets/IV.07-018.png" }, { "pdf_page": 423, "source_image": "source-pages/bnf-423.png", "printed_page": 391, "bbox_pixels": [ 419, 404, 2171, 458 ], "crop_image": "assets/IV.07-019.png" } ] }, { "id": "IV.07-020", "type": "paragraph", "section": "IV.07", "lesson": 95, "exercise": 95, "reading_order": 2553, "original": "Il faut conclure de ces Remarques, que toute Notte ne prêtant son Accord parfait ou de Septiéme qu’à sa Tierce, à sa Quinte ou à sa Septiéme, les Accords de Sixte & de Sixte-quarte, qui proviennent du Parfait, doivent être précedez du même Accord qui précede naturellement ce Parfait, comme on a pû le remarquer dans les Octaves précédentes, où la Mediante exige avant elle le même Accord qu’exige le Parfait.", "english": "These observations imply that, since a note lends its perfect or seventh chord only to its third, fifth or seventh, the sixth and sixth–fourth chords derived from the perfect chord must be preceded by the same chord that naturally precedes that perfect chord. This was visible in the preceding octaves, where the mediant requires the same preceding chord as the perfect chord.", "sources": [ { "pdf_page": 423, "source_image": "source-pages/bnf-423.png", "printed_page": 391, "bbox_pixels": [ 419, 864, 2171, 526 ], "crop_image": "assets/IV.07-020.png" } ] }, { "id": "IV.07-021", "type": "heading", "section": "IV.07", "lesson": 95, "exercise": 95, "reading_order": 2554, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 423, "source_image": "source-pages/bnf-423.png", "printed_page": 391, "bbox_pixels": [ 419, 1454, 2171, 92 ], "crop_image": "assets/IV.07-021.png" } ] }, { "id": "IV.07-022", "type": "music", "section": "IV.07", "lesson": 95, "exercise": 95, "reading_order": 2555, "original": "Accords qui précedent la Mediante.", "english": "Chords preceding the mediant.", "sources": [ { "pdf_page": 423, "source_image": "source-pages/bnf-423.png", "printed_page": 391, "bbox_pixels": [ 718, 1605, 1554, 513 ], "crop_image": "assets/IV.07-022.png" } ], "original_title": "Accords qui précedent la Mediante.", "english_title": "Chords preceding the mediant.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.07-022" ], "music_asset_refs": [ "IV.07-022" ] }, { "id": "IV.07-023", "type": "paragraph", "section": "IV.07", "lesson": 95, "exercise": 95, "reading_order": 2556, "original": "La progression d’un Accord consonant à un autre ou à un dissonant, n’est pas difficile à pratiquer, & merite moins d’attention que celle d’un Dissonant à un autre, laquelle subsiste principalement & le plus frequemment dans celle de la Septiéme qui vient de paroître au pénultiéme Exemple, & dont voici les differentes suites d’Accords qui peuvent en être tirées.", "english": "Moving from a consonant chord to another consonant chord or to a dissonant chord is not difficult to perform and deserves less attention than moving from one dissonant chord to another. This latter progression chiefly and most frequently occurs in the seventh-chord progression shown in the next-to-last example. Here are the different chord successions that may be derived from it.", "sources": [ { "pdf_page": 423, "source_image": "source-pages/bnf-423.png", "printed_page": 391, "bbox_pixels": [ 419, 2172, 2171, 462 ], "crop_image": "assets/IV.07-023.png" } ] }, { "id": "IV.07-024", "type": "paragraph", "section": "IV.07", "lesson": 95, "exercise": 95, "reading_order": 2557, "original": "Voyez l’Exemple suivant.", "english": "See the following example.", "sources": [ { "pdf_page": 423, "source_image": "source-pages/bnf-423.png", "printed_page": 391, "bbox_pixels": [ 419, 3453, 2171, 101 ], "crop_image": "assets/IV.07-024.png" } ] }, { "id": "IV.07-025", "type": "heading", "section": "IV.07", "lesson": 95, "exercise": 95, "reading_order": 2558, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 424, "source_image": "source-pages/bnf-424.png", "printed_page": 392, "bbox_pixels": [ 419, 370, 2171, 90 ], "crop_image": "assets/IV.07-025.png" } ] }, { "id": "IV.07-026", "type": "music", "section": "IV.07", "lesson": 95, "exercise": 95, "reading_order": 2559, "original": "Basse de la Septiéme ; cinq Basses dont les Accords dérivent de celui de la Septiéme.", "english": "Bass of the seventh chord; five basses whose chords derive from the seventh chord.", "sources": [ { "pdf_page": 424, "source_image": "source-pages/bnf-424.png", "printed_page": 392, "bbox_pixels": [ 540, 466, 914, 2215 ], "crop_image": "assets/IV.07-026.png" } ], "original_title": "Basse de la Septiéme ; cinq Basses dont les Accords dérivent de celui de la Septiéme.", "english_title": "Bass of the seventh chord; five basses whose chords derive from the seventh chord.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.07-026" ], "music_asset_refs": [ "IV.07-026" ] }, { "id": "IV.07-027", "type": "paragraph", "section": "IV.07", "lesson": 95, "exercise": 95, "reading_order": 2560, "original": "Ces Accords servent à chaque Basse, l’on peut même y laisser les quatre Nottes qu’ils contiennent, excepté la Notte sensible A, qu’il faut en retrancher lorsqu’elle se trouve à la Basse, ou bien il n’y a qu’à retrancher de chaque Accord l’Octave de la Notte que l’on touchera dans l’une des cinq Basses inferieures, en attendant une Regle plus étenduë sur le même sujet.", "english": "These chords serve each bass. One may even retain all four notes they contain, except the leading note marked A, which must be removed when it occurs in the bass. Alternatively, simply remove from each chord the octave of the note played in whichever of the five lower basses is used, until a fuller rule on this subject is given.", "sources": [ { "pdf_page": 424, "source_image": "source-pages/bnf-424.png", "printed_page": 392, "bbox_pixels": [ 1453, 473, 1243, 756 ], "crop_image": "assets/IV.07-027.png" } ] }, { "id": "IV.07-028", "type": "paragraph", "section": "IV.07", "lesson": 95, "exercise": 95, "reading_order": 2561, "original": "Si l’Accord parfait ou de Septiéme d’une certaine Notte doit précéder celui d’une certaine autre Notte, par consequent l’Accord de cette derniere Notte doit suivre celui de la premiere ; de sorte que la connoissance de l’une conduit à celle de l’autre, ne s’agissant que d’avoir ces progressions presentes à l’esprit, tant d’une façon que de l’autre, soit à l’égard des Accords premiers, soit à l’égard de leurs dérivez.", "english": "If the perfect or seventh chord of one note must precede the chord of another, then the latter note’s chord must follow the former’s. Knowing one thus leads to knowing the other. Keep these progressions in mind in both directions, for the original chords as well as their derivatives.", "sources": [ { "pdf_page": 424, "source_image": "source-pages/bnf-424.png", "printed_page": 392, "bbox_pixels": [ 1453, 1231, 1243, 823 ], "crop_image": "assets/IV.07-028.png" } ] }, { "id": "IV.07-029", "type": "paragraph", "section": "IV.07", "lesson": 95, "exercise": 95, "reading_order": 2562, "original": "Pour achever de se convaincre sur ce sujet, il n’y a qu’à consulter les Octaves précédentes, où l’on verra que les Accords qui conduisent en montant de la Mediante à la Dominante, & de la sixiéme Notte à la Tonique sont les mêmes, aussi-bien que ceux qui conduisent en descendant de la septiéme Notte à la Dominante, & de la Mediante à la Tonique ; & que la Mediante est précedée par tout de même que la Tonique, ce qui va être éclairci par le détail.", "english": "To be fully convinced, consult the preceding octaves. The chords leading upward from the mediant to the dominant are the same as those leading from the sixth degree to the tonic. Likewise, those leading downward from the seventh degree to the dominant are the same as those leading from the mediant to the tonic. And the mediant is everywhere approached like the tonic. The details that follow will make this clear.", "sources": [ { "pdf_page": 424, "source_image": "source-pages/bnf-424.png", "printed_page": 392, "bbox_pixels": [ 540, 2054, 2156, 829 ], "crop_image": "assets/IV.07-029.png" } ] }, { "id": "IV.08-001", "type": "heading", "section": "IV.08", "lesson": 96, "exercise": 96, "reading_order": 2563, "original": "CHAPITRE HUITIÉME.", "english": "CHAPTER VIII.", "sources": [ { "pdf_page": 424, "source_image": "source-pages/bnf-424.png", "printed_page": 392, "bbox_pixels": [ 419, 3006, 2171, 99 ], "crop_image": "assets/IV.08-001.png" } ], "correction_refs": [ "supplement-276" ] }, { "id": "IV.08-002", "type": "heading", "section": "IV.08", "lesson": 96, "exercise": 96, "reading_order": 2564, "original": "Regles generales.", "english": "General rules.", "sources": [ { "pdf_page": 424, "source_image": "source-pages/bnf-424.png", "printed_page": 392, "bbox_pixels": [ 419, 3132, 2171, 101 ], "crop_image": "assets/IV.08-002.png" } ] }, { "id": "IV.08-003", "type": "paragraph", "section": "IV.08", "lesson": 96, "exercise": 96, "reading_order": 2565, "original": "IL ne faut considerer à present qu’un seul Ton, en se souvenant que l’Accord parfait n’est affecté qu’à la Notte tonique & à sa Dominante, sans se mettre en peine de la Septiéme, qui peut être jointe à l’Accord parfait de cette Dominante.", "english": "For now consider only one key, remembering that the perfect chord belongs only to the tonic and its dominant, without troubling yourself about the seventh that may be added to the dominant’s perfect chord.", "sources": [ { "pdf_page": 424, "source_image": "source-pages/bnf-424.png", "printed_page": 392, "bbox_pixels": [ 544, 3279, 2154, 324 ], "crop_image": "assets/IV.08-003.png" } ] }, { "id": "IV.08-004", "type": "paragraph", "section": "IV.08", "lesson": 96, "exercise": 96, "reading_order": 2566, "original": "Il faut donner l’Accord de la grande Sixte à toute Notte qui monte d’un Ton sur l’Accord parfait, & celui de la fausse-Quinte à celle qui n’y monte que d’un semi-Ton ; l’on peut donner aussi l’Accord de la Septiéme à cette Notte qui monte, mais il faut que cela soit précisément désigné par un chiffre.", "english": "Give the great-sixth chord to any note rising a whole tone to a perfect chord, and the diminished-fifth chord to one rising only a semitone. The ascending note may also take a seventh chord, but a figure must explicitly indicate this.", "sources": [ { "pdf_page": 425, "source_image": "source-pages/bnf-425.png", "printed_page": 393, "bbox_pixels": [ 387, 372, 2204, 376 ], "crop_image": "assets/IV.08-004.png" } ] }, { "id": "IV.08-005", "type": "paragraph", "section": "IV.08", "lesson": 96, "exercise": 96, "reading_order": 2567, "original": "Il faut donner l’Accord de petite Sixte à toute Notte qui descend diatoniquement sur l’Accord parfait, ou qui monte de même sur la Mediante.", "english": "Give the small-sixth chord to any note descending diatonically to a perfect chord or ascending diatonically to the mediant.", "sources": [ { "pdf_page": 425, "source_image": "source-pages/bnf-425.png", "printed_page": 393, "bbox_pixels": [ 387, 752, 2204, 217 ], "crop_image": "assets/IV.08-005.png" } ] }, { "id": "IV.08-006", "type": "paragraph", "section": "IV.08", "lesson": 96, "exercise": 96, "reading_order": 2568, "original": "Il faut donner l’Accord du Tri-Ton, ou quelquefois celui de la grande Sixte à toute Notte qui descend diatoniquement sur la Mediante.", "english": "Give the tritone chord, or sometimes the great-sixth chord, to any note descending diatonically to the mediant.", "sources": [ { "pdf_page": 425, "source_image": "source-pages/bnf-425.png", "printed_page": 393, "bbox_pixels": [ 387, 973, 2204, 219 ], "crop_image": "assets/IV.08-006.png" } ] }, { "id": "IV.08-007", "type": "paragraph", "section": "IV.08", "lesson": 96, "exercise": 96, "reading_order": 2569, "original": "Il faut donner l’Accord de Sixte à toute Notte qui monte diatoniquement sur une autre qui porte celui de la grande Sixte ou du Tri-Ton à celle qui descend diatoniquement sur une autre qui porte celui de la petite Sixte, & à celle qui se trouve une Tierce au-dessus ou au-dessous d’une autre, qui doit porter ensuite l’Accord parfait.", "english": "Give a sixth chord to any note ascending diatonically to one bearing a great-sixth or tritone chord; to one descending diatonically to a note bearing a small-sixth chord; and to one a third above or below a note that will next bear a perfect chord.", "sources": [ { "pdf_page": 425, "source_image": "source-pages/bnf-425.png", "printed_page": 393, "bbox_pixels": [ 387, 1199, 2204, 378 ], "crop_image": "assets/IV.08-007.png" } ] }, { "id": "IV.08-008", "type": "paragraph", "section": "IV.08", "lesson": 96, "exercise": 96, "reading_order": 2570, "original": "L’on peut donner l’Accord parfait à toutes les Nottes qui procedent par des Intervales consonans ; car dans un Intervale de Tierce, l’Accord parfait convient quelquefois à la premiere Notte, aussi-bien que celui de la Sixte, mais le chiffre doit regler en ce cas.", "english": "All notes moving by consonant intervals may be given a perfect chord. In a movement of a third, a perfect chord sometimes suits the first note as well as a sixth chord, but the figure must decide in this case.", "sources": [ { "pdf_page": 425, "source_image": "source-pages/bnf-425.png", "printed_page": 393, "bbox_pixels": [ 387, 1579, 2204, 294 ], "crop_image": "assets/IV.08-008.png" } ] }, { "id": "IV.08-009", "type": "paragraph", "section": "IV.08", "lesson": 96, "exercise": 96, "reading_order": 2571, "original": "L’on peut ajoûter la Septiéme à l’Accord parfait de toutes les Nottes, qui sont suivies d’une autre en montant de Quarte, ou en descendant de Quinte ; & l’on peut aussi ajoûter la Sixte à l’Accord parfait de toutes les Nottes, qui sont suivies d’une autre en montant de Quinte ou en descendant de Quarte, supposé que ces Nottes qui suivent les premieres, portent l’Accord parfait ou celui de la Septiéme, ces deux dernieres Regles servant de fondement à toutes les précédentes.", "english": "A seventh may be added to the perfect chord of any note followed by another a fourth above or a fifth below. A sixth may likewise be added to the perfect chord of any note followed by another a fifth above or a fourth below, provided the following notes bear a perfect chord or a seventh chord. These last two rules are the foundation of all the preceding ones.", "sources": [ { "pdf_page": 425, "source_image": "source-pages/bnf-425.png", "printed_page": 393, "bbox_pixels": [ 387, 1878, 2204, 589 ], "crop_image": "assets/IV.08-009.png" } ] }, { "id": "IV.08-010", "type": "paragraph", "section": "IV.08", "lesson": 96, "exercise": 96, "reading_order": 2572, "original": "De toutes ces Regles, on peut encore tirer les suivantes.", "english": "The following may also be drawn from these rules.", "sources": [ { "pdf_page": 425, "source_image": "source-pages/bnf-425.png", "printed_page": 393, "bbox_pixels": [ 387, 2469, 2204, 88 ], "crop_image": "assets/IV.08-010.png" } ] }, { "id": "IV.08-011", "type": "paragraph", "section": "IV.08", "lesson": 96, "exercise": 96, "reading_order": 2573, "original": "Si l’on peut descendre diatoniquement sur la Mediante après un Accord de grande Sixte ou de Tri-Ton, donc on peut descendre aussi de Quarte sur la Notte tonique, ou monter diatoniquement sur la Dominante, portant l’Accord de Sixte-quarte après les Accords de grande-Sixte ou de Tri-Ton, puisque l’Accord parfait de la Notte tonique compose celui de la Sixte de sa Mediante, & celui de la Sixte-quarte de sa Dominante, bien que l’on monte rarement sur la Dominante après l’Accord du Tri-Ton ; mais la suite nous mettra encore mieux au fait. De plus, il faut dire, si un tel Accord doit préceder celui-là, donc il doit, ou du moins il peut en être suivi conformément à la progression déterminée à la Basse, pouvant tirer presque toutes ces differentes Regles des Octaves du Chap. VI.", "english": "If one may descend diatonically to the mediant after a great-sixth or tritone chord, one may therefore also descend a fourth to the tonic, or ascend diatonically to the dominant bearing a sixth–fourth chord, after those same chords. For the tonic’s perfect chord forms the sixth chord of its mediant and the sixth–fourth chord of its dominant, although one rarely ascends to the dominant after a tritone chord. What follows will make this clearer. Moreover, if a given chord must precede another, then it must—or at least may—be followed by that other chord in accordance with the specified bass progression. Nearly all these different rules can be drawn from the octaves in Chapter VI.", "sources": [ { "pdf_page": 425, "source_image": "source-pages/bnf-425.png", "printed_page": 393, "bbox_pixels": [ 387, 2548, 2204, 902 ], "crop_image": "assets/IV.08-011.png" } ] }, { "id": "IV.08-012", "type": "heading", "section": "IV.08", "lesson": 96, "exercise": 96, "reading_order": 2574, "original": "Exemple de la Progression des Accords de Septiéme, & de ses dérivez par renversement.", "english": "Example of the progression of seventh chords and their derivatives by inversion.", "sources": [ { "pdf_page": 426, "source_image": "source-pages/bnf-426.png", "printed_page": 394, "bbox_pixels": [ 419, 460, 2171, 150 ], "alternate_image": "source-pages/alternate/bne-430-native.png", "crop_image": "assets/IV.08-012.png" } ] }, { "id": "IV.08-013", "type": "music", "section": "IV.08", "lesson": 96, "exercise": 96, "reading_order": 2575, "original": "Progression des Septiémes ; trois positions supérieures et deux Basses alternatives ; Tons mineurs.", "english": "Seventh-chord progression; three upper-part positions and two alternative basses; minor keys.", "sources": [ { "pdf_page": 426, "source_image": "source-pages/bnf-426.png", "printed_page": 394, "bbox_pixels": [ 432, 683, 2161, 1925 ], "alternate_image": "source-pages/alternate/bne-430-native.png", "crop_image": "assets/IV.08-013.png" } ], "original_title": "Progression des Septiémes ; trois positions supérieures et deux Basses alternatives ; Tons mineurs.", "english_title": "Seventh-chord progression; three upper-part positions and two alternative basses; minor keys.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.08-013" ], "music_asset_refs": [ "IV.08-013" ] }, { "id": "IV.08-014", "type": "paragraph", "section": "IV.08", "lesson": 96, "exercise": 96, "reading_order": 2576, "original": "Vous trouverez ici deux Basses sous les mêmes Accords, dont l’une monte de Quarte ou descend de Quinte, en portant par tout un Accord de Septiéme, pendant que l’autre descend diatoniquement, en portant sur chaque Notte en même degré l’Accord de Septiéme & celui de la petite Sixte, ce qui est conforme à nos Regles précédentes.", "english": "Here two basses stand beneath the same chords. One rises a fourth or falls a fifth, carrying a seventh chord throughout. The other descends diatonically, carrying both a seventh chord and a small-sixth chord on each repeated bass degree, in accordance with our preceding rules.", "sources": [ { "pdf_page": 426, "source_image": "source-pages/bnf-426.png", "printed_page": 394, "bbox_pixels": [ 419, 2718, 2171, 449 ], "alternate_image": "source-pages/alternate/bne-430-native.png", "crop_image": "assets/IV.08-014.png" } ] }, { "id": "IV.08-015", "type": "paragraph", "section": "IV.08", "lesson": 96, "exercise": 96, "reading_order": 2577, "original": "Les Nottes (A) portent trois differens Accords de Sixte, pour faire remarquer que l’un de ces trois Accords peut préceder la premiere Septiéme seulement, dans une progression pareille à celle que la Basse y tient.", "english": "The notes marked (A) bear three different sixth chords, showing that any one of these may precede only the first seventh chord in a progression like the bass progression here.", "sources": [ { "pdf_page": 426, "source_image": "source-pages/bnf-426.png", "printed_page": 394, "bbox_pixels": [ 419, 3169, 2171, 284 ], "alternate_image": "source-pages/alternate/bne-430-native.png", "crop_image": "assets/IV.08-015.png" } ] }, { "id": "IV.08-016", "type": "paragraph", "section": "IV.08", "lesson": 96, "exercise": 96, "reading_order": 2578, "original": "Cet Exemple, qui doit servir pour tous les Tons mineurs, vous servira également pour tous les majeurs, en retranchant les B-mols qui sont à la suite des Clefs, n’y ayant qu’à le copier sur d’autres Tons conformément à celui-ci, tant pour les mineurs que pour les majeurs ; Remarquez que nous avons ajoûté un B-mol à ceux que l’on a accoûtumé de mettre devant la Clef pour un pareil Ton, & que ce B-mol marque la Sixte mineure de tous les Tons mineurs ; ce que nous aurions dû faire par tout, si l’usage ne l’emportoit pas sur cette observation.", "english": "This example, intended for all minor keys, will serve all major keys equally well if the flats following the clefs are removed. Simply copy it into other keys on this model, both minor and major. Notice that we have added one flat to those customarily placed at the clef for such a key. This flat marks the minor sixth of every minor key. We ought to have done this throughout, had customary usage not prevailed over this observation.", "sources": [ { "pdf_page": 426, "source_image": "source-pages/bnf-426.png", "printed_page": 394, "bbox_pixels": [ 419, 3455, 2171, 99 ], "alternate_image": "source-pages/alternate/bne-430-native.png", "crop_image": "assets/IV.08-016.png" }, { "pdf_page": 427, "source_image": "source-pages/bnf-427.png", "printed_page": 395, "bbox_pixels": [ 346, 361, 2245, 591 ], "crop_image": "assets/IV.08-017.png" } ] }, { "id": "IV.08-018", "type": "paragraph", "section": "IV.08", "lesson": 96, "exercise": 96, "reading_order": 2579, "original": "Il faut pratiquer cette suite d’Accords, non seulement dans tous les Tons, mais encore dans les trois differens endroits du Clavier, comme nous l’avons marqué, ce qui doit s’entendre également de tous les Exemples que nous donnerons dans la suite ; & pour se faciliter la pratique du précédent, l’on peut remarquer que d’un Accord à l’autre il se trouve toûjours deux doigts qui descendent, pendant que l’autre reste sur le même degré, celui-ci descendant à son tour, pendant que les deux premiers restent, & ainsi alternativement jusqu’à la fin.", "english": "Practice this chord succession not only in every key but also in the three different keyboard positions shown. The same instruction applies to all the examples that follow. To make the preceding example easier, notice that from one chord to the next two fingers descend while the other stays on the same degree. That finger then descends while the first two remain, and so on alternately to the end.", "sources": [ { "pdf_page": 427, "source_image": "source-pages/bnf-427.png", "printed_page": 395, "bbox_pixels": [ 346, 954, 2245, 675 ], "crop_image": "assets/IV.08-018.png" } ] }, { "id": "IV.08-019", "type": "paragraph", "section": "IV.08", "lesson": 96, "exercise": 96, "reading_order": 2580, "original": "Comme nous avons encore d’autres suites d’Accords qui dérivent de ces premiers, nous allons en donner un nouvel Exemple dans le Ton majeur, qui pourra servir également pour le mineur, en mettant à la suite de la Clef les B-mols de l’Exemple précédent, & en remarquant que la Notte sensible qui se trouve à la fin, ne doit point changer dans l’un & dans l’autre Ton.", "english": "Other chord successions derive from these first ones. We shall give a new example in the major key, equally usable in minor by adding after the clef the flats from the preceding example. The leading note at the end must remain unchanged in both keys.", "sources": [ { "pdf_page": 427, "source_image": "source-pages/bnf-427.png", "printed_page": 395, "bbox_pixels": [ 346, 1631, 2245, 447 ], "crop_image": "assets/IV.08-019.png" } ] }, { "id": "IV.08-020", "type": "paragraph", "section": "IV.08", "lesson": 96, "exercise": 96, "reading_order": 2581, "original": "De plus, nous ajoûterons ici une Notte à chaque Accord, où pour lors il se trouvera toûjours deux doigts qui resteront, pendant que les deux autres descendront, ceux-ci restant à leur tour, pendant que les premiers descendront ainsi jusqu’à la fin, en vous souvenant qu’il ne faudra pas s’y servir du pouce.", "english": "We shall also add one note to each chord. Two fingers will then always remain while the other two descend; these in turn remain while the first two descend, and so on to the end. Remember not to use the thumb.", "sources": [ { "pdf_page": 427, "source_image": "source-pages/bnf-427.png", "printed_page": 395, "bbox_pixels": [ 346, 2078, 2245, 376 ], "crop_image": "assets/IV.08-020.png" } ] }, { "id": "IV.08-021", "type": "paragraph", "section": "IV.08", "lesson": 96, "exercise": 96, "reading_order": 2582, "original": "Tournez pour voir l’Exemple.", "english": "Turn the page for the example.", "sources": [ { "pdf_page": 427, "source_image": "source-pages/bnf-427.png", "printed_page": 395, "bbox_pixels": [ 419, 3330, 2171, 99 ], "crop_image": "assets/IV.08-021.png" } ] }, { "id": "IV.08-022", "type": "heading", "section": "IV.08", "lesson": 96, "exercise": 96, "reading_order": 2583, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 428, "source_image": "source-pages/bnf-428.png", "printed_page": 396, "bbox_pixels": [ 419, 473, 2171, 99 ], "crop_image": "assets/IV.08-022.png" } ] }, { "id": "IV.08-023", "type": "music", "section": "IV.08", "lesson": 96, "exercise": 96, "reading_order": 2584, "original": "Trois positions d’Accords à quatre Sons et cinq Basses alternatives.", "english": "Three positions of four-note chords and five alternative basses.", "sources": [ { "pdf_page": 428, "source_image": "source-pages/bnf-428.png", "printed_page": 396, "bbox_pixels": [ 454, 621, 2152, 2933 ], "crop_image": "assets/IV.08-023.png" } ], "original_title": "Trois positions d’Accords à quatre Sons et cinq Basses alternatives.", "english_title": "Three positions of four-note chords and five alternative basses.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.08-023" ], "music_asset_refs": [ "IV.08-023" ] }, { "id": "IV.08-024", "type": "paragraph", "section": "IV.08", "lesson": 96, "exercise": 96, "reading_order": 2585, "original": "Ces deux differentes manieres de pratiquer les Accords, tantôt à quatre Parties, c’est-à-dire, trois de la main droite, & tantôt à cinq, sont fort necessaires ; la premiere sert pour tous les Accords renversez, & la derniere pour tous les Accords de Septiéme qui ne sont point entre-lacez avec d’autres, excepté que ce ne soit avec des Accords de grande Sixte, ou avec des Accords par supposition, dont nous parlerons dans la suite ; & pour que ce dernier Exemple puisse servir à quatre Parties, il n’y a qu’à en retrancher la Notte qui dans les Accords fait Octave avec chaque Notte de la Basse, bien que cela ne doive pas se faire à l’égard de la Basse qui monte de Quarte ou qui descend de Quinte ; parce que l’habitude n’en est pas moins utile de cette façon (comme nous venons de le dire) que de l’autre.", "english": "Both ways of playing chords are very necessary: sometimes in four parts, with three in the right hand, and sometimes in five. The first serves all inverted chords; the second serves seventh chords not interspersed with other chords, except great-sixth chords or chords by supposition, which will be discussed later. To use the last example in four parts, simply remove from each chord the note forming an octave with its bass note. This should not be done, however, for the bass that rises a fourth or falls a fifth, since acquiring the habit of that manner is no less useful than the other, as we have just said.", "sources": [ { "pdf_page": 429, "source_image": "source-pages/bnf-429.png", "printed_page": 397, "bbox_pixels": [ 385, 367, 2206, 969 ], "crop_image": "assets/IV.08-024.png" } ] }, { "id": "IV.08-025", "type": "paragraph", "section": "IV.08", "lesson": 96, "exercise": 96, "reading_order": 2586, "original": "Il se trouve une si grande liaison dans cette suite d’Accords, qui est le nœud de l’Harmonie la plus naturelle, que l’habitude s’en acquiert souvent avant la connoissance ; de sorte que l’on peut dire, en ce cas, que les doigts préviennent l’esprit, supposé que l’on s’attache à la position & à l’arrangement de ces doigts, selon ce qui en a été dit.", "english": "This chord succession has such close connections—it is the bond of the most natural harmony—that habit is often acquired before understanding. In this case the fingers may be said to anticipate the mind, provided one observes the finger positions and arrangement already described.", "sources": [ { "pdf_page": 429, "source_image": "source-pages/bnf-429.png", "printed_page": 397, "bbox_pixels": [ 385, 1338, 2206, 449 ], "crop_image": "assets/IV.08-025.png" } ] }, { "id": "IV.08-026", "type": "paragraph", "section": "IV.08", "lesson": 96, "exercise": 96, "reading_order": 2587, "original": "Comme il est facile de se faire des Exemples particuliers des trois differens endroits du Clavier, & de tous les Tons où ces derniers Accords doivent être pratiquez, nous nous sommes contentez d’en donner un seul Exemple.", "english": "Since it is easy to make separate examples for the three keyboard positions and all the keys in which these last chords must be practiced, we have been content to give just one example.", "sources": [ { "pdf_page": 429, "source_image": "source-pages/bnf-429.png", "printed_page": 397, "bbox_pixels": [ 385, 1790, 2206, 294 ], "crop_image": "assets/IV.08-026.png" } ] }, { "id": "IV.08-027", "type": "paragraph", "section": "IV.08", "lesson": 96, "exercise": 96, "reading_order": 2588, "original": "Vous venez de voir des Accords de petite & de grande Sixte, de fausse-Quinte, de Tri-Ton & de Septiéme, dont la progression est conforme à nos Regles précédentes ; de sorte qu’il est inutile d’en parler davantage, les Accords de Septiéme y étant précedez, de même que les Parfaits ; mais il nous reste quelque chose à ajoûter au sujet des Accords de Septiéme & de Seconde, dont les Chapitres suivans nous instruiront.", "english": "You have now seen small-sixth, great-sixth, diminished-fifth, tritone and seventh chords progressing according to our earlier rules. There is no need to say more about them: seventh chords are approached in the same way as perfect chords. Something remains to be added about seventh chords and chords of the second, as the following chapters will explain.", "sources": [ { "pdf_page": 429, "source_image": "source-pages/bnf-429.png", "printed_page": 397, "bbox_pixels": [ 385, 2084, 2206, 531 ], "crop_image": "assets/IV.08-027.png" } ] }, { "id": "IV.09-001", "type": "heading", "section": "IV.09", "lesson": 97, "exercise": 97, "reading_order": 2589, "original": "CHAPITRE NEUVIÉME.", "english": "CHAPTER IX.", "sources": [ { "pdf_page": 429, "source_image": "source-pages/bnf-429.png", "printed_page": 397, "bbox_pixels": [ 419, 2739, 2171, 97 ], "crop_image": "assets/IV.09-001.png" } ], "correction_refs": [ "supplement-277", "supplement-279" ] }, { "id": "IV.09-002", "type": "heading", "section": "IV.09", "lesson": 97, "exercise": 97, "reading_order": 2590, "original": "Des differens Accords qui doivent suivre celui de la Septiéme sur une Notte en même degré.", "english": "The different chords that must follow a seventh chord on a note remaining at the same degree.", "sources": [ { "pdf_page": 429, "source_image": "source-pages/bnf-429.png", "printed_page": 397, "bbox_pixels": [ 389, 2883, 2202, 189 ], "crop_image": "assets/IV.09-002.png" } ] }, { "id": "IV.09-003", "type": "heading", "section": "IV.09", "lesson": 97, "exercise": 97, "reading_order": 2591, "original": "ARTICLE PREMIER.", "english": "FIRST ARTICLE.", "sources": [ { "pdf_page": 429, "source_image": "source-pages/bnf-429.png", "printed_page": 397, "bbox_pixels": [ 419, 3141, 2171, 99 ], "crop_image": "assets/IV.09-003.png" } ] }, { "id": "IV.09-004", "type": "paragraph", "section": "IV.09", "lesson": 97, "exercise": 97, "reading_order": 2592, "original": "TOute Notte qui a porté un Accord de Septiéme, doit porter ensuite une Sixte, quelqu’Accord qui se trouve après cette Septiéme sur la même Notte ; mais comme la Sixte peut se rencontrer dans plusieurs Accords differens, il est à propos de s’expliquer là-dessus.", "english": "Any note that has borne a seventh chord must next bear a sixth, whatever chord follows that seventh on the same note. Since the sixth occurs in several different chords, this needs explanation.", "sources": [ { "pdf_page": 429, "source_image": "source-pages/bnf-429.png", "printed_page": 397, "bbox_pixels": [ 389, 3287, 2202, 234 ], "crop_image": "assets/IV.09-004.png" }, { "pdf_page": 430, "source_image": "source-pages/bnf-430.png", "printed_page": 398, "bbox_pixels": [ 419, 393, 2171, 153 ], "crop_image": "assets/IV.09-005.png" } ] }, { "id": "IV.09-006", "type": "paragraph", "section": "IV.09", "lesson": 97, "exercise": 97, "reading_order": 2593, "original": "Comme les Accords de la petite Sixte, de la grande Sixte, de la fausse-Quinte, de la Sixte, de Sixte-quarte, du Tri-Ton ou de Seconde peuvent se trouver après un Accord de Septiéme sur une Notte en même degré, parce que la Sixte fait partie dans tous ces Accords, ce ne peut être que par le moyen de la Notte qui suit celles qui sont en même degré, ou celle dont la valeur nous permet de lui donner deux Accords differens, (ce qui est la même chose) que l’on peut juger du choix que l’on doit faire de tous ces Accords ; & voici comme il faut s’y prendre, supposé que la Basse ne soit point chiffrée, ou qu’elle soit mal chiffrée, ce qui arrive très-souvent.", "english": "Small-sixth, great-sixth, diminished-fifth, sixth, sixth–fourth, tritone and second chords may follow a seventh chord on a note at the same degree, since all contain a sixth. The choice can therefore be judged only from the note following those repeated notes—or following one note long enough to take two different chords, which amounts to the same thing. Here is how to proceed when the bass has no figures or is incorrectly figured, as very often happens.", "sources": [ { "pdf_page": 430, "source_image": "source-pages/bnf-430.png", "printed_page": 398, "bbox_pixels": [ 419, 548, 2171, 748 ], "crop_image": "assets/IV.09-006.png" } ] }, { "id": "IV.09-007", "type": "paragraph", "section": "IV.09", "lesson": 97, "exercise": 97, "reading_order": 2594, "original": "Bien qu’il soit libre au Compositeur de donner le même Accord à plusieurs Nottes en même degré, cependant lorsqu’il s’en trouve deux, dont la premiere commence dans le premier Temps de la Mesure, elle porte ordinairement un Accord de Septiéme, & pour lors la Seconde doit porter l’un de nos Accords proposez. Or l’on ne peut bien réüssir dans le choix de ces derniers Accords, si l’on ne connoît parfaitement la Modulation, ce qui sera très-facile, en ne s’attachant qu’à un seul Ton, où l’on sçait que la Notte tonique & sa Dominante portent naturellement l’Accord parfait, sans avoir égard à la Septiéme qui peut être jointe à l’Accord parfait de cette Dominante, & où l’on sçait pareillement que la seconde Notte porte l’Accord de la petite Sixte, & que la sixiéme Notte en porte un pareil en descendant ; que la Mediante porte l’Accord de Sixte ; que la sixiéme Notte en porte un pareil en montant, & que la septiéme Notte en porte aussi un pareil en descendant ; que la quatriéme Notte porte l’Accord du Tri-Ton en descendant, & celui de la grande Sixte en montant ; & qu’enfin la Notte sensible ou la septiéme Notte porte l’Accord de la fausse-Quinte en montant ; de sorte que ne pouvant se trouver que l’une de ces Nottes dans vôtre Basse, vous sçavez l’Accord qui doit suivre celui de la Septiéme sur la Notte en même degré. D’ailleurs, Si vous voyez que vous montez ou que vous descendez diatoniquement sur l’une de ces Nottes, vous sçavez en même-temps l’Accord qui doit les précéder naturellement, de sorte que vous ne pouvez vous tromper ; & si les Nottes en même degré sont formées de la Dominante, vous sçavez que celle-ci ne peut porter d’autres Accords de Sixte que celui de Sixte-Quarte, ne s’agissant après cela que de sçavoir distinguer la difference des Tons dans la suite d’une Piece ; mais ce n’est pas-là le plus difficile.", "english": "Although a composer may give the same chord to several notes at the same degree, when there are two and the first begins on the first beat of the measure, it ordinarily bears a seventh chord. The second must then bear one of the proposed chords. To choose well, one must understand modulation perfectly. This is easy when considering just one key. The tonic and dominant naturally bear perfect chords, setting aside the seventh that may be added to the dominant’s chord. The second degree bears a small-sixth chord, as does the sixth degree when descending. The mediant bears a sixth chord, as do the sixth degree when ascending and the seventh when descending. The fourth degree bears a tritone chord when descending and a great-sixth chord when ascending. Finally, the leading note or seventh degree bears a diminished-fifth chord when ascending. Since your bass must contain one of these notes, you know which chord should follow the seventh on the same degree. Furthermore, if you ascend or descend diatonically to one of these notes, you also know the chord that naturally precedes it, so you cannot go wrong. If the repeated notes are the dominant, you know that its only chord containing a sixth is the sixth–fourth chord. All that remains is to recognize changes of key during a piece, and that is not the hardest part.", "sources": [ { "pdf_page": 430, "source_image": "source-pages/bnf-430.png", "printed_page": 398, "bbox_pixels": [ 419, 1298, 2171, 2112 ], "crop_image": "assets/IV.09-007.png" } ] }, { "id": "IV.09-008", "type": "heading", "section": "IV.09", "lesson": 97, "exercise": 97, "reading_order": 2595, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 431, "source_image": "source-pages/bnf-431.png", "printed_page": 399, "bbox_pixels": [ 419, 453, 2171, 86 ], "crop_image": "assets/IV.09-008.png" } ] }, { "id": "IV.09-009", "type": "music", "section": "IV.09", "lesson": 97, "exercise": 97, "reading_order": 2596, "original": "Septiéme suivie d’une Sixte sur la même Notte ; Seconde Notte, Mediante, Quatriéme Notte, Sixiéme Notte, Dominante, Notte sensible ; A.", "english": "Seventh followed by a sixth on the same note; second degree, mediant, fourth degree, sixth degree, dominant, leading note; A.", "sources": [ { "pdf_page": 431, "source_image": "source-pages/bnf-431.png", "printed_page": 399, "bbox_pixels": [ 365, 567, 2156, 1328 ], "crop_image": "assets/IV.09-009.png" } ], "original_title": "Septiéme suivie d’une Sixte sur la même Notte ; Seconde Notte, Mediante, Quatriéme Notte, Sixiéme Notte, Dominante, Notte sensible ; A.", "english_title": "Seventh followed by a sixth on the same note; second degree, mediant, fourth degree, sixth degree, dominant, leading note; A.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.09-009" ], "music_asset_refs": [ "IV.09-009" ] }, { "id": "IV.09-010", "type": "paragraph", "section": "IV.09", "lesson": 97, "exercise": 97, "reading_order": 2597, "original": "Vous connoissez ici l’Accord de Sixte, que vous devez donner à la même Notte qui a porté celui de la Septiéme, non seulement par le rang que cette Notte tient dans le Ton, mais encore par le rang qu’y tient celle qui la suit, & par l’Accord que doit porter cette Notte suivante.", "english": "Here you recognize the chord containing a sixth that should follow the seventh chord on the same note, not only from that note’s degree in the key, but also from the degree of the following note and the chord it must bear.", "sources": [ { "pdf_page": 431, "source_image": "source-pages/bnf-431.png", "printed_page": 399, "bbox_pixels": [ 378, 1908, 2212, 376 ], "crop_image": "assets/IV.09-010.png" } ] }, { "id": "IV.09-011", "type": "paragraph", "section": "IV.09", "lesson": 97, "exercise": 97, "reading_order": 2598, "original": "Nôtre Regle est immanquable, lorsque la Basse monte diatoniquement ; mais lorsqu’elle descend de même, & que chaque Notte a une valeur competente pour porter deux Accords differens, ou que cela paroît par les chiffres, il faut pour lors se guider sur la Regle du Chapitre précédent ; de sorte que l’Accord qui doit précéder celui de la Septiéme en descendant diatoniquement, est toûjours celui de la petite Sixte.", "english": "Our rule is unfailing when the bass ascends diatonically. When it descends diatonically, however, and every note is long enough for two different chords, or the figures indicate this, follow the preceding chapter’s rule: the chord preceding a seventh chord in descending diatonic motion is always the small-sixth chord.", "sources": [ { "pdf_page": 431, "source_image": "source-pages/bnf-431.png", "printed_page": 399, "bbox_pixels": [ 378, 2284, 2212, 526 ], "crop_image": "assets/IV.09-011.png" } ] }, { "id": "IV.09-012", "type": "paragraph", "section": "IV.09", "lesson": 97, "exercise": 97, "reading_order": 2599, "original": "Remarquez à (A) que lorsque la Basse monte diatoniquement pour faire entendre la Septiéme après l’Accord parfait, cette Septiéme doit être accompagnée de l’Octave au lieu de la Quinte ; de sorte que le doigt qui a touché l’Octave de la Basse dans l’Accord parfait, reste sur le même degré pour former la Septiéme suivante, pendant que les deux autres doigts descendent diatoniquement.", "english": "Notice at (A) that when the bass rises diatonically to sound a seventh after a perfect chord, that seventh must be accompanied by the octave instead of the fifth. The finger that played the bass’s octave in the perfect chord thus remains on the same degree to form the following seventh, while the other two fingers descend diatonically.", "sources": [ { "pdf_page": 431, "source_image": "source-pages/bnf-431.png", "printed_page": 399, "bbox_pixels": [ 378, 2810, 2212, 455 ], "crop_image": "assets/IV.09-012.png" } ] }, { "id": "IV.09-013", "type": "paragraph", "section": "IV.09", "lesson": 97, "exercise": 97, "reading_order": 2600, "original": "Si après un Accord de Septiéme la Basse procede diatoniquement, nos dernieres Regles ne peuvent y être contrariées, qu’en ce que la même Notte qui aura porté cet Accord passera incontinent sur la plus voisine, sans qu’on ait pû lui donner l’Accord qui lui convenoit naturellement après celui de la Septiéme ; de sorte que si elle monte diatoniquement en ce cas, ce ne pourra être que sur l’Accord parfait, ou sur un autre Accord de Septiéme, comme il a été dit au Chapitre précédent ; & si elle descend de même, ce ne pourra être encore que sur un autre Accord de Septiéme. De plus, il arrive souvent que la Notte qui suit porte un Accord composé des mêmes Nottes que celui qui devoit paroître naturellement sur cette Notte, où la Septiéme a été entenduë ; ce qui fait que nôtre Regle se soûtient toûjours ici en ce cas, car les doigts y suivent leur progression accoûtumée ; c’est de quoi l’on peut s’instruire dans le Troisiéme Livre, Chap. XXVI. & XXVII.", "english": "If the bass moves diatonically after a seventh chord, our last rules can be contradicted only when the note bearing that chord passes immediately to its nearest neighbor, leaving no time to give it the chord that naturally follows the seventh. If it ascends in this case, it can lead only to a perfect chord or another seventh chord, as stated in the preceding chapter. If it descends, it can lead only to another seventh chord. Moreover, the following note often bears a chord made of the same notes as the chord that should naturally have appeared on the note where the seventh sounded. Our rule therefore still holds in this case, because the fingers follow their customary progression. See Book III, Chapters XXVI and XXVII.", "sources": [ { "pdf_page": 431, "source_image": "source-pages/bnf-431.png", "printed_page": 399, "bbox_pixels": [ 378, 3266, 2212, 299 ], "crop_image": "assets/IV.09-013.png" }, { "pdf_page": 432, "source_image": "source-pages/bnf-432.png", "printed_page": 400, "bbox_pixels": [ 419, 357, 2171, 827 ], "crop_image": "assets/IV.09-014.png" } ] }, { "id": "IV.09-015", "type": "heading", "section": "IV.09", "lesson": 97, "exercise": 97, "reading_order": 2601, "original": "ARTICLE SECOND.", "english": "SECOND ARTICLE.", "sources": [ { "pdf_page": 432, "source_image": "source-pages/bnf-432.png", "printed_page": 400, "bbox_pixels": [ 419, 1184, 2171, 86 ], "crop_image": "assets/IV.09-015.png" } ] }, { "id": "IV.09-016", "type": "paragraph", "section": "IV.09", "lesson": 97, "exercise": 97, "reading_order": 2602, "original": "Une Notte qui passe à son Dieze ou à son B-mol, ou bien une Notte jointe à un Dieze ou à un B-mol, & qui devient ensuite naturelle, ne doit être regardée que comme une même Notte à l’égard des Accords ; de sorte que si l’on passe d’Ut à Ut ♯, ou d’Ut ♯ à Ut, de Si à Si ♭, ou de Si ♭ à Si, &c. il faut se déterminer là-dessus, comme si c’étoit deux Ut ou deux Si, selon nos Regles précédentes, en conformant les Accords à la Modulation.", "english": "A note passing to its sharp or flat, or a sharpened or flattened note becoming natural, should be regarded as the same note for purposes of chords. Thus, in moving from C to C♯ or C♯ to C, B to B♭ or B♭ to B, and so forth, decide as though there were two Cs or two Bs, following our previous rules while adapting the chords to the modulation.", "sources": [ { "pdf_page": 432, "source_image": "source-pages/bnf-432.png", "printed_page": 400, "bbox_pixels": [ 419, 1261, 2171, 524 ], "crop_image": "assets/IV.09-016.png" } ] }, { "id": "IV.09-017", "type": "paragraph", "section": "IV.09", "lesson": 97, "exercise": 97, "reading_order": 2603, "original": "Une Basse qui procéde par des Intervales disjoints, ne peut jamais monter de Quinte ni descendre de Quarte après un Accord de Septiéme ; mais si elle descend de Tierce, ou qu’elle monte de Sixte, ou bien si elle monte de Tierce ou si elle descend de Sixte, c’est sur la Notte qui suit celle où l’on a passé après cet Accord de Septiéme qu’il faut se déterminer.", "english": "A bass moving by leaps can never rise a fifth or fall a fourth after a seventh chord. But if it falls a third or rises a sixth, or rises a third or falls a sixth, determine the chord by the note following the one reached after the seventh chord.", "sources": [ { "pdf_page": 432, "source_image": "source-pages/bnf-432.png", "printed_page": 400, "bbox_pixels": [ 419, 1788, 2171, 447 ], "crop_image": "assets/IV.09-017.png" } ] }, { "id": "IV.09-018", "type": "heading", "section": "IV.09", "lesson": 97, "exercise": 97, "reading_order": 2604, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 432, "source_image": "source-pages/bnf-432.png", "printed_page": 400, "bbox_pixels": [ 419, 2232, 2171, 88 ], "crop_image": "assets/IV.09-018.png" } ] }, { "id": "IV.09-019", "type": "music", "section": "IV.09", "lesson": 97, "exercise": 97, "reading_order": 2605, "original": "Nottes altérées et naturelles ; progression de Tierce ; A, B et C.", "english": "Altered and natural notes; progression by thirds; A, B and C.", "sources": [ { "pdf_page": 432, "source_image": "source-pages/bnf-432.png", "printed_page": 400, "bbox_pixels": [ 406, 2340, 2165, 1188 ], "crop_image": "assets/IV.09-019.png" } ], "original_title": "Nottes altérées et naturelles ; progression de Tierce ; A, B et C.", "english_title": "Altered and natural notes; progression by thirds; A, B and C.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.09-019" ], "music_asset_refs": [ "IV.09-019" ] }, { "id": "IV.09-020", "type": "paragraph", "section": "IV.09", "lesson": 97, "exercise": 97, "reading_order": 2606, "original": "Vous voyez que ces Nottes diezées qui descendent sur les Nottes naturelles, & que celles qui montent sur leurs Diezes n’empêchent pas la suite naturelle des Accords ; & pour être plus certain ici de ce que l’on fait, on dit, ces Diezes qui se trouvent en descendant, ne conviennent point naturellement ; donc je dois regarder ces Nottes comme s’il n’y avoit point de Diezes, pour pouvoir déterminer mes Accords plus vîte ; & au contraire ces Diezes doivent se trouver naturellement en montant ; donc je dois regarder ces Nottes comme si elles étoient diezées, excepté que l’Auteur peut donner l’Accord parfait à toute Notte qui monte d’un semi-Ton, conformément à la Notte (A) bien qu’on eût pû lui donner celui de la grande Sixte, qui auroit été pour lors le même que celui de la fausse-Quinte qui se trouve sur le ♯ de cette Notte (A.)", "english": "You see that sharpened notes descending to natural notes, and notes ascending to their sharps, do not prevent the natural chord succession. To be more certain, reason as follows: these sharps encountered in descending motion do not belong naturally; therefore I should regard the notes as if there were no sharps, to determine the chords more quickly. Conversely, these sharps belong naturally in ascending motion; therefore I should regard the notes as sharpened. There is this exception: a composer may give a perfect chord to any note rising a semitone, as at (A), although a great-sixth chord could have been given there. That great-sixth chord would then have been the same as the diminished-fifth chord on the sharpened form of note (A).", "sources": [ { "pdf_page": 433, "source_image": "source-pages/bnf-433.png", "printed_page": 401, "bbox_pixels": [ 342, 374, 2249, 973 ], "crop_image": "assets/IV.09-020.png" } ] }, { "id": "IV.09-021", "type": "paragraph", "section": "IV.09", "lesson": 97, "exercise": 97, "reading_order": 2607, "original": "L’Accord de la Notte (B) où la Basse descend de Tierce après celui de la Septiéme, ne m’est déterminé que par la Notte qui suit, laquelle devant porter l’Accord parfait, m’oblige de donner celui de la petite Sixte à celle qui y descend diatoniquement, au lieu que si elle monte diatoniquement sur l’Accord parfait, elle auroit dû porter celui de la grande Sixte ou de la fausse-Quinte, ainsi du reste.", "english": "At (B), where the bass falls a third after the seventh chord, only the next note determines the chord. That next note must bear a perfect chord, requiring a small-sixth chord on the note descending diatonically to it. If instead the note ascended diatonically to the perfect chord, it would require a great-sixth or diminished-fifth chord, and so on.", "sources": [ { "pdf_page": 433, "source_image": "source-pages/bnf-433.png", "printed_page": 401, "bbox_pixels": [ 342, 1347, 2249, 447 ], "crop_image": "assets/IV.09-021.png" } ] }, { "id": "IV.09-022", "type": "paragraph", "section": "IV.09", "lesson": 97, "exercise": 97, "reading_order": 2608, "original": "Lorsque la Basse monte de Tierce après l’Accord de la Septiéme, la Notte montée porte ordinairement un Accord dérivé du précédent, comme cela paroît à (C) où l’Accord de la fausse-Quinte n’est autre que celui de la Septiéme qui a précédé.", "english": "When the bass rises a third after the seventh chord, the arrival note ordinarily bears a chord derived from the preceding one. At (C), for example, the diminished-fifth chord is simply the preceding seventh chord in another form.", "sources": [ { "pdf_page": 433, "source_image": "source-pages/bnf-433.png", "printed_page": 401, "bbox_pixels": [ 342, 1796, 2249, 296 ], "crop_image": "assets/IV.09-022.png" } ] }, { "id": "IV.09-023", "type": "paragraph", "section": "IV.09", "lesson": 97, "exercise": 97, "reading_order": 2609, "original": "Souvenez-vous que monter de Tierce ou descendre de Sixte, c’est la même chose, &c.", "english": "Remember that rising a third and falling a sixth amount to the same thing, and so forth.", "sources": [ { "pdf_page": 433, "source_image": "source-pages/bnf-433.png", "printed_page": 401, "bbox_pixels": [ 342, 2095, 2249, 148 ], "crop_image": "assets/IV.09-023.png" } ] }, { "id": "IV.09-024", "type": "paragraph", "section": "IV.09", "lesson": 97, "exercise": 97, "reading_order": 2610, "original": "Nous ne parlons point ici de la progression de Quinte en descendant après l’Accord de la Septiéme, puisqu’il en a été fait mention au Chapitre précédent.", "english": "We do not discuss the descending-fifth progression after a seventh chord here, since the preceding chapter has already mentioned it.", "sources": [ { "pdf_page": 433, "source_image": "source-pages/bnf-433.png", "printed_page": 401, "bbox_pixels": [ 342, 2241, 2249, 226 ], "crop_image": "assets/IV.09-024.png" } ] }, { "id": "IV.10-001", "type": "heading", "section": "IV.10", "lesson": 98, "exercise": 98, "reading_order": 2611, "original": "CHAPITRE DIXIÉME.", "english": "CHAPTER X.", "sources": [ { "pdf_page": 433, "source_image": "source-pages/bnf-433.png", "printed_page": 401, "bbox_pixels": [ 419, 2610, 2171, 97 ], "crop_image": "assets/IV.10-001.png" } ], "correction_refs": [ "supplement-281" ] }, { "id": "IV.10-002", "type": "heading", "section": "IV.10", "lesson": 98, "exercise": 98, "reading_order": 2612, "original": "De l’Accord de la Seconde.", "english": "On the chord of the second.", "sources": [ { "pdf_page": 433, "source_image": "source-pages/bnf-433.png", "printed_page": 401, "bbox_pixels": [ 419, 2748, 2171, 99 ], "crop_image": "assets/IV.10-002.png" } ] }, { "id": "IV.10-003", "type": "paragraph", "section": "IV.10", "lesson": 98, "exercise": 98, "reading_order": 2613, "original": "Lorsque nous avons dit que de deux Nottes en même degré, la premiere pouvoit porter l’Accord de la Septiéme, ce n’est qu’autant qu’elle ne se trouvera pas dans le dernier Temps de la Mesure ; car si cela se peut en cette occasion, l’Accord de la Seconde doit se faire immediatement après sur la même Notte qui se trouve dans le premier Temps de la Mesure suivante, & ce n’est plus pour lors l’Accord de la Septiéme qui nous regle, mais celui de la Seconde ; de sorte que cet Accord de Septiéme peut se trouver ici par hazard pour précéder celui de la Seconde, de même que le Parfait & tous les Accords de Sixte ; mais dès que de deux Nottes en même degré, la derniere se trouve dans le premier Temps de la Mesure, elle doit porter l’Accord de la Seconde, & doit être précédée naturellement de celui de la grande-Sixte sur la premiere Notte en même degré, qui se trouvera dans le dernier Temps de la Mesure qui précéde celle où se fait cet Accord de Seconde, comme cela paroît dans la Basse des Secondes, ce qui est encore expliqué au Troisiéme Livre, Chap. VIII. & XXI.", "english": "When we said that the first of two notes on the same degree could bear a seventh chord, we meant only when that note does not fall on the last beat of the measure. For if a seventh is possible there, the chord of the second must immediately follow it on the same note, now falling on the first beat of the next measure. We are then governed not by the seventh chord but by the chord of the second. The seventh may thus happen to precede the second here, just as a perfect chord or any sixth chord may. But whenever the latter of two notes on the same degree falls on the first beat of the measure, it must bear the chord of the second. It should naturally be preceded by the great-sixth chord on the first note at that degree, which falls on the last beat of the measure before the chord of the second. This can be seen in the bass of seconds and is also explained in Book III, Chapters VIII and XXI.", "sources": [ { "pdf_page": 433, "source_image": "source-pages/bnf-433.png", "printed_page": 401, "bbox_pixels": [ 355, 2913, 2236, 606 ], "crop_image": "assets/IV.10-003.png" }, { "pdf_page": 434, "source_image": "source-pages/bnf-434.png", "printed_page": 402, "bbox_pixels": [ 419, 378, 2171, 670 ], "crop_image": "assets/IV.10-004.png" } ] }, { "id": "IV.10-005", "type": "paragraph", "section": "IV.10", "lesson": 98, "exercise": 98, "reading_order": 2614, "original": "Ces Nottes qui se trouvent ainsi sur le même degré dans deux Mesures differentes, s’appellent syncopées : ainsi voyez ce que nous en disons au Troisiéme Liv. Chap. XXXV. Art. VII. bien que cette Syncope ne se rencontre jamais dans la Basse qu’à l’occasion des Accords de Seconde ou de Quarte ♯.", "english": "Notes that remain on the same degree in two different measures in this way are called syncopated. See what we say about them in Book III, Chapter XXXV, Article VII. This syncopation occurs in the bass only in connection with chords of the second or augmented-fourth chords (4♯).", "sources": [ { "pdf_page": 434, "source_image": "source-pages/bnf-434.png", "printed_page": 402, "bbox_pixels": [ 419, 1051, 2171, 374 ], "crop_image": "assets/IV.10-005.png" } ] }, { "id": "IV.10-006", "type": "paragraph", "section": "IV.10", "lesson": 98, "exercise": 98, "reading_order": 2615, "original": "Souvenez-vous que dans la premiere syncope qui paroît, l’Accord de la Seconde peut être précedé d’un Parfait, d’un de Septiéme ou de Sixte quelconque ; mais dès qu’il s’en trouve plusieurs de suite, ces Accords de Seconde doivent être naturellement précedez & suivis d’un Accord de grande Sixte, Souvenez-vous encore que l’Accord du Tri-Ton 4♯ peut tenir quelquefois la place de celui de Seconde, sur tout dans la derniere syncope, & qu’après le dernier Accord de Seconde, celui qui doit le suivre ne peut se déterminer que sur celui qui doit encore suivre, car il faut toûjours se guider sur ce qui suit, plûtôt que sur ce qui précede.", "english": "Remember that at the first syncopation the chord of the second may be preceded by a perfect chord, a seventh chord or any sixth chord. But once several such syncopations occur in succession, the chords of the second should naturally be preceded and followed by great-sixth chords. Remember also that the tritone chord, 4♯, may sometimes replace the chord of the second, especially at the last syncopation. After the final chord of the second, the chord that follows can be determined only by the one that is to come after that: we must always be guided by what follows rather than by what precedes.", "sources": [ { "pdf_page": 434, "source_image": "source-pages/bnf-434.png", "printed_page": 402, "bbox_pixels": [ 419, 1427, 2171, 746 ], "crop_image": "assets/IV.10-006.png" } ] }, { "id": "IV.10-007", "type": "paragraph", "section": "IV.10", "lesson": 98, "exercise": 98, "reading_order": 2616, "original": "Les Accords de Seconde peuvent être encore entre-lacez avec des Accords de petite Sixte, mais cela est très-rare.", "english": "Chords of the second may also be interspersed with small-sixth chords, but this is very rare.", "sources": [ { "pdf_page": 434, "source_image": "source-pages/bnf-434.png", "printed_page": 402, "bbox_pixels": [ 419, 2174, 2171, 153 ], "crop_image": "assets/IV.10-007.png" } ] }, { "id": "IV.10-008", "type": "paragraph", "section": "IV.10", "lesson": 98, "exercise": 98, "reading_order": 2617, "original": "Pour ne point se tromper ici dans une Mesure à quatre Temps, il faut la diviser toûjours en deux Mesures à deux Temps.", "english": "To avoid mistakes here in a measure of four beats, always divide it into two measures of two beats.", "sources": [ { "pdf_page": 434, "source_image": "source-pages/bnf-434.png", "printed_page": 402, "bbox_pixels": [ 419, 2327, 2171, 150 ], "crop_image": "assets/IV.10-008.png" } ] }, { "id": "IV.10-009", "type": "paragraph", "section": "IV.10", "lesson": 98, "exercise": 98, "reading_order": 2618, "original": "La pratique de toutes ces Regles est encore plus nécessaire aux Accompagnateurs que la connoissance ; de sorte qu’on ne peut trop s’exercer sur les differens Exemples qui ont paru jusqu’à present, en les transposant dans differens Tons, & en s’accoûtumant à les toucher dans les trois differens endroits du Clavier ; ce qui servira non seulement à bien accompagner avec des chiffres, mais encore sans chiffres.", "english": "For accompanists, practice in all these rules is even more necessary than knowing them. One cannot therefore practice the preceding examples too much, transposing them into different keys and becoming accustomed to playing them in the three different positions on the keyboard. This will help one accompany well both with figures and without them.", "sources": [ { "pdf_page": 434, "source_image": "source-pages/bnf-434.png", "printed_page": 402, "bbox_pixels": [ 419, 2479, 2171, 516 ], "crop_image": "assets/IV.10-009.png" } ] }, { "id": "IV.11-001", "type": "heading", "section": "IV.11", "lesson": 99, "exercise": 99, "reading_order": 2619, "original": "CHAPITRE ONZIÉME.\nDes Accords de Sixte.", "english": "CHAPTER XI. Sixth chords.", "sources": [ { "pdf_page": 434, "source_image": "source-pages/bnf-434.png", "printed_page": 402, "bbox_pixels": [ 350, 3050, 2250, 230 ], "crop_image": "assets/IV.11-001.png" } ], "correction_refs": [ "supplement-281", "supplement-282" ] }, { "id": "IV.11-002", "type": "paragraph", "section": "IV.11", "lesson": 99, "exercise": 99, "reading_order": 2620, "original": "L’On trouve souvent des Basses qui ne portent que des Accords de Sixte, en procedant diatoniquement, dont la pratique sera très-facile, en se conformant à l’Exemple suivant.", "english": "We often find basses that proceed diatonically and bear only sixth chords. Following the next example will make their practice very easy.", "sources": [ { "pdf_page": 434, "source_image": "source-pages/bnf-434.png", "printed_page": 402, "bbox_pixels": [ 350, 3325, 2250, 245 ], "crop_image": "assets/IV.11-002.png" } ] }, { "id": "IV.11-003", "type": "heading", "section": "IV.11", "lesson": 99, "exercise": 99, "reading_order": 2621, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 435, "source_image": "source-pages/bnf-435.png", "printed_page": 403, "bbox_pixels": [ 350, 420, 2250, 115 ], "crop_image": "assets/IV.11-003.png" } ] }, { "id": "IV.11-p403", "type": "music", "section": "IV.11", "lesson": 99, "exercise": 99, "reading_order": 2622, "original": "Suite d’Accords de Sixte ; alternatives « ou ».", "english": "Succession of sixth chords; alternatives marked “or”.", "sources": [ { "pdf_page": 435, "source_image": "source-pages/bnf-435.png", "printed_page": 403, "bbox_pixels": [ 350, 570, 2250, 630 ], "crop_image": "assets/IV.11-004.png" } ], "original_title": "Suite d’Accords de Sixte ; alternatives « ou ».", "english_title": "Succession of sixth chords; alternatives marked “or”.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.11-p403" ], "music_asset_refs": [ "IV.11-p403" ] }, { "id": "IV.11-005", "type": "paragraph", "section": "IV.11", "lesson": 99, "exercise": 99, "reading_order": 2623, "original": "Si l’on se souvient de ce que nous avons dit au Chapitre VIII. que l’on pouvoit passer de l’Accord de la grande Sixte à celui de la Sixte ; de la Médiante à celui de la Sixte-quarte ; de la Dominante, ou au Parfait, de la Notte tonique, l’on ne trouvera rien de nouveau ici ; cependant il faut encore pratiquer cette suite d’Accords, parce qu’elle est très-frequente ; & cet Exemple qui peut servir pour tous les Tons mineurs, en remarquant le B-mol que nous y avons ajoûté, pourra servir pour tous les Tons majeurs, en retranchant les B-mols.", "english": "If we recall what was said in Chapter VIII—that the great-sixth chord may lead to the sixth chord of the mediant, the sixth–fourth chord of the dominant, or the perfect chord of the tonic—we shall find nothing new here. [The punctuation of this list follows the author's correction in the supplement.] Nevertheless, this succession of chords should be practiced, because it is very frequent. The example serves all minor keys, taking account of the flat we have added; it can also serve all major keys if the flats are removed.", "sources": [ { "pdf_page": 435, "source_image": "source-pages/bnf-435.png", "printed_page": 403, "bbox_pixels": [ 350, 1250, 2250, 670 ], "crop_image": "assets/IV.11-005.png" } ] }, { "id": "IV.11-006", "type": "paragraph", "section": "IV.11", "lesson": 99, "exercise": 99, "reading_order": 2624, "original": "Remarquez que la quatriéme Notte (A) peut porter en descendant sur la Médiante (B) ou même sur la Tonique (C) l’Accord de la grande Sixte, ou celui du Tri-Ton, ou bien tous les deux l’un après l’autre, pourvû que celui de la grande Sixte soit le premier.", "english": "Notice that the fourth note (A), when descending to the mediant (B) or even to the tonic (C), may bear the great-sixth chord, the tritone chord, or both in succession, provided the great-sixth chord comes first.", "sources": [ { "pdf_page": 435, "source_image": "source-pages/bnf-435.png", "printed_page": 403, "bbox_pixels": [ 350, 1920, 2250, 310 ], "crop_image": "assets/IV.11-006.png" } ] }, { "id": "IV.11-007", "type": "paragraph", "section": "IV.11", "lesson": 99, "exercise": 99, "reading_order": 2625, "original": "Cette derniere Regle est tirée de la Cadence irreguliere, & ce seroit assez ici le lieu de parler de la Parfaite, de l’Imparfaite & de la Rompuë, mais ces Cadences se trouvent confonduës dans nos autres Regles ; comme par exemple, l’Accord de la Septiéme suivi de celui de Sixte-quarte sur une Dominante tonique nous représente une Cadence imparfaite, en ce que la Cadence parfaite devant se faire toûjours de la Dominante à la Notte tonique (comme cela paroît dans tous nos Exemples de l’Octave, Chap. VI.) cet Accord de Sixte-quarte que porte la Dominante représente le Parfait qu’auroit dû porter naturellement la Tonique après celui de la Septiéme que cette Dominante a porté ; & par consequent cette Dominante peut passer encore sur la Médiante, sans changer le fond des deux Accords proposez. Pareillement la Regle où nous avons dit au Chap. VIII. que l’on pouvoit monter diatoniquement sur l’Accord parfait ou sur celui de la Septiéme après un Accord de Septiéme, est tirée de la Cadence rompuë. Voyez cependant ce que nous disons de toutes ces Cadences au Troisiéme Livre, Chap. XIII. XVI. XXV. & XXVIII. parce qu’on peut en tirer de très-grandes lumieres, tant par rapport au renversement, que par rapport à la connoissance des Tons, & par consequent des Nottes qui peuvent ou qui doivent porter certains Accords, & encore de la differente progression de la Basse qui nous induit à cette connoissance.", "english": "This last rule comes from the irregular cadence. This would also be a suitable place to discuss the perfect, imperfect and interrupted cadences, but these are included within our other rules. For example, a seventh chord followed by a sixth–fourth chord on a tonic dominant represents an imperfect cadence. The perfect cadence must always proceed from dominant to tonic, as all our octave examples in Chapter VI show. Thus the sixth–fourth chord borne by the dominant represents the perfect chord that the tonic should naturally have borne after the dominant's seventh chord. Consequently, the dominant may also pass to the mediant without changing the underlying harmony of the two chords in question. Likewise, the rule in Chapter VIII allowing diatonic ascent from a seventh chord to a perfect chord or another seventh chord comes from the interrupted cadence. Nevertheless, consult our discussion of all these cadences in Book III, Chapters XIII, XVI, XXV and XXVIII. It can shed considerable light on inversion and on recognizing keys, and consequently on the notes that can or must bear particular chords, as well as on the different bass progressions that lead us to this knowledge.", "sources": [ { "pdf_page": 435, "source_image": "source-pages/bnf-435.png", "printed_page": 403, "bbox_pixels": [ 350, 2230, 2250, 1290 ], "crop_image": "assets/IV.11-007.png" }, { "pdf_page": 436, "source_image": "source-pages/bnf-436.png", "printed_page": 404, "bbox_pixels": [ 350, 425, 2250, 390 ], "crop_image": "assets/IV.11-008.png" } ] }, { "id": "IV.12-001", "type": "heading", "section": "IV.12", "lesson": 100, "exercise": 100, "reading_order": 2626, "original": "CHAPITRE DOUZIÉME.\nDe l’Accord de la Seconde superfluë, & de ses dérivez.", "english": "CHAPTER XII. The augmented-second chord and its derivatives.", "sources": [ { "pdf_page": 436, "source_image": "source-pages/bnf-436.png", "printed_page": 404, "bbox_pixels": [ 350, 930, 2250, 260 ], "crop_image": "assets/IV.12-001.png" } ], "correction_refs": [ "supplement-285" ] }, { "id": "IV.12-002", "type": "paragraph", "section": "IV.12", "lesson": 100, "exercise": 100, "reading_order": 2627, "original": "L’Accord de la Seconde superfluë qui se chiffre ainsi 2♯, s’accompagne du Tri-Ton & de la Sixte majeure, & ne se fait jamais que sur la sixiéme Notte des Tons mineurs.", "english": "The augmented-second chord, figured 2♯, is accompanied by the tritone and the major sixth. It is used only on the sixth note of minor keys.", "sources": [ { "pdf_page": 436, "source_image": "source-pages/bnf-436.png", "printed_page": 404, "bbox_pixels": [ 350, 1240, 2250, 235 ], "crop_image": "assets/IV.12-002.png" } ] }, { "id": "IV.12-003", "type": "paragraph", "section": "IV.12", "lesson": 100, "exercise": 100, "reading_order": 2628, "original": "Pour trouver cet Accord, il n’y a qu’à faire celui de la Septiéme d’une Dominante tonique, en portant cette Dominante un semi-Ton plus haut sur la sixiéme Notte ; de sorte que si nous supposons que la Notte Mi est cette Dominante, nous y joindrons sa Tierce majeure, la Quinte & la Septiéme de la main droite, & nous toucherons de la gauche la Notte Fa, au lieu de Mi, ainsi des autres Dominantes toniques.", "english": "To find this chord, simply form the seventh chord of a tonic dominant and raise that dominant by a semitone to the sixth note. Thus, if E is the dominant, we play its major third, fifth and seventh in the right hand, and F instead of E in the left. The same applies to the other tonic dominants.", "sources": [ { "pdf_page": 436, "source_image": "source-pages/bnf-436.png", "printed_page": 404, "bbox_pixels": [ 350, 1475, 2250, 525 ], "crop_image": "assets/IV.12-003.png" } ] }, { "id": "IV.12-004", "type": "heading", "section": "IV.12", "lesson": 100, "exercise": 100, "reading_order": 2629, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 436, "source_image": "source-pages/bnf-436.png", "printed_page": 404, "bbox_pixels": [ 350, 2000, 2250, 105 ], "crop_image": "assets/IV.12-004.png" } ] }, { "id": "IV.12-p404", "type": "music", "section": "IV.12", "lesson": 100, "exercise": 100, "reading_order": 2630, "original": "Tons mineurs de La, Ré, Sol — Dominante tonique et Sixième Notte.", "english": "Minor keys of A, D and G — tonic dominant and sixth note.", "sources": [ { "pdf_page": 436, "source_image": "source-pages/bnf-436.png", "printed_page": 404, "bbox_pixels": [ 350, 2120, 2250, 765 ], "crop_image": "assets/IV.12-005.png" } ], "original_title": "Tons mineurs de La, Ré, Sol — Dominante tonique et Sixième Notte.", "english_title": "Minor keys of A, D and G — tonic dominant and sixth note.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.12-p404" ], "music_asset_refs": [ "IV.12-p404" ] }, { "id": "IV.12-006", "type": "paragraph", "section": "IV.12", "lesson": 100, "exercise": 100, "reading_order": 2631, "original": "Cette transposition de la Dominante tonique à la sixiéme Notte, cause un changement pareil à celui qui paroît ici dans tous les Accords qui dérivent de celui de la Septiéme de cette Dominante, comme on peut le remarquer dans l’Exemple suivant.", "english": "This transfer of the tonic dominant to the sixth note causes a similar change in all the chords derived from that dominant's seventh chord, as the following example shows.", "sources": [ { "pdf_page": 436, "source_image": "source-pages/bnf-436.png", "printed_page": 404, "bbox_pixels": [ 350, 2920, 2250, 330 ], "crop_image": "assets/IV.12-006.png" } ] }, { "id": "IV.12-007", "type": "heading", "section": "IV.12", "lesson": 100, "exercise": 100, "reading_order": 2632, "original": "Exemple des Accords dérivez de celui de la 2♯.", "english": "Example of chords derived from the 2♯ chord.", "sources": [ { "pdf_page": 437, "source_image": "source-pages/bnf-437.png", "printed_page": 405, "bbox_pixels": [ 350, 425, 2250, 100 ], "crop_image": "assets/IV.12-007.png" } ] }, { "id": "IV.12-p405", "type": "music", "section": "IV.12", "lesson": 100, "exercise": 100, "reading_order": 2633, "original": "Accords dérivés — un dessus et six basses alternatives ; non simultanées.", "english": "Derived chords — one upper part and six alternative basses, not simultaneous parts.", "sources": [ { "pdf_page": 437, "source_image": "source-pages/bnf-437.png", "printed_page": 405, "bbox_pixels": [ 340, 580, 480, 1975 ], "crop_image": "assets/IV.12-008.png" } ], "original_title": "Accords dérivés — un dessus et six basses alternatives ; non simultanées.", "english_title": "Derived chords — one upper part and six alternative basses, not simultaneous parts.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.12-p405" ], "music_asset_refs": [ "IV.12-p405" ] }, { "id": "IV.12-009", "type": "paragraph", "section": "IV.12", "lesson": 100, "exercise": 100, "reading_order": 2634, "original": "Remarquez que tous les Sons de cet Accord sont toûjours divisez par Tierces, en quelque endroit du Clavier qu’on les Touche.", "english": "Notice that all the sounds of this chord are always separated by thirds, wherever on the keyboard they are played.", "sources": [ { "pdf_page": 437, "source_image": "source-pages/bnf-437.png", "printed_page": 405, "bbox_pixels": [ 820, 620, 1670, 130 ], "crop_image": "assets/IV.12-009.png" } ] }, { "id": "IV.12-010", "type": "paragraph", "section": "IV.12", "lesson": 100, "exercise": 100, "reading_order": 2635, "original": "Sixiéme Notte où se fait ordinairement l’Accord de la petite Sixte ; lorsqu’elle descend sur la Dominante ; la difference de cet Accord de petite Sixte à celui de la Seconde ♯ ne consistant que dans la Tierce au lieu de la Seconde ♯.", "english": "Sixth note: it ordinarily bears the small-sixth chord when descending to the dominant. The only difference between that small-sixth chord and the augmented-second chord is the third in place of the augmented second.", "sources": [ { "pdf_page": 437, "source_image": "source-pages/bnf-437.png", "printed_page": 405, "bbox_pixels": [ 820, 870, 1670, 245 ], "crop_image": "assets/IV.12-010.png" } ] }, { "id": "IV.12-011", "type": "paragraph", "section": "IV.12", "lesson": 100, "exercise": 100, "reading_order": 2636, "original": "Quatriéme Notte où se fait ordinairement l’Accord du Tri-Ton, que l’on accompagne ici de la Tierce mineure au lieu de la Seconde.", "english": "Fourth note: it ordinarily bears the tritone chord, here accompanied by a minor third instead of the second.", "sources": [ { "pdf_page": 437, "source_image": "source-pages/bnf-437.png", "printed_page": 405, "bbox_pixels": [ 820, 1160, 1670, 120 ], "crop_image": "assets/IV.12-011.png" } ] }, { "id": "IV.12-012", "type": "paragraph", "section": "IV.12", "lesson": 100, "exercise": 100, "reading_order": 2637, "original": "Seconde Notte où se fait ordinairement l’Accord de la petite Sixte, que l’on accompagne ici de la fausse-Quinte au lieu de la Quarte.", "english": "Second note: it ordinarily bears the small-sixth chord, here accompanied by the diminished fifth instead of the fourth.", "sources": [ { "pdf_page": 437, "source_image": "source-pages/bnf-437.png", "printed_page": 405, "bbox_pixels": [ 820, 1460, 1670, 125 ], "crop_image": "assets/IV.12-012.png" } ] }, { "id": "IV.12-013", "type": "paragraph", "section": "IV.12", "lesson": 100, "exercise": 100, "reading_order": 2638, "original": "Notte sensible où se fait ordinairement l’Accord de la fausse-Quinte, que l’on accompagne ici de la Septiéme diminuée au lieu de la Sixte.", "english": "Leading note: it ordinarily bears the diminished-fifth chord, here accompanied by the diminished seventh instead of the sixth.", "sources": [ { "pdf_page": 437, "source_image": "source-pages/bnf-437.png", "printed_page": 405, "bbox_pixels": [ 820, 1750, 1670, 125 ], "crop_image": "assets/IV.12-013.png" } ] }, { "id": "IV.12-014", "type": "paragraph", "section": "IV.12", "lesson": 100, "exercise": 100, "reading_order": 2639, "original": "Médiante où se fait quelquefois l’Accord de la Quinte superfluë, que l’on accompagne ici de la Quarte au lieu de la Tierce.", "english": "Mediant: it sometimes bears the augmented-fifth chord, here accompanied by the fourth instead of the third.", "sources": [ { "pdf_page": 437, "source_image": "source-pages/bnf-437.png", "printed_page": 405, "bbox_pixels": [ 820, 2040, 1670, 125 ], "crop_image": "assets/IV.12-014.png" } ] }, { "id": "IV.12-015", "type": "paragraph", "section": "IV.12", "lesson": 100, "exercise": 100, "reading_order": 2640, "original": "Notte tonique où se fait quelquefois l’Accord de la Septiéme superfluë, que l’on accompagne ici de la Sixte mineure au lieu de la Quinte.", "english": "Tonic note: it sometimes bears the augmented-seventh chord, here accompanied by the minor sixth instead of the fifth.", "sources": [ { "pdf_page": 437, "source_image": "source-pages/bnf-437.png", "printed_page": 405, "bbox_pixels": [ 820, 2340, 1670, 125 ], "crop_image": "assets/IV.12-015.png" } ] }, { "id": "IV.12-016", "type": "paragraph", "section": "IV.12", "lesson": 100, "exercise": 100, "reading_order": 2641, "original": "Voyez le Troisiéme Livre sur ce sujet. Chapitre XXXIII.", "english": "See Book III, Chapter XXXIII, on this subject.", "sources": [ { "pdf_page": 437, "source_image": "source-pages/bnf-437.png", "printed_page": 405, "bbox_pixels": [ 820, 2540, 1670, 85 ], "crop_image": "assets/IV.12-016.png" } ] }, { "id": "IV.12-017", "type": "paragraph", "section": "IV.12", "lesson": 100, "exercise": 100, "reading_order": 2642, "original": "Ces Accords de petite Sixte, fausse-Quinte, Tri-Ton, Quinte & Septiéme-superfluë, qui dérivent de la Septiéme d’une Dominante tonique, peuvent participer (comme vous le voyez) de la difference que cause la transposition de cette Dominante à la sixiéme Notte ; ainsi vous devez pratiquer tous ces Accords dans tous les Tons mineurs, en les accompagnant alternativement des deux manieres differentes dont ils peuvent l’être, & en remarquant les Nottes de chaque Ton sur lesquelles ces Accords peuvent avoir lieu, parce que cela en donne une idée plus juste.", "english": "These small-sixth, diminished-fifth, tritone, augmented-fifth and augmented-seventh chords, derived from the seventh chord of a tonic dominant, may share in the change caused by transferring that dominant to the sixth note, as you see. Practice all these chords in every minor key, accompanying them in turn in the two different ways available to them. Notice the notes of each key on which they can occur, for this gives a more accurate understanding of them.", "sources": [ { "pdf_page": 437, "source_image": "source-pages/bnf-437.png", "printed_page": 405, "bbox_pixels": [ 350, 2650, 2250, 675 ], "crop_image": "assets/IV.12-017.png" } ] }, { "id": "IV.12-018", "type": "paragraph", "section": "IV.12", "lesson": 100, "exercise": 100, "reading_order": 2643, "original": "Les deux dernieres Basses nous représentent des Accords, auxquels il ne faut faire attention qu’après avoir lû le Chapitre suivant, où il en est fait mention.", "english": "The last two basses show chords to which you should give attention only after reading the next chapter, where they are discussed.", "sources": [ { "pdf_page": 437, "source_image": "source-pages/bnf-437.png", "printed_page": 405, "bbox_pixels": [ 350, 3325, 2250, 240 ], "crop_image": "assets/IV.12-018.png" } ] }, { "id": "IV.12-019", "type": "paragraph", "section": "IV.12", "lesson": 100, "exercise": 100, "reading_order": 2644, "original": "Souvenez-vous qu’il faut retrancher l’Octave de la Basse dans tous les Accords de ce dernier Exemple, lorsque vous voulez les mettre en pratique.", "english": "Remember to omit the octave of the bass from every chord in this last example when putting them into practice.", "sources": [ { "pdf_page": 438, "source_image": "source-pages/bnf-438.png", "printed_page": 406, "bbox_pixels": [ 350, 375, 2250, 220 ], "crop_image": "assets/IV.12-019.png" } ] }, { "id": "IV.13-001", "type": "heading", "section": "IV.13", "lesson": 101, "exercise": 101, "reading_order": 2645, "original": "CHAPITRE TREIZIÉME.\nDes Accords par supposition.", "english": "CHAPTER XIII. Chords by supposition.", "sources": [ { "pdf_page": 438, "source_image": "source-pages/bnf-438.png", "printed_page": 406, "bbox_pixels": [ 350, 695, 2250, 230 ], "crop_image": "assets/IV.13-001.png" } ], "correction_refs": [ "supplement-285", "supplement-286", "supplement-287" ] }, { "id": "IV.13-002", "type": "paragraph", "section": "IV.13", "lesson": 101, "exercise": 101, "reading_order": 2646, "original": "Il n’y a que deux Accords par supposition, qui sont ceux de la Neuviéme & de la Onziéme, d’où proviennent ceux de la Quinte-superfluë & de la Septiéme-superfluë ; leur difference consistant seulement dans celle de la Tierce d’un Accord de Septiéme dont ils dérivent, cette Tierce étant mineure d’un côté & majeure de l’autre.", "english": "There are only two chords by supposition: the ninth and the eleventh. From these come the augmented-fifth and augmented-seventh chords. Their difference lies solely in the third of the seventh chord from which they derive, that third being minor in one case and major in the other.", "sources": [ { "pdf_page": 438, "source_image": "source-pages/bnf-438.png", "printed_page": 406, "bbox_pixels": [ 350, 965, 2250, 380 ], "crop_image": "assets/IV.13-002.png" } ] }, { "id": "IV.13-003", "type": "paragraph", "section": "IV.13", "lesson": 101, "exercise": 101, "reading_order": 2647, "original": "Ces Accords contiennent cinq Sons, differens dans leur construction.", "english": "These chords contain five distinct sounds in their construction.", "sources": [ { "pdf_page": 438, "source_image": "source-pages/bnf-438.png", "printed_page": 406, "bbox_pixels": [ 350, 1345, 2250, 155 ], "crop_image": "assets/IV.13-003.png" } ] }, { "id": "IV.13-004", "type": "heading", "section": "IV.13", "lesson": 101, "exercise": 101, "reading_order": 2648, "original": "ARTICLE PREMIER.\nDe la Neuviéme.", "english": "ARTICLE I.\nOn the ninth.", "sources": [ { "pdf_page": 438, "source_image": "source-pages/bnf-438.png", "printed_page": 406, "bbox_pixels": [ 350, 1500, 2250, 220 ], "crop_image": "assets/IV.13-004.png" } ] }, { "id": "IV.13-005", "type": "paragraph", "section": "IV.13", "lesson": 101, "exercise": 101, "reading_order": 2649, "original": "L’Intervale de la Neuviéme est le même que celui de la Tierce, mais l’Accord en est different ; il s’accompagne de la Tierce, de la Quinte & de la Septiéme, ainsi 1. 3. 5. 7. 9. & se chiffrent seulement d’un 9.", "english": "The interval of the ninth is the same as that of the third [the printed wording; the supplement corrects “third” to “second”], but its chord is different. It is accompanied by the third, fifth and seventh: thus 1. 3. 5. 7. 9. It is figured simply with a 9.", "sources": [ { "pdf_page": 438, "source_image": "source-pages/bnf-438.png", "printed_page": 406, "bbox_pixels": [ 350, 1745, 2250, 305 ], "crop_image": "assets/IV.13-005.png" } ] }, { "id": "IV.13-006", "type": "paragraph", "section": "IV.13", "lesson": 101, "exercise": 101, "reading_order": 2650, "original": "Il est facile de trouver cet Accord sur le Clavier, n’y ayant qu’à tenir l’Accord qui le précede, en y ajoûtant la Tierce de la Notte sur laquelle cette Neuviéme est chiffrée ; ou bien, si l’une des Nottes de l’Accord précedent fait la Quarte avec celle où cette Neuviéme doit être entenduë, il n’y a qu’à glisser sur la Tierce le doigt qui tient cette Quarte, sans rien changer d’ailleurs, & pour lors l’Accord n’est pas toûjours rempli de tous les Sons dont il est composé, mais cela doit être indifferent. Si après l’Accord de la Septiéme la Basse monte diatoniquement pour porter celui de la Neuviéme, pour lors les doigts suivent la même route que celle des Septiémes du Chap. VIII. comme on le voit ici entre F & B.", "english": "This chord is easy to find on the keyboard. Simply hold the preceding chord and add the third of the bass note over which the ninth is figured. Or, if a note of the preceding chord forms a fourth with the note upon which the ninth is to sound, slide the finger holding that fourth onto the third, changing nothing else. The chord will not then always contain all the sounds of which it is composed, but this need not matter. If the bass rises diatonically after a seventh chord to bear the ninth chord, the fingers follow the same course as in the seventh chords of Chapter VIII, as shown here between F and B.", "sources": [ { "pdf_page": 438, "source_image": "source-pages/bnf-438.png", "printed_page": 406, "bbox_pixels": [ 350, 2050, 2250, 825 ], "crop_image": "assets/IV.13-006.png" } ] }, { "id": "IV.13-007", "type": "heading", "section": "IV.13", "lesson": 101, "exercise": 101, "reading_order": 2651, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 438, "source_image": "source-pages/bnf-438.png", "printed_page": 406, "bbox_pixels": [ 350, 2895, 2250, 105 ], "crop_image": "assets/IV.13-007.png" } ] }, { "id": "IV.13-p406", "type": "music", "section": "IV.13", "lesson": 101, "exercise": 101, "reading_order": 2652, "original": "Accords de Neuvième — repères A, B, C, D, E, F.", "english": "Ninth chords — references A, B, C, D, E, F.", "sources": [ { "pdf_page": 438, "source_image": "source-pages/bnf-438.png", "printed_page": 406, "bbox_pixels": [ 350, 3000, 2250, 575 ], "crop_image": "assets/IV.13-008.png" } ], "original_title": "Accords de Neuvième — repères A, B, C, D, E, F.", "english_title": "Ninth chords — references A, B, C, D, E, F.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.13-p406" ], "music_asset_refs": [ "IV.13-p406" ] }, { "id": "IV.13-009", "type": "paragraph", "section": "IV.13", "lesson": 101, "exercise": 101, "reading_order": 2653, "original": "(A) La Tierce ajoûtée à l’Accord précedent. (B) Remarquez qu’il y a ici deux doigts qui descendent depuis (A) conformément à la Regle des Septiémes ; ce qui doit vous faire appercevoir qu’après un pareil Accord de Neuviéme, la main droite suit ordinairement la route qui lui est prescrite dans cette Regle des Septiémes.", "english": "(A) The third added to the preceding chord. (B) Notice that two fingers descend here from (A), following the rule of sevenths. This shows that after such a ninth chord, the right hand ordinarily follows the course prescribed by that rule.", "sources": [ { "pdf_page": 439, "source_image": "source-pages/bnf-439.png", "printed_page": 407, "bbox_pixels": [ 350, 350, 2250, 375 ], "crop_image": "assets/IV.13-009.png" } ] }, { "id": "IV.13-010", "type": "paragraph", "section": "IV.13", "lesson": 101, "exercise": 101, "reading_order": 2654, "original": "(C) Le doigt de l’Accord précedent, qui glisse de la Quarte sur la Tierce, pendant que les autres restent.", "english": "(C) The finger of the preceding chord that slides from the fourth to the third while the others remain.", "sources": [ { "pdf_page": 439, "source_image": "source-pages/bnf-439.png", "printed_page": 407, "bbox_pixels": [ 350, 725, 2250, 150 ], "crop_image": "assets/IV.13-010.png" } ] }, { "id": "IV.13-011", "type": "paragraph", "section": "IV.13", "lesson": 101, "exercise": 101, "reading_order": 2655, "original": "(D) Idem.", "english": "(D) The same.", "sources": [ { "pdf_page": 439, "source_image": "source-pages/bnf-439.png", "printed_page": 407, "bbox_pixels": [ 350, 875, 2250, 75 ], "crop_image": "assets/IV.13-011.png" } ] }, { "id": "IV.13-012", "type": "heading", "section": "IV.13", "lesson": 101, "exercise": 101, "reading_order": 2656, "original": "ARTICLE SECOND.\nDe l’Accord de la Quinte-superfluë.", "english": "ARTICLE II.\nOn the augmented-fifth chord.", "sources": [ { "pdf_page": 439, "source_image": "source-pages/bnf-439.png", "printed_page": 407, "bbox_pixels": [ 350, 950, 2250, 235 ], "crop_image": "assets/IV.13-012.png" } ] }, { "id": "IV.13-013", "type": "paragraph", "section": "IV.13", "lesson": 101, "exercise": 101, "reading_order": 2657, "original": "Cet Accord est composé de même que celui de la Neuviéme, excepté que la Quinte y est superfluë ; il se chiffre ainsi 5♯ ; il ne se fait jamais que sur la Médiante des Tons mineurs, & l’on s’en sert souvent pour rompre la Cadence.", "english": "This chord is constructed like the ninth chord, except that its fifth is augmented. It is figured 5♯. It occurs only on the mediant of minor keys and is often used to interrupt the cadence.", "sources": [ { "pdf_page": 439, "source_image": "source-pages/bnf-439.png", "printed_page": 407, "bbox_pixels": [ 350, 1240, 2250, 315 ], "crop_image": "assets/IV.13-013.png" } ] }, { "id": "IV.13-014", "type": "heading", "section": "IV.13", "lesson": 101, "exercise": 101, "reading_order": 2658, "original": "ARTICLE TROISIÉME.\nDe l’Accord de la Septiéme-superfluë.", "english": "ARTICLE III.\nOn the augmented-seventh chord.", "sources": [ { "pdf_page": 439, "source_image": "source-pages/bnf-439.png", "printed_page": 407, "bbox_pixels": [ 350, 1615, 2250, 240 ], "crop_image": "assets/IV.13-014.png" } ] }, { "id": "IV.13-015", "type": "paragraph", "section": "IV.13", "lesson": 101, "exercise": 101, "reading_order": 2659, "original": "Cet Accord s’accompagne de la Quinte, de la Neuviéme & de la Onziéme, ainsi, 1. 5. 7. 9. 11. & se chiffre ainsi 7♯ ; il ne se fait jamais que sur la Notte tonique.", "english": "This chord is accompanied by the fifth, ninth and eleventh: thus 1. 5. 7. 9. 11. It is figured 7♯ and occurs only on the tonic note.", "sources": [ { "pdf_page": 439, "source_image": "source-pages/bnf-439.png", "printed_page": 407, "bbox_pixels": [ 350, 1920, 2250, 240 ], "crop_image": "assets/IV.13-015.png" } ] }, { "id": "IV.13-016", "type": "heading", "section": "IV.13", "lesson": 101, "exercise": 101, "reading_order": 2660, "original": "ARTICLE QUATRIÉME.\nDe l’Accord de la Onziéme, dite Quarte.", "english": "ARTICLE IV.\nOn the eleventh chord, called the fourth.", "sources": [ { "pdf_page": 439, "source_image": "source-pages/bnf-439.png", "printed_page": 407, "bbox_pixels": [ 350, 2220, 2250, 235 ], "crop_image": "assets/IV.13-016.png" } ] }, { "id": "IV.13-017", "type": "paragraph", "section": "IV.13", "lesson": 101, "exercise": 101, "reading_order": 2661, "original": "Cet Accord est composé de même que celui de la 7♯, excepté que la Septiéme y est juste ; il se chiffre ordinairement ainsi, 4, ou ⁴₉, ou ⁹₄. Lorsqu’on le chiffre d’un simple 4, c’est le même que celui que nous avons employé dans toutes les Cadences finales de chaque Octave ; & lorsqu’on y joint un 9, il en est different, en ce qu’il contient pour lors cinq Sons, quoique pour la commodité de la main, on n’en tienne souvent que trois de la droite, qui avec celui de la Basse font quatre.", "english": "This chord is constructed like the 7♯ chord, except that its seventh is ordinary rather than augmented. It is usually figured 4, ⁴₉, or ⁹₄. When marked simply 4, it is the chord used in all the closing cadences of each octave. When a 9 is added, it differs by containing five sounds, although for the hand's convenience we often hold only three with the right hand, making four together with the bass.", "sources": [ { "pdf_page": 439, "source_image": "source-pages/bnf-439.png", "printed_page": 407, "bbox_pixels": [ 350, 2540, 2250, 600 ], "crop_image": "assets/IV.13-017.png" } ] }, { "id": "IV.13-018", "type": "paragraph", "section": "IV.13", "lesson": 101, "exercise": 101, "reading_order": 2662, "original": "Ce dernier Accord est facile à trouver sur le Clavier, puisqu’il se forme des mêmes Nottes, ou des mêmes Touches de l’Accord qui le précedent.", "english": "This last chord is easy to find on the keyboard, since it uses the same notes or keys as the preceding chord.", "sources": [ { "pdf_page": 439, "source_image": "source-pages/bnf-439.png", "printed_page": 407, "bbox_pixels": [ 350, 3140, 2250, 235 ], "crop_image": "assets/IV.13-018.png" } ] }, { "id": "IV.13-019", "type": "paragraph", "section": "IV.13", "lesson": 101, "exercise": 101, "reading_order": 2663, "original": "Tournez, pour en voir l’Exemple.", "english": "Turn the page to see the example.", "sources": [ { "pdf_page": 439, "source_image": "source-pages/bnf-439.png", "printed_page": 407, "bbox_pixels": [ 350, 3510, 2250, 105 ], "crop_image": "assets/IV.13-019.png" } ] }, { "id": "IV.13-020", "type": "heading", "section": "IV.13", "lesson": 101, "exercise": 101, "reading_order": 2664, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 440, "source_image": "source-pages/bnf-440.png", "printed_page": 408, "bbox_pixels": [ 350, 345, 2250, 100 ], "crop_image": "assets/IV.13-020.png" } ] }, { "id": "IV.13-p408a", "type": "music", "section": "IV.13", "lesson": 101, "exercise": 101, "reading_order": 2665, "original": "Accord de Onzième : guidon A à ajouter.", "english": "Eleventh chord: add the note indicated by cue sign A.", "sources": [ { "pdf_page": 440, "source_image": "source-pages/bnf-440.png", "printed_page": 408, "bbox_pixels": [ 420, 500, 940, 595 ], "crop_image": "assets/IV.13-021.png" } ], "original_title": "Accord de Onzième : guidon A à ajouter.", "english_title": "Eleventh chord: add the note indicated by cue sign A.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.13-p408a" ], "music_asset_refs": [ "IV.13-p408a" ] }, { "id": "IV.13-022", "type": "paragraph", "section": "IV.13", "lesson": 101, "exercise": 101, "reading_order": 2666, "original": "Le Guidon (A) marque le Son qu’on devoit ajoûter à cet Accord de ⁹₄.", "english": "Cue sign (A) indicates the sound that should be added to this ⁹₄ chord.", "sources": [ { "pdf_page": 440, "source_image": "source-pages/bnf-440.png", "printed_page": 408, "bbox_pixels": [ 1380, 500, 1200, 165 ], "crop_image": "assets/IV.13-022.png" } ] }, { "id": "IV.13-023", "type": "paragraph", "section": "IV.13", "lesson": 101, "exercise": 101, "reading_order": 2667, "original": "Cet Accord s’accompagne encore quelquefois de la Quinte & de la Seconde, lorsque la Basse descend ensuite diatoniquement, & pour lors il est le même sous les doigts que celui de la fausse-Quinte ou de la grande Sixte, qui doit se faire ensuite sur la Notte où l’on descend.", "english": "This chord is also sometimes accompanied by the fifth and second when the bass then descends diatonically. It is then the same under the fingers as the diminished-fifth or great-sixth chord that must follow on the note to which the bass descends.", "sources": [ { "pdf_page": 440, "source_image": "source-pages/bnf-440.png", "printed_page": 408, "bbox_pixels": [ 1380, 665, 1200, 430 ], "crop_image": "assets/IV.13-023.png" }, { "pdf_page": 440, "source_image": "source-pages/bnf-440.png", "printed_page": 408, "bbox_pixels": [ 350, 1095, 2250, 90 ], "crop_image": "assets/IV.13-024.png" } ] }, { "id": "IV.13-025", "type": "heading", "section": "IV.13", "lesson": 101, "exercise": 101, "reading_order": 2668, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 440, "source_image": "source-pages/bnf-440.png", "printed_page": 408, "bbox_pixels": [ 350, 1240, 2250, 100 ], "crop_image": "assets/IV.13-025.png" } ] }, { "id": "IV.13-p408b", "type": "music", "section": "IV.13", "lesson": 101, "exercise": 101, "reading_order": 2669, "original": "Accord de Quarte-Seconde, puis grande Sixte ou fausse-Quinte.", "english": "Fourth–second chord, followed by a great-sixth or diminished-fifth chord.", "sources": [ { "pdf_page": 440, "source_image": "source-pages/bnf-440.png", "printed_page": 408, "bbox_pixels": [ 420, 1340, 765, 640 ], "crop_image": "assets/IV.13-026.png" } ], "original_title": "Accord de Quarte-Seconde, puis grande Sixte ou fausse-Quinte.", "english_title": "Fourth–second chord, followed by a great-sixth or diminished-fifth chord.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.13-p408b" ], "music_asset_refs": [ "IV.13-p408b" ] }, { "id": "IV.13-027", "type": "paragraph", "section": "IV.13", "lesson": 101, "exercise": 101, "reading_order": 2670, "original": "Cet Accord devroit se chiffrer ainsi ²₄ ; mais pour l’ordinaire il se chiffre ainsi ⁵₂.", "english": "This chord ought to be figured ²₄, but is ordinarily figured ⁵₂.", "sources": [ { "pdf_page": 440, "source_image": "source-pages/bnf-440.png", "printed_page": 408, "bbox_pixels": [ 1195, 1390, 1385, 170 ], "crop_image": "assets/IV.13-027.png" } ] }, { "id": "IV.13-028", "type": "paragraph", "section": "IV.13", "lesson": 101, "exercise": 101, "reading_order": 2671, "original": "Voyez le Troisiéme Livre, Chap. XXIX. XXX. XXXI. & XXXII. au sujet des Accords contenus dans ce Chapitre.", "english": "See Book III, Chapters XXIX, XXX, XXXI and XXXII, concerning the chords in this chapter.", "sources": [ { "pdf_page": 440, "source_image": "source-pages/bnf-440.png", "printed_page": 408, "bbox_pixels": [ 1195, 1560, 1385, 215 ], "crop_image": "assets/IV.13-028.png" } ] }, { "id": "IV.14-001", "type": "heading", "section": "IV.14", "lesson": 102, "exercise": 102, "reading_order": 2672, "original": "CHAPITRE QUATORZIÉME.\nObservations sur le rapport de tous les Accords précedens.", "english": "CHAPTER XIV. Observations on the relationships of all the preceding chords.", "sources": [ { "pdf_page": 440, "source_image": "source-pages/bnf-440.png", "printed_page": 408, "bbox_pixels": [ 350, 2110, 2250, 250 ], "crop_image": "assets/IV.14-001.png" } ], "correction_refs": [ "supplement-287", "supplement-288" ] }, { "id": "IV.14-002", "type": "paragraph", "section": "IV.14", "lesson": 102, "exercise": 102, "reading_order": 2673, "original": "La main droite qui tient un Accord parfait, tient en même temps tous les Accords consonans, qui sont celui de la Sixte & celui de la Sixte-Quarte ; & lorsqu’elle tient un Accord de Septiéme, elle tient aussi tous les Dissonans, qui sont ceux de la petite & de la grande Sixte, de la fausse-Quinte, du Tri-Ton, de la Seconde, de la Neuviéme, de la Onziéme, ou Quarte, de la Quinte-superfluë & de la Septiéme superfluë, avec quelques particularitez qu’il faut y remarquer.", "english": "A right hand holding a perfect chord holds at the same time all the consonant chords: the sixth and the sixth–fourth. When it holds a seventh chord, it also holds all the dissonant chords: small sixth, great sixth, diminished fifth, tritone, second, ninth, eleventh or fourth, augmented fifth and augmented seventh, subject to certain particulars that must be noticed.", "sources": [ { "pdf_page": 440, "source_image": "source-pages/bnf-440.png", "printed_page": 408, "bbox_pixels": [ 350, 2410, 2250, 615 ], "crop_image": "assets/IV.14-002.png" } ] }, { "id": "IV.14-003", "type": "paragraph", "section": "IV.14", "lesson": 102, "exercise": 102, "reading_order": 2674, "original": "Tous les Accords dissonans se distinguent en majeurs & en mineurs, ce qui dépend de la Tierce de la Notte sur laquelle on fait un Accord de Septiéme.", "english": "All dissonant chords are distinguished as major or minor, according to the third above the note on which the seventh chord is formed.", "sources": [ { "pdf_page": 440, "source_image": "source-pages/bnf-440.png", "printed_page": 408, "bbox_pixels": [ 350, 3025, 2250, 225 ], "crop_image": "assets/IV.14-003.png" } ] }, { "id": "IV.14-004", "type": "paragraph", "section": "IV.14", "lesson": 102, "exercise": 102, "reading_order": 2675, "original": "La suite des Accords est presque toûjours la même ; après le Dissonant mineur, suit ordinairement un autre Dissonant mineur, jusqu’à ce que le Dissonant majeur paroisse, après lequel suit ordinairement le Consonant ; de sorte que la Regle des Septiémes, Chap. VIII. nous donne l’habitude de faire plusieurs Accords dissonans de suite ; & la Regle de l’Octave & des Sixtes, Chap. VI. & XI. nous donne l’habitude d’entre-lacer les Accords dissonans avec les consonans ; pouvant remarquer la grande conformité d’Accords qui se trouvent dans ces differentes Regles, qui servent également pour la pratique des Accords par supposition. Si l’on employe quatre doigts dans ces Accords par supposition, il n’y a qu’à suivre la route des 7, jusqu’à ce que l’Accord dissonant majeur paroisse, qui détermine la conclusion.", "english": "The succession of chords is almost always the same: a minor dissonant chord is ordinarily followed by another minor dissonant chord, until a major dissonant chord appears, ordinarily followed by a consonant one. Thus the rule of sevenths in Chapter VIII trains us to play several dissonant chords in succession, while the rules of the octave and of sixths in Chapters VI and XI train us to intersperse dissonant chords with consonant ones. Notice the close agreement among the chords in these different rules, which serve equally for practicing chords by supposition. If four fingers are used in those chords, simply follow the course of the sevenths until the major dissonant chord appears and determines the conclusion.", "sources": [ { "pdf_page": 440, "source_image": "source-pages/bnf-440.png", "printed_page": 408, "bbox_pixels": [ 350, 3250, 2250, 170 ], "crop_image": "assets/IV.14-004.png" }, { "pdf_page": 441, "source_image": "source-pages/bnf-441.png", "printed_page": 409, "bbox_pixels": [ 350, 360, 2250, 750 ], "crop_image": "assets/IV.14-005.png" } ] }, { "id": "IV.14-006", "type": "paragraph", "section": "IV.14", "lesson": 102, "exercise": 102, "reading_order": 2676, "original": "La progression de ces Accords sera très-facile dans l’execution, si l’on remarque que des quatre doigts qu’on y employe ordinairement de la main droite, il y en a toûjours deux qui descendent, pendant que les deux autres tiennent ferme ; que ceux qui doivent descendre seront les plus hauts, s’ils sont tous arrangez par Tierces ; si non, que ce sera celui qui se trouvera au-dessous d’un autre, qui le joint avec celui qui est encore au-dessous ; que s’il ne s’en trouve point au-dessous de ces deux qui se joignent, le doigt le plus haut devra descendre avec le plus bas ; que ces doigts qui descendent sont toûjours la Quinte, & la Septiéme dans un Accord de Septiéme ; la Septiéme & la Neuviéme dans un Accord de Neuviéme, ou la Neuviéme & la Onziéme dans un Accord de Onziéme ; & que si l’on n’y employe que trois doigts, il faut neanmoins faire descendre les deux doigts qui touchent les Intervales précédens, pendant que l’autre reste.", "english": "Executing these progressions will be very easy if one notices that, of the four right-hand fingers ordinarily used, two always descend while the other two hold firm. If all the notes are arranged in thirds, the two highest fingers descend. Otherwise, the finger below another that adjoins it descends together with the finger still farther below. If there is none below those two adjoining fingers, the highest finger must descend with the lowest. The descending fingers always play the fifth and seventh in a seventh chord, the seventh and ninth in a ninth chord, or the ninth and eleventh in an eleventh chord. If only three fingers are used, the two playing those intervals must still descend while the other remains.", "sources": [ { "pdf_page": 441, "source_image": "source-pages/bnf-441.png", "printed_page": 409, "bbox_pixels": [ 350, 1110, 2250, 1120 ], "crop_image": "assets/IV.14-006.png" } ] }, { "id": "IV.14-007", "type": "paragraph", "section": "IV.14", "lesson": 102, "exercise": 102, "reading_order": 2677, "original": "Cette Regle n’est cependant pas generale ; l’on est obligé quelquefois de faire descendre trois doigts, pendant que celui d’en-haut qui joint l’autre, reste ; ou pendant que celui d’en-bas reste, si aucuns ne se joignent ; & cela dans une Cadence rompuë, ou dans une suite d’Accords conforme à cette Cadence H ; ou bien encore le doigt d’en-bas qui joint l’autre, descend seul, pendant que les trois autres restent, ou le doigt d’en-haut descend seul, quand il n’y en a aucuns qui se joignent ; & cela dans une suite d’Accords conforme à celle où la Basse descend de Tierce, pendant que chaque Notte de cette progression porte un Accord de 7.", "english": "This rule is not universal, however. Sometimes three fingers must descend while the upper finger adjoining another remains, or while the lowest remains if none adjoin. This occurs in an interrupted cadence or a succession of chords corresponding to that cadence, H. In another case, the lower of two adjoining fingers descends alone while the other three remain; or the highest finger descends alone when none adjoin. This occurs in a succession corresponding to a bass descending by thirds, each note bearing a seventh chord.", "sources": [ { "pdf_page": 441, "source_image": "source-pages/bnf-441.png", "printed_page": 409, "bbox_pixels": [ 350, 2230, 2250, 750 ], "crop_image": "assets/IV.14-007.png" } ] }, { "id": "IV.14-008", "type": "paragraph", "section": "IV.14", "lesson": 102, "exercise": 102, "reading_order": 2678, "original": "Voyez l’Exemple suivant.", "english": "See the following example.", "sources": [ { "pdf_page": 441, "source_image": "source-pages/bnf-441.png", "printed_page": 409, "bbox_pixels": [ 350, 3360, 2250, 90 ], "crop_image": "assets/IV.14-008.png" } ] }, { "id": "IV.14-009", "type": "heading", "section": "IV.14", "lesson": 102, "exercise": 102, "reading_order": 2679, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 442, "source_image": "source-pages/bnf-442.png", "printed_page": 410, "bbox_pixels": [ 350, 390, 2250, 100 ], "crop_image": "assets/IV.14-009.png" } ] }, { "id": "IV.14-p410", "type": "music", "section": "IV.14", "lesson": 102, "exercise": 102, "reading_order": 2680, "original": "Suites H et J ; dessus et trois basses alternatives.", "english": "Progressions H and J: an upper part and three alternative basses.", "sources": [ { "pdf_page": 442, "source_image": "source-pages/bnf-442.png", "printed_page": 410, "bbox_pixels": [ 350, 515, 2250, 1215 ], "crop_image": "assets/IV.14-010.png" } ], "original_title": "Suites H et J ; dessus et trois basses alternatives.", "english_title": "Progressions H and J: an upper part and three alternative basses.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.14-p410" ], "music_asset_refs": [ "IV.14-p410" ] }, { "id": "IV.14-011", "type": "paragraph", "section": "IV.14", "lesson": 102, "exercise": 102, "reading_order": 2681, "original": "L’on peut joindre la Septiéme à l’Accord parfait d’une Notte ; si bien que telle Notte qui semble ne devoir porter qu’un Accord parfait, peut porter celui de la Septiéme ; ce qui dépend du goût & de la connoissance du Compositeur.", "english": "A seventh may be added to a note's perfect chord. Thus a note that seems able to bear only a perfect chord may instead bear a seventh chord, depending on the composer's taste and knowledge.", "sources": [ { "pdf_page": 442, "source_image": "source-pages/bnf-442.png", "printed_page": 410, "bbox_pixels": [ 350, 1765, 2250, 305 ], "crop_image": "assets/IV.14-011.png" } ] }, { "id": "IV.14-012", "type": "paragraph", "section": "IV.14", "lesson": 102, "exercise": 102, "reading_order": 2682, "original": "Cette suite d’Accords marquée dans cet Exemple, où nous mettons plusieurs Basses differentes, doit être connuë à un chacun, quoiqu’elle soit beaucoup moins frequente que les autres ; mais pour n’être jamais surpris, il ne faut rien ignorer. L’on ajoûte rarement l’Octave de la Basse dans les Accords dissonans majeurs, il n’y a que dans ceux de la Septiéme, de la petite & de la grande Sixte où elle puisse convenir ; de sorte qu’il faut s’accoutumer à passer tous ces Accords à quatre Parties seulement, c’est-à-dire, trois de la main droite avec celle de la Basse, qui fait la quatriéme. Pour ce qui est des Accords par supposition, ils contiennent toûjours cinq Parties sans l’Octave de la Basse, qui ne doit jamais y être jointe.", "english": "Everyone should know the chord succession in this example, shown with several different basses, although it is much less common than the others: to avoid being caught unprepared, one must leave nothing unknown. The octave of the bass is rarely added in major dissonant chords; it can be suitable only in seventh, small-sixth and great-sixth chords. Become accustomed, therefore, to playing these chords in only four parts: three in the right hand and the bass as the fourth. Chords by supposition, for their part, always contain five parts without the octave of the bass, which must never be added to them.", "sources": [ { "pdf_page": 442, "source_image": "source-pages/bnf-442.png", "printed_page": 410, "bbox_pixels": [ 350, 2070, 2250, 825 ], "crop_image": "assets/IV.14-012.png" } ] }, { "id": "IV.14-013", "type": "paragraph", "section": "IV.14", "lesson": 102, "exercise": 102, "reading_order": 2683, "original": "C’est pour rendre l’Accompagnement plus regulier que nous défendons de joindre l’Octave de la Basse aux Accords dissonans, autrement on ne pourroit s’empêcher d’y faire entendre deux Octave ou deux Quintes consécutives, ce qui est absolument défendu dans la Composition ; raison pour laquelle nous faisons souvent doubler la Tierce ou la Sixte dans un Accord de Sixte, au lieu de l’Octave de la Basse ; cependant on ne peut pas dire qu’un accompagnement, où l’on n’observeroit pas cette regularité, ne fût point bon, puisque l’accompagnement ne sert qu’à faire entendre tous les Sons d’un Accord, sans autre observation ; mais quand on peut porter les choses à leur perfection, c’est toûjours mieux fait. Aussi avons-nous disposé nos Accords de façon, que les personnes qui voudront se former sur la suite de ces Accords éviteront presque toutes les fautes, sans qu’ils ayent besoin d’y faire attention.", "english": "We forbid adding the bass's octave to dissonant chords in order to make accompaniment more regular. Otherwise consecutive octaves or fifths would be unavoidable, and these are absolutely forbidden in composition. This is why, in a sixth chord, we often double the third or sixth instead of the bass's octave. Nevertheless, one cannot say that an accompaniment lacking this regularity is therefore bad, since accompaniment serves only to sound all the notes of a chord, without any other requirement. Yet it is always better to bring things to perfection when possible. We have therefore arranged our chords so that those who train themselves in their successions will avoid almost all faults without having to give them particular attention.", "sources": [ { "pdf_page": 442, "source_image": "source-pages/bnf-442.png", "printed_page": 410, "bbox_pixels": [ 350, 2895, 2250, 675 ], "crop_image": "assets/IV.14-013.png" }, { "pdf_page": 443, "source_image": "source-pages/bnf-443.png", "printed_page": 411, "bbox_pixels": [ 350, 355, 2250, 375 ], "crop_image": "assets/IV.14-014.png" } ] }, { "id": "IV.14-015", "type": "paragraph", "section": "IV.14", "lesson": 102, "exercise": 102, "reading_order": 2684, "original": "A l’égard du rapport des Accords, voyez les Exemples que nous en donnons au Chap. V. VIII. XI. & XII. avec ce que nous en disons au Second & au Troisiéme Livre, ayant encore à expliquer le rapport de leur suite dans la maniere de preparer & de sauver les Dissonances.", "english": "For the relationships among chords, see our examples in Chapters V, VIII, XI and XII, together with the discussion in Books II and III. We still have to explain how their successions are connected through the preparation and resolution of dissonances.", "sources": [ { "pdf_page": 443, "source_image": "source-pages/bnf-443.png", "printed_page": 411, "bbox_pixels": [ 350, 730, 2250, 380 ], "crop_image": "assets/IV.14-015.png" } ] }, { "id": "IV.15-001", "type": "heading", "section": "IV.15", "lesson": 103, "exercise": 103, "reading_order": 2685, "original": "CHAPITRE QUINZIÉME.\nDe la maniere de préparer & de sauver toutes les Dissonances, d’où l’on tire la connoissance du Ton dans lequel on est ; & des Accords que doit porter chaque Notte de ce Ton.", "english": "CHAPTER XV. How to prepare and resolve all dissonances, and thereby recognize the current key and the chords belonging to each of its notes.", "sources": [ { "pdf_page": 443, "source_image": "source-pages/bnf-443.png", "printed_page": 411, "bbox_pixels": [ 350, 1180, 2250, 410 ], "crop_image": "assets/IV.15-001.png" } ], "correction_refs": [ "supplement-289" ] }, { "id": "IV.15-002", "type": "paragraph", "section": "IV.15", "lesson": 103, "exercise": 103, "reading_order": 2686, "original": "Si nous avons distingué les Accords dissonans en majeurs & en mineurs, ce n’est que par rapport à un certain Intervale qui s’y rencontre ; de sorte qu’au lieu de l’Accord, nous parlerons simplement de la Dissonance.", "english": "We have distinguished dissonant chords as major or minor only with reference to a certain interval within them. Henceforth we shall speak simply of the dissonance rather than the chord.", "sources": [ { "pdf_page": 443, "source_image": "source-pages/bnf-443.png", "printed_page": 411, "bbox_pixels": [ 350, 1620, 2250, 305 ], "crop_image": "assets/IV.15-002.png" } ] }, { "id": "IV.15-003", "type": "paragraph", "section": "IV.15", "lesson": 103, "exercise": 103, "reading_order": 2687, "original": "Les Regles précedentes donnent une si grande facilité à preparer les Dissonances, qu’il est inutile aux Accompagnateurs d’en sçavoir davantage sur ce sujet ; cependant on peut voir ce que nous en disons au Second & au Troisiéme Livre. Elles donnent encore presqu’autant de facilité à les sauver ; mais pour une plus grande intelligence, il est bon de sçavoir ce qui suit.", "english": "The preceding rules make preparing dissonances so easy that accompanists need know no more on the subject, though they may consult what we say in Books II and III. The rules make resolving them almost as easy. For a fuller understanding, however, it is useful to know what follows.", "sources": [ { "pdf_page": 443, "source_image": "source-pages/bnf-443.png", "printed_page": 411, "bbox_pixels": [ 350, 1925, 2250, 455 ], "crop_image": "assets/IV.15-003.png" } ] }, { "id": "IV.15-004", "type": "paragraph", "section": "IV.15", "lesson": 103, "exercise": 103, "reading_order": 2688, "original": "Les Dissonances se distinguent en majeures & en mineures ; pour connoître cette distinction, il n’y a qu’à faire l’Accord de la Septiéme sur une Dominante tonique, où l’on trouvera que la Tierce majeure de cette Dominante formera toutes les Dissonances majeures, & que sa Septiéme formera toutes les mineures.", "english": "Dissonances are distinguished as major and minor. To understand this, play a seventh chord on a tonic dominant: its major third forms all major dissonances, and its seventh forms all minor dissonances.", "sources": [ { "pdf_page": 443, "source_image": "source-pages/bnf-443.png", "printed_page": 411, "bbox_pixels": [ 350, 2380, 2250, 225 ], "crop_image": "assets/IV.15-004.png" }, { "pdf_page": 443, "source_image": "source-pages/bnf-443.png", "printed_page": 411, "bbox_pixels": [ 350, 2605, 1270, 295 ], "crop_image": "assets/IV.15-005.png" } ] }, { "id": "IV.15-p411", "type": "music", "section": "IV.15", "lesson": 103, "exercise": 103, "reading_order": 2689, "original": "Dissonance mineure et dissonance majeure dans l’accord de Septième.", "english": "Minor and major dissonance in the seventh chord.", "sources": [ { "pdf_page": 443, "source_image": "source-pages/bnf-443.png", "printed_page": 411, "bbox_pixels": [ 1620, 2555, 780, 340 ], "crop_image": "assets/IV.15-006.png" } ], "original_title": "Dissonance mineure et dissonance majeure dans l’accord de Septième.", "english_title": "Minor and major dissonance in the seventh chord.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.15-p411" ], "music_asset_refs": [ "IV.15-p411" ] }, { "id": "IV.15-007", "type": "heading", "section": "IV.15", "lesson": 103, "exercise": 103, "reading_order": 2690, "original": "ARTICLE PREMIER.\nDe la Dissonance majeure.", "english": "FIRST ARTICLE.\nThe major dissonance.", "sources": [ { "pdf_page": 443, "source_image": "source-pages/bnf-443.png", "printed_page": 411, "bbox_pixels": [ 350, 2930, 2250, 225 ], "crop_image": "assets/IV.15-007.png" } ] }, { "id": "IV.15-008", "type": "paragraph", "section": "IV.15", "lesson": 103, "exercise": 103, "reading_order": 2691, "original": "La Dissonance majeure ne paroît jamais sans la mineure, étant inutile de faire attention à cette derniere, si-tôt que la majeure paroît ; mais si l’Accord est dissonant, & que la Dissonance majeure n’y ait point lieu, pour lors la mineure fait tout l’objet de l’Accord.", "english": "The major dissonance never appears without the minor. Once the major appears, there is no need to attend to the minor; but if the chord is dissonant and contains no major dissonance, the minor becomes its entire focus.", "sources": [ { "pdf_page": 443, "source_image": "source-pages/bnf-443.png", "printed_page": 411, "bbox_pixels": [ 350, 3170, 2250, 305 ], "crop_image": "assets/IV.15-008.png" } ] }, { "id": "IV.15-009", "type": "paragraph", "section": "IV.15", "lesson": 103, "exercise": 103, "reading_order": 2692, "original": "Pour mieux reconnoître cette Dissonance majeure, l’on remarquera qu’elle est toûjours formée de la Notte sensible du Ton dans lequel on est, puisque cette Notte sensible fait toûjours la Tierce majeure de la Dominante tonique, & que l’Accord dissonant où elle a lieu, est toûjours formé de l’Accord de la Septiéme de cette Dominante tonique ; de sorte que l’Accord, ou bien la Notte sensible, vous font reconnoître ce Ton ; & si vous connoissez le Ton, vous sçavez sur le champ l’Accord où cette Dissonance doit être, & la Notte qui la forme, puisque la Notte sensible se trouve toûjours un semi-Ton au-dessous de la Notte tonique, ou de son Octave, double, triple, &c.", "english": "To recognize the major dissonance more readily, notice that it is always formed by the leading note of the current key. That leading note is always the major third of the tonic dominant, and the dissonant chord containing it is always formed from that dominant’s seventh chord. Thus either the chord or the leading note identifies the key. Conversely, knowing the key immediately identifies the chord containing this dissonance and the note that forms it, since the leading note is always a semitone below the tonic or its octave, double octave, triple octave, and so forth.", "sources": [ { "pdf_page": 444, "source_image": "source-pages/bnf-444.png", "printed_page": 412, "bbox_pixels": [ 350, 440, 2250, 745 ], "crop_image": "assets/IV.15-009.png" } ] }, { "id": "IV.15-010", "type": "paragraph", "section": "IV.15", "lesson": 103, "exercise": 103, "reading_order": 2693, "original": "Si l’on commence par un certain Ton, l’on en connoît la Notte sensible, & si dans la suite de la Piece, ce Ton change, il se trouvera toûjours un Dieze pour chiffre, ou joint à un chiffre, ou encore à une Notte de la Basse, qui marquera justement cette Notte sensible ; ou tout au contraire, il se trouvera un B-mol associé à cette Notte sensible, ou bien le Dieze en sera retranché, soit dans la Basse, soit dans les Accords, ce qui marquera qu’elle n’est plus telle, & ce qui vous obligera de la chercher ailleurs ; de sorte que le Ton dans lequel vous devez être vous étant déterminé par-là, vous sçavez non seulement la Composition, ou la construction de l’Accord dissonant majeur, mais encore celle de tous les Accords de ce Ton, conformément aux Regles de l’Octave, Chap. VI. car si une Notte d’un Ton peut porter quelquefois un Accord different que celui qui lui est affecté dans ce Ton, (comme on a pû le remarquer dans les Regles des Septiémes & autres) elle reprend incontinent après son Accord ordinaire, ou du moins ce même Accord se fait sur la Notte qui suit ; de sorte que si la Basse ne tient pas sa route naturelle, les Accords ne changent pas pour cela ; si le nouveau Dieze qui a paru change, & qu’il en vienne un autre, il faut compter selon l’ordre de la position des Diezes, en prenant toûjours le dernier pour Notte sensible ; cela est expliqué plus au long au Troisiéme Livre, Chap. XXV. Art. III. & il est absolument necessaire que l’Accompagnateur possede parfaitement cette connoissance.", "english": "Starting in a given key, you know its leading note. If the key changes during the piece, a sharp appearing as a figure, attached to a figure, or attached to a bass note will mark the new leading note. Conversely, a flat added to the old leading note, or the removal of its sharp, in the bass or the chords, shows that it no longer serves that function and must be sought elsewhere. Once the key is determined in this way, you know not only the construction of its major-dissonant chord but also all its other chords, following the rule of the octave in Chapter VI. A note may sometimes bear a chord different from its assigned chord in that key, as seen in the rules for sevenths and elsewhere. It immediately resumes its ordinary chord, however, or at least that same chord is played on the following note. Thus an irregular bass route does not change the chord succession. If the new sharp changes and another appears, reckon by the order of sharps, always taking the last one as the leading note. Book III, Chapter XXV, Article III explains this at greater length. An accompanist must absolutely master this knowledge.", "sources": [ { "pdf_page": 444, "source_image": "source-pages/bnf-444.png", "printed_page": 412, "bbox_pixels": [ 350, 1185, 2250, 1710 ], "crop_image": "assets/IV.15-010.png" } ] }, { "id": "IV.15-011", "type": "paragraph", "section": "IV.15", "lesson": 103, "exercise": 103, "reading_order": 2694, "original": "Pour ce qui est de sauver la Dissonance majeure, il n’y a qu’à glisser un semi-Ton plus haut le doigt qui la touche, & l’on ne manquera jamais. De plus, l’Accord où elle a lieu, se sauve toûjours sur le Parfait de la Notte tonique, avec la seule exception que l’on est obligé d’ajoûter quelquefois la Septiéme à cet Accord parfait.", "english": "To resolve the major dissonance, simply slide the finger playing it a semitone upward: this never fails. The chord containing it always resolves to the tonic’s perfect chord, with the sole exception that a seventh must sometimes be added to that perfect chord.", "sources": [ { "pdf_page": 444, "source_image": "source-pages/bnf-444.png", "printed_page": 412, "bbox_pixels": [ 350, 2895, 2250, 380 ], "crop_image": "assets/IV.15-011.png" } ] }, { "id": "IV.15-012", "type": "heading", "section": "IV.15", "lesson": 103, "exercise": 103, "reading_order": 2695, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 445, "source_image": "source-pages/bnf-445.png", "printed_page": 413, "bbox_pixels": [ 350, 410, 2250, 100 ], "crop_image": "assets/IV.15-012.png" } ] }, { "id": "IV.15-p413", "type": "music", "section": "IV.15", "lesson": 103, "exercise": 103, "reading_order": 2696, "original": "Dissonances majeures — dessus et neuf basses alternatives, avec changements de basse spécifiés.", "english": "Major dissonances: upper part and nine alternative basses, with specified bass changes.", "sources": [ { "pdf_page": 445, "source_image": "source-pages/bnf-445.png", "printed_page": 413, "bbox_pixels": [ 380, 555, 890, 2850 ], "crop_image": "assets/IV.15-013.png" } ], "original_title": "Dissonances majeures — dessus et neuf basses alternatives, avec changements de basse spécifiés.", "english_title": "Major dissonances: upper part and nine alternative basses, with specified bass changes.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.15-p413" ], "music_asset_refs": [ "IV.15-p413" ] }, { "id": "IV.15-014", "type": "paragraph", "section": "IV.15", "lesson": 103, "exercise": 103, "reading_order": 2697, "original": "Ces deux Accords servent aux differentes Basses qui sont au-dessous, où tous les Accords dissonans majeurs sont contenus ; & l’on voit que la Dissonance majeure formée de la Notte sensible, qui fait la Tierce majeure de la Dominante tonique, monte toûjours d’un semi-Ton sur la Notte tonique.", "english": "These two chords serve the different basses below them, which contain all the major-dissonant chords. The major dissonance, formed by the leading note—the major third of the tonic dominant—always rises a semitone to the tonic.", "sources": [ { "pdf_page": 445, "source_image": "source-pages/bnf-445.png", "printed_page": 413, "bbox_pixels": [ 1280, 555, 1290, 340 ], "crop_image": "assets/IV.15-014.png" } ] }, { "id": "IV.15-015", "type": "paragraph", "section": "IV.15", "lesson": 103, "exercise": 103, "reading_order": 2698, "original": "L’Accord de la Septiéme de cette Dominante est sauvée naturellement sur le Parfait de la Notte tonique, & c’est de-là que dérive la suite des autres Accords contenus dans les autres Basses.", "english": "The dominant’s seventh chord naturally resolves to the tonic’s perfect chord. The chord successions in the other basses derive from this.", "sources": [ { "pdf_page": 445, "source_image": "source-pages/bnf-445.png", "printed_page": 413, "bbox_pixels": [ 1280, 945, 1290, 225 ], "crop_image": "assets/IV.15-015.png" } ] }, { "id": "IV.15-016", "type": "paragraph", "section": "IV.15", "lesson": 103, "exercise": 103, "reading_order": 2699, "original": "La Dominante passe ici sur la Médiante, mais les Accords ne changent point.", "english": "Here the dominant moves to the mediant, but the chords do not change.", "sources": [ { "pdf_page": 445, "source_image": "source-pages/bnf-445.png", "printed_page": 413, "bbox_pixels": [ 1280, 1240, 1290, 135 ], "crop_image": "assets/IV.15-016.png" } ] }, { "id": "IV.15-017", "type": "paragraph", "section": "IV.15", "lesson": 103, "exercise": 103, "reading_order": 2700, "original": "La Dominante reste sur le même degré, avec la même suite d’Accords.", "english": "The dominant stays on the same degree, with the same chord succession.", "sources": [ { "pdf_page": 445, "source_image": "source-pages/bnf-445.png", "printed_page": 413, "bbox_pixels": [ 1280, 1535, 1290, 140 ], "crop_image": "assets/IV.15-017.png" } ] }, { "id": "IV.15-018", "type": "paragraph", "section": "IV.15", "lesson": 103, "exercise": 103, "reading_order": 2701, "original": "La Quatriéme Notte, qui porte ici l’Accord du Tri-Ton passe à la Médiante ou à la Notte tonique, avec la même suite d’Accords.", "english": "The fourth degree, bearing the tritone chord here, moves to the mediant or tonic with the same chord succession.", "sources": [ { "pdf_page": 445, "source_image": "source-pages/bnf-445.png", "printed_page": 413, "bbox_pixels": [ 1280, 1795, 1290, 180 ], "crop_image": "assets/IV.15-018.png" } ] }, { "id": "IV.15-019", "type": "paragraph", "section": "IV.15", "lesson": 103, "exercise": 103, "reading_order": 2702, "original": "La Médiante, qui porte ici l’Accord de la Quinte-superfluë, reste sur le même degré ou passe à la Notte tonique, sans que les Accords changent.", "english": "The mediant, bearing the augmented-fifth chord here, stays on the same degree or moves to the tonic without changing the chords.", "sources": [ { "pdf_page": 445, "source_image": "source-pages/bnf-445.png", "printed_page": 413, "bbox_pixels": [ 1280, 2030, 1290, 180 ], "crop_image": "assets/IV.15-019.png" } ] }, { "id": "IV.15-020", "type": "paragraph", "section": "IV.15", "lesson": 103, "exercise": 103, "reading_order": 2703, "original": "La Seconde Notte, qui porte l’Accord de la petite Sixte, passe sur la Médiante ou sur la Notte tonique par les mêmes Accords.", "english": "The second degree, bearing the small-sixth chord, moves to the mediant or tonic through the same chords.", "sources": [ { "pdf_page": 445, "source_image": "source-pages/bnf-445.png", "printed_page": 413, "bbox_pixels": [ 1280, 2285, 1290, 180 ], "crop_image": "assets/IV.15-020.png" } ] }, { "id": "IV.15-021", "type": "paragraph", "section": "IV.15", "lesson": 103, "exercise": 103, "reading_order": 2704, "original": "La Notte tonique, qui porte l’Accord de la Septiéme superfluë, reste sur le même degré pour reprendre son Accord parfait.", "english": "The tonic, bearing the augmented-seventh chord, stays on the same degree to resume its perfect chord.", "sources": [ { "pdf_page": 445, "source_image": "source-pages/bnf-445.png", "printed_page": 413, "bbox_pixels": [ 1280, 2545, 1290, 180 ], "crop_image": "assets/IV.15-021.png" } ] }, { "id": "IV.15-022", "type": "paragraph", "section": "IV.15", "lesson": 103, "exercise": 103, "reading_order": 2705, "original": "La Notte sensible, qui porte toûjours l’Accord de la fausse-Quinte, passe à la Notte tonique ou à la Médiante, avec la même suite d’Accords.", "english": "The leading note, which always bears the diminished-fifth chord, moves to the tonic or mediant with the same chord succession.", "sources": [ { "pdf_page": 445, "source_image": "source-pages/bnf-445.png", "printed_page": 413, "bbox_pixels": [ 1280, 2790, 1290, 180 ], "crop_image": "assets/IV.15-022.png" } ] }, { "id": "IV.15-023", "type": "paragraph", "section": "IV.15", "lesson": 103, "exercise": 103, "reading_order": 2706, "original": "La sixiéme Notte tient ici la place de la Dominante, qu’il faut par conséquent retrancher du premier Accord ; elle passe sur la Dominante ou sur la Médiante, avec la même suite d’Accords ; & pour connoître encore la suite que le renversement de cet Accord de la Seconde superfluë peut causer dans les Notes des autres Basses, il n’y a qu’à mettre cette sixiéme Notte dans le premier Accord, au lieu de la Dominante, cette Dominante ne pouvant plus pour lors avoir lieu dans la Basse, pendant que la sixiéme Notte occupe sa place.", "english": "Here the sixth degree replaces the dominant, which must therefore be removed from the first chord. It moves to the dominant or mediant with the same chord succession. To find the further progressions that inversion of this augmented-second chord can produce in the other bass lines, simply put the sixth degree in place of the dominant in the first chord. The dominant can then no longer occur in the bass while the sixth degree occupies its place.", "sources": [ { "pdf_page": 445, "source_image": "source-pages/bnf-445.png", "printed_page": 413, "bbox_pixels": [ 1280, 3050, 1290, 380 ], "crop_image": "assets/IV.15-023.png" }, { "pdf_page": 445, "source_image": "source-pages/bnf-445.png", "printed_page": 413, "bbox_pixels": [ 350, 3430, 2250, 130 ], "crop_image": "assets/IV.15-024.png" } ] }, { "id": "IV.15-025", "type": "paragraph", "section": "IV.15", "lesson": 103, "exercise": 103, "reading_order": 2707, "original": "La Seconde superfluë & ses dérivez peuvent être sauvez en faisant monter la Dissonance majeure seule, pendant que les autres Nottes restent, ou bien en faisant descendre de même la Dissonance mineure ; l’on en trouvera un Exemple au Troisiéme Livre, Chap. XXXIII.", "english": "The augmented-second chord and its derivatives may resolve by raising only the major dissonance while the other notes remain, or similarly by lowering the minor dissonance. An example appears in Book III, Chapter XXXIII.", "sources": [ { "pdf_page": 446, "source_image": "source-pages/bnf-446.png", "printed_page": 414, "bbox_pixels": [ 350, 365, 2250, 305 ], "crop_image": "assets/IV.15-025.png" } ] }, { "id": "IV.15-026", "type": "paragraph", "section": "IV.15", "lesson": 103, "exercise": 103, "reading_order": 2708, "original": "Remarquez que les Nottes qui portent les Accords marquez dans l’Exemple précedent, ne changent jamais de nom dans quelque Ton que ce soit ; la 5♯ ne se fait que sur la Médiante, &c.", "english": "Notice that the notes bearing the chords marked in the preceding example never change their degree names, whatever the key: 5♯ occurs only on the mediant, and so forth.", "sources": [ { "pdf_page": 446, "source_image": "source-pages/bnf-446.png", "printed_page": 414, "bbox_pixels": [ 350, 670, 2250, 225 ], "crop_image": "assets/IV.15-026.png" } ] }, { "id": "IV.15-027", "type": "paragraph", "section": "IV.15", "lesson": 103, "exercise": 103, "reading_order": 2709, "original": "Cet Exemple qui est dans un Ton mineur, doit servir pour tous les Tons en general, excepté que l’Accord de la 5♯ & celui de la 2♯ avec ses dérivez n’ont point lieu dans les Tons majeurs.", "english": "This example is in a minor key but serves all keys in general, except that the 5♯ chord and the 2♯ chord with its derivatives do not occur in major keys.", "sources": [ { "pdf_page": 446, "source_image": "source-pages/bnf-446.png", "printed_page": 414, "bbox_pixels": [ 350, 895, 2250, 225 ], "crop_image": "assets/IV.15-027.png" } ] }, { "id": "IV.15-028", "type": "paragraph", "section": "IV.15", "lesson": 103, "exercise": 103, "reading_order": 2710, "original": "Nous aurions pû parler de la Dissonance mineure avec la majeure, puisqu’elle s’y rencontre, & que la ligne qui la conduit à la Notte qui la suit, fait voir qu’elle doit toûjours descendre, n’y ayant qu’à prendre pour cela un Intervale de fausse-Quinte ou de Tri-Ton.", "english": "We could have discussed the minor dissonance together with the major, since both occur there. The line leading it to the following note shows that it must always descend. A diminished fifth or tritone is enough to demonstrate this.", "sources": [ { "pdf_page": 446, "source_image": "source-pages/bnf-446.png", "printed_page": 414, "bbox_pixels": [ 350, 1120, 2250, 305 ], "crop_image": "assets/IV.15-028.png" } ] }, { "id": "IV.15-029", "type": "heading", "section": "IV.15", "lesson": 103, "exercise": 103, "reading_order": 2711, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 446, "source_image": "source-pages/bnf-446.png", "printed_page": 414, "bbox_pixels": [ 350, 1460, 2250, 110 ], "crop_image": "assets/IV.15-029.png" } ] }, { "id": "IV.15-p414", "type": "music", "section": "IV.15", "lesson": 103, "exercise": 103, "reading_order": 2712, "original": "Fausse-Quinte et Tri-Ton — mouvements des dissonances majeure et mineure.", "english": "Diminished fifth and tritone: motions of the major and minor dissonances.", "sources": [ { "pdf_page": 446, "source_image": "source-pages/bnf-446.png", "printed_page": 414, "bbox_pixels": [ 460, 1610, 1380, 365 ], "crop_image": "assets/IV.15-030.png" } ], "original_title": "Fausse-Quinte et Tri-Ton — mouvements des dissonances majeure et mineure.", "english_title": "Diminished fifth and tritone: motions of the major and minor dissonances.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.15-p414" ], "music_asset_refs": [ "IV.15-p414" ] }, { "id": "IV.15-031", "type": "paragraph", "section": "IV.15", "lesson": 103, "exercise": 103, "reading_order": 2713, "original": "Ces deux Intervales qui sont renversez l’un de l’autre, se sauvent également sur deux autres Intervales renversez ; la Dissonance majeure qui monte toûjours, & la mineure qui descend toûjours se sauvent d’un côté sur la Tierce (A) & de l’autre sur la Sixte (B) ; ainsi Fa & Si se sauvent sur Mi & Ut ; ou bien, pour pour parler de tous les Tons en general, la Notte sensible qui forme toutes les Dissonances majeures, se sauve toûjours en montant sur la Notte tonique, & la quatriéme Notte qui forme toutes les Dissonances mineures, lorsque la majeure a lieu, se sauve toûjours en descendant sur la Médiante, ce que l’on peut éprouver dans tous les Tons.", "english": "These two intervals, inversions of one another, likewise resolve to two mutually inverted intervals. The major dissonance always rises and the minor always falls, resolving to a third at (A) and a sixth at (B). Thus F and B resolve to E and C. Or, speaking of all keys generally, the leading note that forms every major dissonance always resolves upward to the tonic; the fourth degree that forms every minor dissonance when the major is present always resolves downward to the mediant. This may be verified in every key.", "sources": [ { "pdf_page": 446, "source_image": "source-pages/bnf-446.png", "printed_page": 414, "bbox_pixels": [ 1840, 1610, 750, 395 ], "crop_image": "assets/IV.15-031.png" }, { "pdf_page": 446, "source_image": "source-pages/bnf-446.png", "printed_page": 414, "bbox_pixels": [ 350, 2005, 2250, 600 ], "crop_image": "assets/IV.15-032.png" } ] }, { "id": "IV.15-033", "type": "heading", "section": "IV.15", "lesson": 103, "exercise": 103, "reading_order": 2714, "original": "ARTICLE SECOND.\nDe la Dissonance mineure.", "english": "SECOND ARTICLE.\nThe minor dissonance.", "sources": [ { "pdf_page": 446, "source_image": "source-pages/bnf-446.png", "printed_page": 414, "bbox_pixels": [ 350, 2660, 2250, 265 ], "crop_image": "assets/IV.15-033.png" } ] }, { "id": "IV.15-034", "type": "paragraph", "section": "IV.15", "lesson": 103, "exercise": 103, "reading_order": 2715, "original": "Toute Dissonance mineure est formée de la Septiéme ; mais quand la majeure ne se rencontre point avec elle, on ne peut pas fixer la Notte du Ton qui la forme, ni qui la sauve, parce que l’on peut donner un Accord de Septiéme à toutes les Nottes d’un Ton : cependant pour reconnoître par son moyen le Ton dans lequel on est, il faut laisser suivre aux doigts l’habitude qu’ils ont de passer d’un Accord dissonant à un autre, jusqu’à ce que la Dissonance majeure se trouve dans l’Accord par laquelle le Ton est pour lors declaré, excepté qu’après l’Accord de la grande Sixte, l’on peut tomber sur un Accord consonant, qui déclare lui-même le Ton ; car l’on doit sçavoir qu’un tel Accord consonant précedé de celui de la grande Sixte, ne se fait ordinairement que sur une telle Notte du Ton, conformément à l’explication que nous en avons donné aux Chap. VI. VII. VIII. & IX. quoiqu’après un Accord de grande Sixte, l’on monte quelquefois sur le Parfait, où le Ton ne se déclare pas toûjours, conformément au Chap. des Septiémes, où la Basse monte de cette maniere sur l’Accord parfait, & descend de Tierce pour monter encore de même ; mais la derniere progression de ces sortes de Basses, qui se terminent toûjours sur la Dominante ou sur la Notte tonique précedée pour lors de l’Accord de la fausse-Quinte, détermine absolument.", "english": "Every minor dissonance is formed from the seventh. When no major dissonance accompanies it, however, neither the degree forming it nor the degree resolving it can be fixed, since every note of a key may bear a seventh chord. To recognize the key through it, let the fingers follow their accustomed passage from one dissonant chord to another until a major dissonance appears and declares the key. There is this exception: after a great-sixth chord, one may arrive at a consonant chord that itself declares the key. Such a consonant chord, preceded by the great-sixth chord, ordinarily occurs only on its particular degree, as explained in Chapters VI, VII, VIII and IX. Sometimes, however, one ascends from a great-sixth chord to a perfect chord that does not yet establish the key, as in the chapter on sevenths, where the bass rises in this way to a perfect chord, falls a third, and rises similarly again. The final progression of these basses settles the matter absolutely: they always end on the dominant or on the tonic, the latter then preceded by a diminished-fifth chord.", "sources": [ { "pdf_page": 446, "source_image": "source-pages/bnf-446.png", "printed_page": 414, "bbox_pixels": [ 350, 2970, 2250, 545 ], "crop_image": "assets/IV.15-034.png" }, { "pdf_page": 447, "source_image": "source-pages/bnf-447.png", "printed_page": 415, "bbox_pixels": [ 350, 410, 2250, 1040 ], "crop_image": "assets/IV.15-035.png" } ] }, { "id": "IV.15-036", "type": "paragraph", "section": "IV.15", "lesson": 103, "exercise": 103, "reading_order": 2716, "original": "Il est inutile de donner ici un Exemple de la maniere dont se sauve la Dissonance mineure, puisque l’Exemple précedent en instruit suffisamment. L’on remarquera seulement que dans les Accords par supposition, il se trouve au moins deux Dissonances mineures, qui doivent toûjours descendre, & que dans l’Accord de la Onziéme, dite Quarte, il s’en trouve trois, lorsqu’il est rempli de tous les Sons qui le composent, car autrement, il n’y en a qu’une ; de sorte que de ces trois Dissonances mineures, il ne faut faire descendre ordinairement que les deux plus dures, qui sont la Neuviéme & la Onziéme, pendant que la Septiéme reste, quoiqu’il se trouve des Musiques où l’on soit obligé de faire le contraire, mais cela est moins commun.", "english": "No further example of resolving the minor dissonance is needed; the preceding example sufficiently explains it. Note only that chords by supposition contain at least two minor dissonances that must always descend. The eleventh chord, called the fourth, contains three when filled with all its constituent sounds; otherwise it contains only one. Of those three minor dissonances, ordinarily only the two harsher ones—the ninth and eleventh—should descend, while the seventh remains. Some music requires the contrary, but this is less common.", "sources": [ { "pdf_page": 447, "source_image": "source-pages/bnf-447.png", "printed_page": 415, "bbox_pixels": [ 350, 1450, 2250, 890 ], "crop_image": "assets/IV.15-036.png" } ] }, { "id": "IV.15-037", "type": "paragraph", "section": "IV.15", "lesson": 103, "exercise": 103, "reading_order": 2717, "original": "Le dénombrement des Dissonances majeures se trouvant dans l’Exemple que nous en avons donné, nous dirons que les mineures sont la Seconde, la fausse-Quinte, la Septiéme, la Neuviéme & la Onziéme, dite Quarte, & que la Tierce d’un Accord de petite Sixte, avec la Quinte d’un Accord de grande Sixte doivent y être jointes.", "english": "The example already lists the major dissonances. The minor ones are the second, diminished fifth, seventh, ninth and eleventh, called the fourth. Add to these the third of a small-sixth chord and the fifth of a great-sixth chord.", "sources": [ { "pdf_page": 447, "source_image": "source-pages/bnf-447.png", "printed_page": 415, "bbox_pixels": [ 350, 2340, 2250, 375 ], "crop_image": "assets/IV.15-037.png" } ] }, { "id": "IV.15-038", "type": "paragraph", "section": "IV.15", "lesson": 103, "exercise": 103, "reading_order": 2718, "original": "Il faut faire ici une difference de la Seconde avec les autres Dissonances mineures, en ce que la Dissonance se trouve pour lors dans la Basse ; de sorte que c’est la Basse qui doit descendre pour sauver cette Seconde.", "english": "The second must be distinguished from the other minor dissonances: here the dissonance lies in the bass, so the bass must descend to resolve it.", "sources": [ { "pdf_page": 447, "source_image": "source-pages/bnf-447.png", "printed_page": 415, "bbox_pixels": [ 350, 2715, 2250, 305 ], "crop_image": "assets/IV.15-038.png" } ] }, { "id": "IV.15-039", "type": "paragraph", "section": "IV.15", "lesson": 103, "exercise": 103, "reading_order": 2719, "original": "Des deux doigts qui se joignent dans les Accords dissonans, c’est toûjours le plus bas qui forme la Dissonance mineure ; si bien que dans l’Accord de la Seconde, l’on peut remarquer qu’il n’y a que la Basse qui puisse se joindre avec cette Seconde ; & si dans les autres il ne s’y trouve point de doigts qui se joignent, ce sera pour lors celui d’en-haut qui touchera cette Dissonance mineure, & qui doit par consequent descendre.", "english": "Of the two fingers lying together in dissonant chords, the lower always forms the minor dissonance. In the chord of the second, only the bass can lie next to that second. In the other chords, if no fingers lie together, the upper finger plays the minor dissonance and must therefore descend.", "sources": [ { "pdf_page": 447, "source_image": "source-pages/bnf-447.png", "printed_page": 415, "bbox_pixels": [ 350, 3020, 2250, 530 ], "crop_image": "assets/IV.15-039.png" } ] }, { "id": "IV.15-040", "type": "paragraph", "section": "IV.15", "lesson": 103, "exercise": 103, "reading_order": 2720, "original": "Il y a une exception à faire ici dans la Cadence irreguliere, où la Sixte d’un Accord de grande Sixte forme la Dissonance, & non pas la Quinte, cette Sixte devant pour lors monter diatoniquement, pendant que la Quinte reste sur le même degré.", "english": "The irregular cadence is an exception. There the sixth of a great-sixth chord, not its fifth, forms the dissonance. This sixth must ascend diatonically while the fifth remains at the same degree.", "sources": [ { "pdf_page": 448, "source_image": "source-pages/bnf-448.png", "printed_page": 416, "bbox_pixels": [ 350, 350, 2250, 305 ], "crop_image": "assets/IV.15-040.png" } ] }, { "id": "IV.16-001", "type": "heading", "section": "IV.16", "lesson": 104, "exercise": 104, "reading_order": 2721, "original": "CHAPITRE SEIZIÉME.\nDu Chromatique.", "english": "CHAPTER XVI. Chromaticism.", "sources": [ { "pdf_page": 448, "source_image": "source-pages/bnf-448.png", "printed_page": 416, "bbox_pixels": [ 350, 800, 2250, 230 ], "crop_image": "assets/IV.16-001.png" } ], "correction_refs": [ "supplement-289" ] }, { "id": "IV.16-002", "type": "paragraph", "section": "IV.16", "lesson": 104, "exercise": 104, "reading_order": 2722, "original": "Le Chromatique n’a lieu que dans les Tons mineurs, & ne consiste que dans la sixiéme & dans la septiéme Notte du Ton, que l’on fait procéder par semi-Tons, tant en montant, qu’en descendant, soit dans la Basse, soit dans les Accords.", "english": "Chromaticism occurs only in minor keys and consists solely in making the sixth and seventh notes of the key proceed by semitones, both upward and downward, whether in the bass or in the chords.", "sources": [ { "pdf_page": 448, "source_image": "source-pages/bnf-448.png", "printed_page": 416, "bbox_pixels": [ 350, 1100, 2250, 310 ], "crop_image": "assets/IV.16-002.png" } ] }, { "id": "IV.16-003", "type": "paragraph", "section": "IV.16", "lesson": 104, "exercise": 104, "reading_order": 2723, "original": "Nous avons déja donné une idée de cette progression dans le Chap. XI. Art. II. & pour achever de s’instruire sur ce sujet, l’on remarquera qu’en pareil cas, la Dissonance majeure qui doit naturellement monter d’un semi-Ton, descend au contraire d’un semi-Ton, mais toûjours sur le B-mol, ou sur la Touche naturelle de celle qui a formé cette Dissonance majeure ; de sorte qu’il n’y qu’à ajoûter une Notte à tous les Accords consonans qui suivent ordinairement cette Dissonance majeure, cette Notte ajoûtée étant ce B-mol que nous venons de dire, & se trouvant toûjours immédiatement au-dessous de celle qui auroit dû être prise pour tonique après la Notte sensible, qui forme cette Dissonance majeure, conformément à nôtre observation du Chapitre précedent, au sujet de la Septiéme, qui pouvoit être ajoûtée à l’Accord parfait, dont se sauve la Dissonance majeure.", "english": "We have already given some idea of this progression in Chapter XI, Article II. To complete your understanding, notice that here the major dissonance, which should naturally rise a semitone, instead descends a semitone—but always to the flattened form, or to the natural key, of the note that produced it. Thus one need only add a note to each of the consonant chords that ordinarily follow this major dissonance. This added note is the flattened note just mentioned and always lies immediately below the note that should have been taken as tonic after the leading note forming the major dissonance. This accords with our observation in the preceding chapter concerning the seventh that could be added to the perfect chord upon which the major dissonance resolves.", "sources": [ { "pdf_page": 448, "source_image": "source-pages/bnf-448.png", "printed_page": 416, "bbox_pixels": [ 350, 1410, 2250, 1040 ], "crop_image": "assets/IV.16-003.png" } ] }, { "id": "IV.16-004", "type": "paragraph", "section": "IV.16", "lesson": 104, "exercise": 104, "reading_order": 2724, "original": "De plus, les Accords par emprunt & par supposition, ont souvent lieu dans ce dernier genre d’Harmonie ; si bien qu’il est difficile de ne pas s’y tromper, lorsque la Basse n’est point chiffrée.", "english": "Moreover, chords by borrowing and by supposition occur frequently in this kind of harmony. It is therefore difficult to avoid mistakes when the bass is unfigured.", "sources": [ { "pdf_page": 448, "source_image": "source-pages/bnf-448.png", "printed_page": 416, "bbox_pixels": [ 350, 2450, 2250, 235 ], "crop_image": "assets/IV.16-004.png" } ] }, { "id": "IV.16-005", "type": "heading", "section": "IV.16", "lesson": 104, "exercise": 104, "reading_order": 2725, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 449, "source_image": "source-pages/bnf-449.png", "printed_page": 417, "bbox_pixels": [ 350, 415, 2250, 110 ], "crop_image": "assets/IV.16-005.png" } ] }, { "id": "IV.16-p417", "type": "music", "section": "IV.16", "lesson": 104, "exercise": 104, "reading_order": 2726, "original": "Chromatique — deux systèmes continus, repères A, B, C, D, F, G, H, J.", "english": "Chromaticism — two continuous systems, references A, B, C, D, F, G, H, J.", "sources": [ { "pdf_page": 449, "source_image": "source-pages/bnf-449.png", "printed_page": 417, "bbox_pixels": [ 350, 555, 2250, 1435 ], "crop_image": "assets/IV.16-006.png" } ], "original_title": "Chromatique — deux systèmes continus, repères A, B, C, D, F, G, H, J.", "english_title": "Chromaticism — two continuous systems, references A, B, C, D, F, G, H, J.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.16-p417" ], "music_asset_refs": [ "IV.16-p417" ] }, { "id": "IV.16-007", "type": "paragraph", "section": "IV.16", "lesson": 104, "exercise": 104, "reading_order": 2727, "original": "Toute la suite de ces Accords est conforme à nos Regles.", "english": "The whole succession of these chords conforms to our rules.", "sources": [ { "pdf_page": 449, "source_image": "source-pages/bnf-449.png", "printed_page": 417, "bbox_pixels": [ 350, 2000, 2250, 90 ], "crop_image": "assets/IV.16-007.png" } ] }, { "id": "IV.16-008", "type": "paragraph", "section": "IV.16", "lesson": 104, "exercise": 104, "reading_order": 2728, "original": "Si la Notte sensible descend d’un côté, l’on y trouve de l’autre une progression conforme à celle des Septiémes entre les Accords A, B, C, & par renversement entre F, G. L’on en trouve une dérivée de celle de la Cadence rompuë entre C, D.", "english": "While the leading note descends in one part, elsewhere we find a progression conforming to that of sevenths between chords A, B and C, and by inversion between F and G. Between C and D, we find a progression derived from the interrupted cadence.", "sources": [ { "pdf_page": 449, "source_image": "source-pages/bnf-449.png", "printed_page": 417, "bbox_pixels": [ 350, 2090, 2250, 300 ], "crop_image": "assets/IV.16-008.png" } ] }, { "id": "IV.16-009", "type": "paragraph", "section": "IV.16", "lesson": 104, "exercise": 104, "reading_order": 2729, "original": "D’H, à J, la Neuviéme suspend l’Octave qui suit immediatement.", "english": "From H to J, the ninth delays the octave that follows immediately.", "sources": [ { "pdf_page": 449, "source_image": "source-pages/bnf-449.png", "printed_page": 417, "bbox_pixels": [ 350, 2390, 2250, 150 ], "crop_image": "assets/IV.16-009.png" } ] }, { "id": "IV.16-010", "type": "paragraph", "section": "IV.16", "lesson": 104, "exercise": 104, "reading_order": 2730, "original": "L’on trouve dans le reste une progression à peu-près conforme à celle des Octaves du Chap. VI. excepté que l’on passe ici de la Tierce mineure à la majeure, ou de la majeure à la mineure, en remarquant par tout dans les Accords par supposition ou par emprunt, les Nottes qui occupent la place de celles qui devroient se trouver naturellement ; mais les doigts étant une fois habituez à ces differentes suites d’Accords, préviennent souvent la réflexion qu’elles demandent, n’étant necessaire que de bien prendre garde aux Intervales qui y changent à tout moment du majeur au mineur, en descendant ; & du mineur au majeur, en montant.", "english": "In the remainder, the progression is approximately that of the octaves in Chapter VI, except that here we pass from the minor third to the major or from the major to the minor. Throughout the chords by supposition or borrowing, notice the notes that occupy the places of those that should naturally be present. Once the fingers are accustomed to these different chord successions, however, they often anticipate the reflection that would otherwise be required. One need only take particular care with the intervals that continually change from major to minor in descending and from minor to major in ascending.", "sources": [ { "pdf_page": 449, "source_image": "source-pages/bnf-449.png", "printed_page": 417, "bbox_pixels": [ 350, 2540, 2250, 750 ], "crop_image": "assets/IV.16-010.png" } ] }, { "id": "IV.16-011", "type": "paragraph", "section": "IV.16", "lesson": 104, "exercise": 104, "reading_order": 2731, "original": "L’on ne peut se tromper à l’égard des differens Tons où l’on passe dans cet Exemple, en remarquant les differentes Nottes sensibles par le moyen des Diezes.", "english": "You cannot mistake the different keys passed through in this example if you identify their different leading notes by means of the sharps.", "sources": [ { "pdf_page": 449, "source_image": "source-pages/bnf-449.png", "printed_page": 417, "bbox_pixels": [ 350, 3290, 2250, 225 ], "crop_image": "assets/IV.16-011.png" } ] }, { "id": "IV.16-012", "type": "paragraph", "section": "IV.16", "lesson": 104, "exercise": 104, "reading_order": 2732, "original": "Les B-quarres que nous joignons aux chiffres ou aux Nottes, servent à remettre chaque Notte dans son ordre naturel, détruisant ainsi le ♯, ou le ♭ qui a paru auparavant ; quelques-uns se servent en pareil cas du ♯ ou du ♭, mais cela est moins regulier, parce qu’un 7 avec un ♭, marque ordinairement une Septiéme diminuée, & avec un ♯, il en marque une superfluë.", "english": "The natural signs we attach to figures or notes restore each note to its natural condition, cancelling a previous ♯ or ♭. Some people use a ♯ or ♭ for this purpose instead, but this is less regular, because 7 with a ♭ ordinarily indicates a diminished seventh, whereas with a ♯ it indicates an augmented seventh.", "sources": [ { "pdf_page": 450, "source_image": "source-pages/bnf-450.png", "printed_page": 418, "bbox_pixels": [ 350, 470, 2250, 450 ], "crop_image": "assets/IV.16-012.png" } ] }, { "id": "IV.17-001", "type": "heading", "section": "IV.17", "lesson": 105, "exercise": 105, "reading_order": 2733, "original": "CHAPITRE DIX-SEPTIÉME.\nRécapitulation des differentes suites d’Accords.", "english": "CHAPTER XVII. Recapitulation of the different chord successions.", "sources": [ { "pdf_page": 450, "source_image": "source-pages/bnf-450.png", "printed_page": 418, "bbox_pixels": [ 350, 1065, 2250, 240 ], "crop_image": "assets/IV.17-001.png" } ], "correction_refs": [ "supplement-290", "supplement-292", "supplement-294", "supplement-296" ] }, { "id": "IV.17-002", "type": "paragraph", "section": "IV.17", "lesson": 105, "exercise": 105, "reading_order": 2734, "original": "Il faut bien posseder la Modulation de chaque Ton, en tâchant de reconnoître celui dans lequel on est, par chaque Accord que l’on touche.", "english": "Master the modulation of every key, trying to recognize the current key from each chord you play.", "sources": [ { "pdf_page": 450, "source_image": "source-pages/bnf-450.png", "printed_page": 418, "bbox_pixels": [ 350, 1380, 2250, 225 ], "crop_image": "assets/IV.17-002.png" } ] }, { "id": "IV.17-003", "type": "paragraph", "section": "IV.17", "lesson": 105, "exercise": 105, "reading_order": 2735, "original": "Lorsqu’on ne fait que des Accords consonans, le Ton est souvent incertain ; & s’il ne se declare pas au premier Accord dissonant, cela ne peut venir que de ce que la Dissonance majeure ne s’y rencontre pas ; mais pour lors ce que l’on perd d’un côté, se retrouve de l’autre, puisque la differente progression de la Basse nous apprend l’Accord qui doit suivre celui que l’on touche, étant encore aidé dans cette occasion par la progression de la Dissonance mineure, qui veut toûjours descendre ; & comme ce ne peut gueres être que dans une progression pareille, ou dérivée de celle des Septiémes du Chap. VIII. que le Ton devient incertain, la Dissonance majeure, qui termine presque toûjours cette progression, nous donne dans le moment ce que nous cherchons ; il faudroit bien posseder la connoissance & la pratique des differentes suites d’Accords, pour ne pas se tromper ; ainsi il ne sera pas hors de propos d’en donner une récapitulation.", "english": "With consonant chords alone, the key is often uncertain. If the first dissonant chord does not reveal it, this can only be because the major dissonance is absent. What is lost on one side is recovered on the other: the bass’s different movements tell us which chord should follow the one being played, aided by the minor dissonance, which always seeks to descend. Such uncertainty scarcely occurs except in a progression like, or derived from, the seventh-chord progression in Chapter VIII. The major dissonance that almost always concludes it immediately supplies the answer. To avoid mistakes, one must thoroughly know and practice the different chord successions; a recapitulation is therefore appropriate.", "sources": [ { "pdf_page": 450, "source_image": "source-pages/bnf-450.png", "printed_page": 418, "bbox_pixels": [ 350, 1605, 2250, 1130 ], "crop_image": "assets/IV.17-003.png" } ] }, { "id": "IV.17-004", "type": "paragraph", "section": "IV.17", "lesson": 105, "exercise": 105, "reading_order": 2736, "original": "Voyez avec attention la Recapitulation qui suit.", "english": "Study the following recapitulation carefully.", "sources": [ { "pdf_page": 450, "source_image": "source-pages/bnf-450.png", "printed_page": 418, "bbox_pixels": [ 350, 2780, 2250, 90 ], "crop_image": "assets/IV.17-004.png" } ] }, { "id": "IV.17-005", "type": "paragraph", "section": "IV.17", "lesson": 105, "exercise": 105, "reading_order": 2737, "original": "Progression fondamentale d’une 3. en montant, où la Dissonance A. ne peut être preparée. | Progression de Quarte en descendant, conforme à celle du Chap. VIII. | Progress. fond. de 3. en desc. où la Diss. est sauv. de l’Oct. & prép. de la 3. | Progress. de Quinte en descendant. | Progression de 2. en montant où la Dissonance est sauvée de la Quinte & préparée de l’Octave. | Progression de Quinte en descendant, où le Chromatique a lieu. | La Sixte ajoûtée à l’Acc. parf. C. qui prépare une Cad. irreg. & qui se sauve en montant sur la Tierce. | Cadence finale.", "english": "Fundamental progression of an ascending third, where dissonance A cannot be prepared. | Descending-fourth progression, as in Chapter VIII. | Fundamental progression of a descending third, where the dissonance is resolved by the octave and prepared by the third. | Descending-fifth progression. | Ascending-second progression, where the dissonance is resolved by the fifth and prepared by the octave. | Descending-fifth progression with chromatic motion. | Sixth added to perfect chord C, preparing an irregular cadence and resolving upward to the third. | Final cadence.", "sources": [ { "pdf_page": 451, "source_image": "source-pages/bnf-451.png", "printed_page": 419, "bbox_pixels": [ 350, 300, 2250, 310 ], "crop_image": "assets/IV.17-005.png" } ] }, { "id": "IV.17-p419", "type": "music", "section": "IV.17", "lesson": 105, "exercise": 105, "reading_order": 2738, "original": "Récapitulation — un dessus et neuf basses alternatives, lettres A–R.", "english": "Recapitulation: one upper part and nine alternative basses, labelled A–R.", "sources": [ { "pdf_page": 451, "source_image": "source-pages/bnf-451.png", "printed_page": 419, "bbox_pixels": [ 400, 600, 2200, 3090 ], "crop_image": "assets/IV.17-006.png" } ], "original_title": "Récapitulation — un dessus et neuf basses alternatives, lettres A–R.", "english_title": "Recapitulation: one upper part and nine alternative basses, labelled A–R.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.17-p419" ], "music_asset_refs": [ "IV.17-p419" ] }, { "id": "IV.17-007", "type": "paragraph", "section": "IV.17", "lesson": 105, "exercise": 105, "reading_order": 2739, "original": "Les demi Cercles ⌒ marquent la Dissonance préparée par la Consonance précedente : Les lignes tirées ainsi — marquent la même chose dans le Chromatique, où l’on voit que la Consonance qui prépare, forme neanmoins la Dissonance majeure ; & les lignes tirées ainsi ╲ ou ainsi ╱ marquent la Consonance qui sauve la Dissonance.", "english": "The semicircles ⌒ mark dissonances prepared by the preceding consonance. Horizontal lines — mark the same thing in chromatic motion, where the preparing consonance nevertheless forms the major dissonance. Sloping lines ╲ or ╱ mark the consonance resolving the dissonance.", "sources": [ { "pdf_page": 452, "source_image": "source-pages/bnf-452.png", "printed_page": 420, "bbox_pixels": [ 350, 345, 2250, 450 ], "crop_image": "assets/IV.17-007.png" } ] }, { "id": "IV.17-008", "type": "paragraph", "section": "IV.17", "lesson": 105, "exercise": 105, "reading_order": 2740, "original": "Les mêmes Accords servent pour chaque Basse ; mais comme c’est sur la progression de la Basse-fondamentale que se déterminent les differentes suites d’Accords qui se trouvent dans les autres Basses, il est bon d’avertir ici, que la plûpart des progressions de ces autres Basses sont extravagantes, par rapport à la suite de ces Accords, & qu’il est même rare d’en trouver de pareilles dans une Musique bien composée, sur tout, comme celles qui sont aux endroits marquez des lettres D. F. G. H. J. K. L. M. & N. cependant s’il s’en presentoit par hazard de pareilles, il n’y auroit qu’à pratiquer ce qui suit.", "english": "The same chords serve each bass. Since the fundamental bass’s progression determines the different chord successions in the other basses, however, be warned that most of those other bass progressions are extravagant in relation to the chords. Such progressions are rare in well-composed music, especially those marked D, F, G, H, J, K, L, M and N. Should any occur, proceed as follows.", "sources": [ { "pdf_page": 452, "source_image": "source-pages/bnf-452.png", "printed_page": 420, "bbox_pixels": [ 350, 795, 2250, 750 ], "crop_image": "assets/IV.17-008.png" } ] }, { "id": "IV.17-009", "type": "paragraph", "section": "IV.17", "lesson": 105, "exercise": 105, "reading_order": 2741, "original": "1°. Si l’on ne vouloit pas se mettre en peine de deux Octaves ou de deux Quintes consécutives, il n’y auroit qu’à ajoûter l’Octave dans le premier Accord dissonant, & laisser suivre aux doigts leur cours naturel, selon ce qui paroît dans l’Exemple.", "english": "1°. If you chose not to concern yourself with consecutive octaves or fifths, you could simply add the octave to the first dissonant chord and let the fingers follow their natural course, as in the example.", "sources": [ { "pdf_page": 452, "source_image": "source-pages/bnf-452.png", "printed_page": 420, "bbox_pixels": [ 350, 1545, 2250, 300 ], "crop_image": "assets/IV.17-009.png" } ] }, { "id": "IV.17-010", "type": "paragraph", "section": "IV.17", "lesson": 105, "exercise": 105, "reading_order": 2742, "original": "2°. L’on peut éviter ces fautes, en accompagnant chaque Accord à l’ordinaire, c’est-à-dire, avec trois doigts de la main droite, où l’on retranche pour lors l’Octave de ces dernieres Basses dans les Accords dissonans ; & supposé que de cette façon un Accord ne se trouvât pas facilement sous les doigts, il n’y auroit qu’à y retrancher l’un des Sons qui fait Dissonance, au lieu de l’Octave, en reduisant ainsi un Accord dissonant en un consonant ; si bien qu’après un certain Accord dissonant, s’il en suit un de Septiéme, de petite ou de grande Sixte, l’on peut reduire le premier en un Accord parfait, & les deux autres en un simple Accord de Sixte, celui de petite Sixte pouvant être encore reduit en un de Sixte-quarte, & celui de grande Sixte en un Parfait ; & c’est non seulement sur la progression naturelle des doigts, qui coulent presque toûjours diatoniquement d’une Touche à l’autre, qu’il faut se déterminer, mais encore sur les Regles qui vous disent, qu’après un tel Accord, il en doit suivre un tel autre, à proportion de la differente progression de la Basse : Donc l’Accord parfait devant suivre celui de la petite Sixte majeure, lorsque la Basse descend diatoniquement, s’il s’en trouve un de Septiéme ou de grande Sixte après cette petite Sixte en pareille progression, vous pouvez les reduire en un Parfait, comme à M. L’Accord parfait devant suivre également ceux de fausse-Quinte ou de grande Sixte, en montant diatoniquement, l’on pourra reduire de même ceux de grande Sixte & de Septiéme, qui suivront en pareille progression, comme encore à M.", "english": "2°. These faults may be avoided by accompanying each chord in the usual way, with three right-hand fingers, omitting the octave of these alternative basses from dissonant chords. If a chord then falls awkwardly under the fingers, omit one of its dissonant sounds instead of the octave, thereby reducing a dissonant chord to a consonant one. After a given dissonant chord, if a seventh, small-sixth or great-sixth chord follows, the seventh may be reduced to a perfect chord and the other two to a simple sixth chord. The small-sixth chord may also be reduced to a sixth–fourth chord, and the great-sixth to a perfect chord. Decide not only by the fingers’ natural motion, almost always flowing by step between keys, but also by the rules specifying which chord must follow another according to the bass movement. Thus, since a perfect chord should follow the major small-sixth chord when the bass descends diatonically, a seventh or great-sixth chord occurring after that small-sixth chord in this progression may be reduced to a perfect chord, as at M. Likewise, since a perfect chord should follow a diminished-fifth or great-sixth chord in ascending diatonic motion, great-sixth and seventh chords following in that progression may be reduced in the same way, again as at M.", "sources": [ { "pdf_page": 452, "source_image": "source-pages/bnf-452.png", "printed_page": 420, "bbox_pixels": [ 350, 1845, 2250, 1645 ], "crop_image": "assets/IV.17-010.png" }, { "pdf_page": 453, "source_image": "source-pages/bnf-453.png", "printed_page": 421, "bbox_pixels": [ 350, 365, 2250, 150 ], "crop_image": "assets/IV.17-011.png" } ] }, { "id": "IV.17-012", "type": "paragraph", "section": "IV.17", "lesson": 105, "exercise": 105, "reading_order": 2743, "original": "L’Accord de Sixte-quarte pouvant suivre celui de la petite Sixte en descendant diatoniquement, & celui de la grande Sixte en montant de même ; l’on peut reduire en cet Accord de Sixte-quarte l’Accord de petite Sixte, qui paroîtra après l’un des deux autres dans la progression que nous venons de fixer, supposé que la Notte sensible n’ait point lieu dans le premier Accord de petite Sixte ; car il faudroit pour lors reduire l’autre Accord de petite Sixte qui le suivroit en un Accord de Sixte.", "english": "A sixth–fourth chord may follow a small-sixth chord when the bass descends diatonically, or a great-sixth chord when it ascends. Therefore a small-sixth chord following either of those chords in the specified progression may be reduced to a sixth–fourth chord, provided the first small-sixth chord contains no leading note. If it does, the following small-sixth chord must instead be reduced to a sixth chord.", "sources": [ { "pdf_page": 453, "source_image": "source-pages/bnf-453.png", "printed_page": 421, "bbox_pixels": [ 350, 515, 2250, 600 ], "crop_image": "assets/IV.17-012.png" } ] }, { "id": "IV.17-013", "type": "paragraph", "section": "IV.17", "lesson": 105, "exercise": 105, "reading_order": 2744, "original": "L’Accord de la Sixte devant suivre naturellement celui du Tri-Ton, en descendant diatoniquement, & celui de la petite Sixte majeure, en montant de même. On pourra reduire en cet Accord de Sixte tout Accord de petite ou de grande Sixte, qui suivront ceux du Tri-Ton ou de petite Sixte dans une pareille progression, comme à N, à F, à G, à H & à R, bien que les Nottes F, G & H de la Septiéme Basse, ne suivent pas la progression que nous venons de déterminer ; mais on y remarquera que les doigts toucheront ces Accords par la seule habitude. Il en est de même de l’Accord de la petite Sixte après celui de la Septiéme en descendant diatoniquement, comme à D, de la sixiéme Basse.", "english": "A sixth chord naturally follows a tritone chord in descending diatonic motion, or a major small-sixth chord in ascending motion. A small-sixth or great-sixth chord following either of those in the corresponding progression may therefore be reduced to a sixth chord, as at N, F, G, H and R. Although F, G and H in the seventh bass do not follow the specified progression, the fingers will find these chords by habit alone. The same holds for the small-sixth chord following a seventh chord in descending diatonic motion, as at D in the sixth bass.", "sources": [ { "pdf_page": 453, "source_image": "source-pages/bnf-453.png", "printed_page": 421, "bbox_pixels": [ 350, 1115, 2250, 825 ], "crop_image": "assets/IV.17-013.png" } ] }, { "id": "IV.17-014", "type": "paragraph", "section": "IV.17", "lesson": 105, "exercise": 105, "reading_order": 2745, "original": "3°. Lorsqu’il se trouve deux Accords de suite en progression diatonique de la Basse, lesquels Accords sont de même genre, ou du moins ne sont pas tels qu’ils nous sont prescrits par la Regle naturelle ; si l’on ne veut point s’attacher à la reduction précedente, il faut pour lors suivre une progression contraire entre la Basse & les Accords, faisant descendre les Accords si la Basse monte, ou faisant monter les Accords si la Basse descend, comme cela doit se pratiquer sur les Nottes P, Q, ou P, M, Q, supposé qu’on ne reduise pas en Parfait l’Accord qui se trouve sur la Notte M, de la troisiéme Basse ; car la reduction d’un Accord supprime celle de l’Accord suivant, sur tout, dans une progression diatonique de la Basse ; souvenez-vous que la progression contraire dont nous parlons, ne doit point nous obliger à faire changer de lieu le doigt d’en-bas, ni celui d’en-haut, si-tôt que l’un de ces doigts tient une Touche qui peut servir à l’Accord suivant, excepté que dans une progression diatonique de la Basse en montant, l’on ne trouve la fausse-Quinte, ou bien la grande Sixte après la Septiéme ; ou encore la Septiéme après la Neuviéme. Ainsi qu’il est démontré dans l’Exemple suivant.", "english": "3°. When two successive chords over a diatonic bass progression are of the same kind, or at least do not follow the natural rule, and you do not wish to make the reductions above, use contrary motion between bass and chords: lower the chords when the bass rises, and raise them when it falls. Do this at P, Q, or P, M, Q, unless the chord at M in the third bass is reduced to a perfect chord. Reducing one chord removes the need to reduce the next, especially over a diatonic bass progression. Remember that this contrary motion should not make the lowest or highest finger change its key when that key can serve the following chord. Exceptions occur with an ascending diatonic bass when a diminished-fifth or great-sixth chord follows a seventh chord, or when a seventh chord follows a ninth chord, as shown below.", "sources": [ { "pdf_page": 453, "source_image": "source-pages/bnf-453.png", "printed_page": 421, "bbox_pixels": [ 350, 1940, 2250, 1420 ], "crop_image": "assets/IV.17-014.png" } ] }, { "id": "IV.17-015", "type": "heading", "section": "IV.17", "lesson": 105, "exercise": 105, "reading_order": 2746, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 454, "source_image": "source-pages/bnf-454.png", "printed_page": 422, "bbox_pixels": [ 350, 460, 2250, 110 ], "crop_image": "assets/IV.17-015.png" } ] }, { "id": "IV.17-p422", "type": "music", "section": "IV.17", "lesson": 105, "exercise": 105, "reading_order": 2747, "original": "Mouvements contraires — Septième, fausse-Quinte, grande Sixte et Neuvième.", "english": "Contrary motion: seventh, diminished-fifth, great-sixth and ninth chords.", "sources": [ { "pdf_page": 454, "source_image": "source-pages/bnf-454.png", "printed_page": 422, "bbox_pixels": [ 350, 620, 2250, 585 ], "crop_image": "assets/IV.17-016.png" } ], "original_title": "Mouvements contraires — Septième, fausse-Quinte, grande Sixte et Neuvième.", "english_title": "Contrary motion: seventh, diminished-fifth, great-sixth and ninth chords.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.17-p422" ], "music_asset_refs": [ "IV.17-p422" ] }, { "id": "IV.17-017", "type": "paragraph", "section": "IV.17", "lesson": 105, "exercise": 105, "reading_order": 2748, "original": "La Dissonance n’est autre qu’un Son ajoûté à l’Accord consonant, dans lequel seul subsiste le fond de l’Harmonie ; de sorte que cette Dissonance ne pouvant toûjours être employée avec la même facilité dans l’Accompagnement, il n’y a qu’à l’abandonner lorsqu’elle ne se trouve pas naturellement sous les doigts, en faisant entendre seulement l’Accord consonant que l’on sçait qui doit suivre, & sur lequel l’on sent que les doigts se portent d’eux-mêmes, supposé que cet Accord consonant ne contienne que les Sons dont la Dissonance doit être accompagnée, & supposé encore que l’on possede parfaitement la pratique de tous nos differens Exemples. Or c’est ainsi que l’on peut se mettre au-dessus de plusieurs difficultez, qui ne proviennent souvent que du défaut de ceux qui en chiffrant la Basse, ne s’attachent qu’aux Intervales qu’ils employent dans leur Musique, sans se mettre en peine du reste.", "english": "Dissonance is merely a sound added to a consonant chord, in which alone the foundation of harmony resides. Since it cannot always be used equally easily in accompaniment, omit it when it does not fall naturally under the fingers. Sound only the consonant chord that you know should follow and toward which the fingers move of themselves, provided that chord contains only the sounds that should accompany the dissonance, and provided you have fully mastered all our examples. This overcomes many difficulties, often caused only by those who figure a bass according to the intervals used in their music without attending to anything else.", "sources": [ { "pdf_page": 454, "source_image": "source-pages/bnf-454.png", "printed_page": 422, "bbox_pixels": [ 350, 1220, 2250, 1050 ], "crop_image": "assets/IV.17-017.png" } ] }, { "id": "IV.17-018", "type": "paragraph", "section": "IV.17", "lesson": 105, "exercise": 105, "reading_order": 2749, "original": "La reduction dont nous venons de parler, ne convient point du tout aux Accords de Seconde par supposition, ni par emprunt, ni même gueres à ceux de Septiéme.", "english": "The reduction just described is wholly unsuitable for chords of the second, chords by supposition or chords by borrowing, and scarcely suitable even for seventh chords.", "sources": [ { "pdf_page": 454, "source_image": "source-pages/bnf-454.png", "printed_page": 422, "bbox_pixels": [ 350, 2270, 2250, 225 ], "crop_image": "assets/IV.17-018.png" } ] }, { "id": "IV.17-019", "type": "paragraph", "section": "IV.17", "lesson": 105, "exercise": 105, "reading_order": 2750, "original": "4°. Il se trouve deux Quintes de suite entre les Parties des Accords B. B. qui sont assez difficiles à éviter dans ces sortes d’occasions, de même que quand la Basse monte sur l’Accord de Sixte après le Parfait, le tout par rapport à l’arrangement des doigts.", "english": "4°. Consecutive fifths occur between parts of chords B–B. They are rather difficult to avoid in such cases, just as when the bass rises to a sixth chord after a perfect chord, because of the arrangement of the fingers.", "sources": [ { "pdf_page": 454, "source_image": "source-pages/bnf-454.png", "printed_page": 422, "bbox_pixels": [ 350, 2495, 2250, 300 ], "crop_image": "assets/IV.17-019.png" } ] }, { "id": "IV.17-020", "type": "paragraph", "section": "IV.17", "lesson": 105, "exercise": 105, "reading_order": 2751, "original": "5°. L’on trouve dans la huitiéme & dans la neuviéme Basse des Accords par supposition, qu’il faut remplir autant que l’on peut de tous les Sons qui les composent, en quoi l’on ne manquera jamais si l’on ajoûte l’Octave de la Basse à l’Accord qui les précede immediatement, & en suivant d’ailleurs les Regles que nous en avons données.", "english": "5°. The eighth and ninth basses contain chords by supposition. Fill them with as many of their constituent sounds as possible. You will not fail if you add the bass’s octave to the immediately preceding chord and follow the other rules already given.", "sources": [ { "pdf_page": 454, "source_image": "source-pages/bnf-454.png", "printed_page": 422, "bbox_pixels": [ 350, 2795, 2250, 455 ], "crop_image": "assets/IV.17-020.png" } ] }, { "id": "IV.17-021", "type": "paragraph", "section": "IV.17", "lesson": 105, "exercise": 105, "reading_order": 2752, "original": "6°. Remarquez sur tout, que lorsqu’il se trouve plusieurs Accords dissonans de suite, comme ceux de Septiéme, ou s’il s’en trouve d’autres qui soient de differens genres, sans être entre-lacez d’aucun Accord consonant, les doigts de la main droite descendent toûjours, jusqu’à ce que la Notte sensible se rencontre dans l’un de ces Accords, où pour lors ils doivent monter, du moins celui qui touche cette Notte sensible.", "english": "6°. Above all, when several dissonant chords follow one another—whether all sevenths or of different kinds—with no consonant chord between them, the right-hand fingers always descend until a leading note appears in one of the chords. They must then ascend, at least the finger playing that leading note.", "sources": [ { "pdf_page": 454, "source_image": "source-pages/bnf-454.png", "printed_page": 422, "bbox_pixels": [ 350, 3250, 2250, 315 ], "crop_image": "assets/IV.17-021.png" }, { "pdf_page": 455, "source_image": "source-pages/bnf-455.png", "printed_page": 423, "bbox_pixels": [ 350, 375, 2250, 240 ], "crop_image": "assets/IV.17-022.png" } ] }, { "id": "IV.17-023", "type": "heading", "section": "IV.17", "lesson": 105, "exercise": 105, "reading_order": 2753, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 455, "source_image": "source-pages/bnf-455.png", "printed_page": 423, "bbox_pixels": [ 350, 665, 2250, 105 ], "crop_image": "assets/IV.17-023.png" } ] }, { "id": "IV.17-p423", "type": "music", "section": "IV.17", "lesson": 105, "exercise": 105, "reading_order": 2754, "original": "Suite d’accords dissonants, deux systèmes continus.", "english": "Dissonant-chord succession in two continuous systems.", "sources": [ { "pdf_page": 455, "source_image": "source-pages/bnf-455.png", "printed_page": 423, "bbox_pixels": [ 350, 835, 2250, 1350 ], "crop_image": "assets/IV.17-024.png" } ], "original_title": "Suite d’accords dissonants, deux systèmes continus.", "english_title": "Dissonant-chord succession in two continuous systems.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.17-p423" ], "music_asset_refs": [ "IV.17-p423" ] }, { "id": "IV.17-025", "type": "paragraph", "section": "IV.17", "lesson": 105, "exercise": 105, "reading_order": 2755, "original": "Comme la Septiéme se trouve dans les Accords de Neuviéme, chiffrez sur cette Basse, la Sixte doit la suivre, bien qu’elle ne soit point chiffrée, & qu’il semble que l’Octave chiffrée après la Neuviéme, dénotte l’Accord parfait ; car la Sixte doit sauver ici la Septiéme, de même que l’Octave y sauve la Neuviéme, ce qui se trouve sous les doigts sans y songer, en les laissant couler en descendant d’une Touche à l’autre, selon leur progression naturelle après toutes les Dissonances mineures.", "english": "Since the figured ninth chords in this bass contain a seventh, a sixth must follow it even though unfigured and even though the octave figure after the ninth seems to indicate a perfect chord. The sixth must resolve the seventh here, just as the octave resolves the ninth. This happens without thought if the fingers are allowed to slip downward from one key to the next, following their natural progression after all minor dissonances.", "sources": [ { "pdf_page": 455, "source_image": "source-pages/bnf-455.png", "printed_page": 423, "bbox_pixels": [ 350, 2240, 2250, 600 ], "crop_image": "assets/IV.17-025.png" } ] }, { "id": "IV.17-026", "type": "paragraph", "section": "IV.17", "lesson": 105, "exercise": 105, "reading_order": 2756, "original": "Il en est de même lorsqu’on ne chiffre que d’un 5. une Notte qui peut porter un Accord de Septiéme ou de Neuviéme dans une progression diatonique de la Basse en montant, selon le premier Exemple du Chap. IX. de sorte que cette même Notte chiffrée d’un 5. & d’un 6. ensuite, après laquelle on monte diatoniquement, pourroit embarrasser l’Accompagnateur, si nous ne le prévenions pas là-dessus, en disant, que les Dissonances de Septiéme & de Neuviéme qui se trouveront sous les doigts, feront un très-bel effet avec l’Accord parfait que le 5. dénotte, & que l’Accord dénoté par le 6. doit être déterminé sur celui que l’on tient pour lors, mais encore plus certainement sur le lieu qu’occupe, dans le Ton, la Notte que l’on touche à la Basse, comme cela est marqué dans cet Exemple du Chap. IX. où l’on peut ajoûter la Neuviéme aux Accords qui ne sont chiffrez que d’un 7. lorsque cette Neuviéme se trouve sous les doigts qui ont touché l’Accord précedent.", "english": "The same applies when only 5 is written on a note that could bear a seventh or ninth chord in ascending diatonic bass motion, as in the first example of Chapter IX. A note figured 5 and then 6, followed by an ascending step, could confuse the accompanist unless warned that seventh and ninth dissonances falling under the fingers will sound very well with the perfect chord indicated by 5. Determine the chord indicated by 6 from the chord currently held, and still more surely from the bass note’s degree in the key, as in that Chapter IX example. A ninth may be added there to chords figured only 7 whenever that ninth lies under a finger that played the preceding chord.", "sources": [ { "pdf_page": 455, "source_image": "source-pages/bnf-455.png", "printed_page": 423, "bbox_pixels": [ 350, 2840, 2250, 685 ], "crop_image": "assets/IV.17-026.png" }, { "pdf_page": 456, "source_image": "source-pages/bnf-456.png", "printed_page": 424, "bbox_pixels": [ 350, 375, 2250, 450 ], "alternate_image": "source-pages/alternate/bne-460-native.png", "crop_image": "assets/IV.17-027.png" } ] }, { "id": "IV.17-028", "type": "paragraph", "section": "IV.17", "lesson": 105, "exercise": 105, "reading_order": 2757, "original": "7°. Souvent la même Dissonance sert à en former une autre avant que d’être sauvée, comme on peut le voir au Troisiéme Liv. Chap. XII. XV. & XXVII. & souvent aussi une Notte peut porter plusieurs Accords differens de suite, selon ce qui a paru dans la plûpart de nos Exemples ; & comme on va le voir encore dans ce que nous appellons point d’Orgue.", "english": "7°. The same dissonance often helps form another before being resolved, as seen in Book III, Chapters XII, XV and XXVII. One note also often bears several different chords in succession, as most of our examples show, and as will again appear in what we call a pedal point.", "sources": [ { "pdf_page": 456, "source_image": "source-pages/bnf-456.png", "printed_page": 424, "bbox_pixels": [ 350, 825, 2250, 450 ], "alternate_image": "source-pages/alternate/bne-460-native.png", "crop_image": "assets/IV.17-028.png" } ] }, { "id": "IV.17-029", "type": "heading", "section": "IV.17", "lesson": 105, "exercise": 105, "reading_order": 2758, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 456, "source_image": "source-pages/bnf-456.png", "printed_page": 424, "bbox_pixels": [ 350, 1335, 2250, 100 ], "alternate_image": "source-pages/alternate/bne-460-native.png", "crop_image": "assets/IV.17-029.png" } ] }, { "id": "IV.17-p424", "type": "music", "section": "IV.17", "lesson": 105, "exercise": 105, "reading_order": 2759, "original": "Point d’Orgue — deux systèmes avec Basse du point d’Orgue et Basse-Fondamentale.", "english": "Pedal point: two systems with pedal bass and fundamental bass.", "sources": [ { "pdf_page": 456, "source_image": "source-pages/bnf-456.png", "printed_page": 424, "bbox_pixels": [ 350, 1460, 2250, 2040 ], "alternate_image": "source-pages/alternate/bne-460-native.png", "crop_image": "assets/IV.17-030.png" } ], "original_title": "Point d’Orgue — deux systèmes avec Basse du point d’Orgue et Basse-Fondamentale.", "english_title": "Pedal point: two systems with pedal bass and fundamental bass.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.17-p424" ], "music_asset_refs": [ "IV.17-p424" ] }, { "id": "IV.17-031", "type": "paragraph", "section": "IV.17", "lesson": 105, "exercise": 105, "reading_order": 2760, "original": "Le Point d’Orgue n’a lieu que tant que la Notte de la Basse ne change point ; de sorte qu’il finit à A, & recommence immediatement après.", "english": "The pedal point lasts only while the bass note remains unchanged. It therefore ends at A and begins again immediately afterward.", "sources": [ { "pdf_page": 457, "source_image": "source-pages/bnf-457.png", "printed_page": 425, "bbox_pixels": [ 350, 355, 2250, 225 ], "crop_image": "assets/IV.17-031.png" } ] }, { "id": "IV.17-032", "type": "paragraph", "section": "IV.17", "lesson": 105, "exercise": 105, "reading_order": 2761, "original": "L’Harmonie de ce Point d’Orgue est selon les regles, comme le prouve la Basse-fondamentale ; en se souvenant que la sixiéme Notte tient la place de la Dominante dans les Accords par emprunt ; & que cette Basse-fondamentale doit se trouver au-dessus de l’autre dans les Accords par supposition.", "english": "This pedal point’s harmony follows the rules, as the fundamental bass proves. Remember that the sixth degree replaces the dominant in chords by borrowing, and that the fundamental bass must stand above the other bass in chords by supposition.", "sources": [ { "pdf_page": 457, "source_image": "source-pages/bnf-457.png", "printed_page": 425, "bbox_pixels": [ 350, 580, 2250, 375 ], "crop_image": "assets/IV.17-032.png" } ] }, { "id": "IV.17-033", "type": "paragraph", "section": "IV.17", "lesson": 105, "exercise": 105, "reading_order": 2762, "original": "On trouve une double supposition aux Nottes B, en ce que la Quinte-superfluë doit se trouver naturellement sur la premiere, & que nous ne pouvons nous dispenser de donner l’Accord de la Onziéme heteroclite à la Seconde ; mais il faut remarquer, que le Son permanent de la Basse, se dérobe pour ainsi dire à nôtre attention laquelle ne se porte pour lors que vers les Sons des Accords ; si-bien que la regularité se trouvant dans la progression de ces Accords, le Son permanent de la Basse ne doit plus y être consideré que comme un point, ou bien comme un zero en chiffres ; d’où vient encore la liberté que l’on a en pareil cas, de faire entendre la Sixiéme avec la Septiéme.", "english": "There is a double supposition at the notes marked B: an augmented fifth should naturally occur on the first, while we cannot avoid giving the irregular eleventh chord to the second. Notice, however, that the sustained bass sound slips, so to speak, out of our attention, which turns solely toward the chord sounds. Since the chords progress regularly, the sustained bass need count only as a point, or as zero among figures. This also explains the freedom, in such cases, to sound the sixth together with the seventh.", "sources": [ { "pdf_page": 457, "source_image": "source-pages/bnf-457.png", "printed_page": 425, "bbox_pixels": [ 350, 955, 2250, 830 ], "crop_image": "assets/IV.17-033.png" } ] }, { "id": "IV.17-034", "type": "heading", "section": "IV.17", "lesson": 105, "exercise": 105, "reading_order": 2763, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 457, "source_image": "source-pages/bnf-457.png", "printed_page": 425, "bbox_pixels": [ 350, 1785, 2250, 100 ], "crop_image": "assets/IV.17-034.png" } ] }, { "id": "IV.17-p425", "type": "music", "section": "IV.17", "lesson": 105, "exercise": 105, "reading_order": 2764, "original": "Point d’Orgue — Sixième avec Septième, et preuve fondamentale.", "english": "Pedal point: sixth with seventh, and fundamental-bass proof.", "sources": [ { "pdf_page": 457, "source_image": "source-pages/bnf-457.png", "printed_page": 425, "bbox_pixels": [ 350, 1910, 2250, 1065 ], "crop_image": "assets/IV.17-035.png" } ], "original_title": "Point d’Orgue — Sixième avec Septième, et preuve fondamentale.", "english_title": "Pedal point: sixth with seventh, and fundamental-bass proof.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.17-p425" ], "music_asset_refs": [ "IV.17-p425" ] }, { "id": "IV.17-036", "type": "paragraph", "section": "IV.17", "lesson": 105, "exercise": 105, "reading_order": 2765, "original": "Si l’on considere les Accords avec la Basse-fondamentale, en retranchant celle du Point d’Orgue ; l’on y trouvera une Harmonie reguliere, & l’on ne peut en juger que de cette façon.", "english": "Consider the chords with the fundamental bass, removing the pedal bass: the harmony is regular. This is the only way to judge it.", "sources": [ { "pdf_page": 457, "source_image": "source-pages/bnf-457.png", "printed_page": 425, "bbox_pixels": [ 350, 3040, 2250, 225 ], "crop_image": "assets/IV.17-036.png" } ] }, { "id": "IV.17-037", "type": "paragraph", "section": "IV.17", "lesson": 105, "exercise": 105, "reading_order": 2766, "original": "Nous expliquons au second Livre, Chap. XIX. une autre maniere de pratiquer encore la Sixiéme avec la Septiéme.", "english": "Book II, Chapter XIX explains another way of using the sixth together with the seventh.", "sources": [ { "pdf_page": 457, "source_image": "source-pages/bnf-457.png", "printed_page": 425, "bbox_pixels": [ 350, 3265, 2250, 150 ], "crop_image": "assets/IV.17-037.png" } ] }, { "id": "IV.17-038", "type": "paragraph", "section": "IV.17", "lesson": 105, "exercise": 105, "reading_order": 2767, "original": "Les Airs de Vielle & de Musette tirent, en quelque façon, leur origine de ce Point d’Orgue ; de sorte que par ce moyen l’on est au fait des differentes sortes de Basses de ce genre.", "english": "Hurdy-gurdy and musette airs derive their origin, in a sense, from this pedal point. Through it one therefore understands the different bass types of this kind.", "sources": [ { "pdf_page": 457, "source_image": "source-pages/bnf-457.png", "printed_page": 425, "bbox_pixels": [ 350, 3415, 2250, 80 ], "crop_image": "assets/IV.17-038.png" }, { "pdf_page": 458, "source_image": "source-pages/bnf-458.png", "printed_page": 426, "bbox_pixels": [ 350, 385, 2250, 150 ], "crop_image": "assets/IV.17-039.png" } ] }, { "id": "IV.17-040", "type": "paragraph", "section": "IV.17", "lesson": 105, "exercise": 105, "reading_order": 2768, "original": "L’on ne peut trop bien posseder la connoissance & la pratique de ce renversement d’Accords, ou plûtôt de ce renversement de progression de la Basse qui paroît dans tous nos Exemples ; car la difference des Accords ne provient, comme le prouvent nos Basses-fondamentales, que de celle de la progression de la Basse ; de sorte que le rapport infini qui se trouve dans la progression des Accords, à laquelle les doigts s’accoutument avec un peu d’habitude, nous prévient souvent au défaut de la memoire ; les doigts y tiennent leur route naturelle ; ceux qui frapent les Dissonances mineures se coulent naturellement en descendant sur la touche voisine, & ceux qui frapent les majeures en font de même en montant ; si bien que sans songer au genre de l’Intervale, la Septiéme, la Neuviéme, la Onziéme, la fausse-Quinte, la Tierce dans un Accord de petite Sixte, & souvent la Quinte dans un Accord de grande Sixte devant descendre ; le doigt qui touche l’un de ces Intervales se porte de luy-même où il doit passer, aussi-bien qu’après le Tri-Ton, après la Seconde-superfluë, & qui doivent monter, en se souvenant que de deux doigts qui se joignent, celui d’en-bas doit toûjours descendre, excepté dans la cadence irreguliere.", "english": "One cannot know and practice too thoroughly this inversion of chords—or rather, this inversion of bass progression—shown in all our examples. As our fundamental basses prove, differences between the chords arise only from differences in bass movement. The endless relationships among chord progressions, to which the fingers adapt with a little practice, often anticipate us when memory fails. The fingers follow their natural path: those playing minor dissonances slip down to the neighboring key, and those playing major dissonances do the same upward. Thus, without thinking of the kind of interval, the seventh, ninth, eleventh, diminished fifth, the third in a small-sixth chord and often the fifth in a great-sixth chord must descend, and the finger playing one of them finds its destination of itself. The same occurs with the tritone and augmented second, which must ascend. Remember that of two fingers lying together, the lower must always descend, except in the irregular cadence.", "sources": [ { "pdf_page": 458, "source_image": "source-pages/bnf-458.png", "printed_page": 426, "bbox_pixels": [ 350, 535, 2250, 1430 ], "crop_image": "assets/IV.17-040.png" } ] }, { "id": "IV.18-001", "type": "heading", "section": "IV.18", "lesson": 106, "exercise": 106, "reading_order": 2769, "original": "CHAPITRE DIX-HUITIÉME.\nRegles necessaires pour bien accompagner.", "english": "CHAPTER XVIII. Rules necessary for good accompaniment.", "sources": [ { "pdf_page": 458, "source_image": "source-pages/bnf-458.png", "printed_page": 426, "bbox_pixels": [ 350, 2090, 2250, 260 ], "crop_image": "assets/IV.18-001.png" } ], "correction_refs": [ "supplement-297" ] }, { "id": "IV.18-002", "type": "paragraph", "section": "IV.18", "lesson": 106, "exercise": 106, "reading_order": 2770, "original": "1°. Avant que de mettre les mains sur le Clavier, il faut regarder en quel Ton, & en quel Mode est composée la Piece de Musique dont il s’agit, quelle en est la Mesure & le mouvement ; voir si dans le courant de la Piece le Mode, la Mesure, où la Clef ne changent point ; prendre garde aux chiffres que portent les Nottes, de même qu’aux ♯, ou aux ♭ qui peuvent y être associez ; considerer la progression de la Basse, pour suppléer au défaut des chiffres : En un mot, il faut mettre en pratique toutes nos regles précedentes.", "english": "1°. Before placing your hands on the keyboard, examine the key and mode of the piece, its meter and its tempo. See whether the mode, meter or clef changes during the piece. Attend to the figures carried by the notes, and to any ♯ or ♭ signs associated with them. Consider the bass progression so as to make up for missing figures. In a word, put all our preceding rules into practice.", "sources": [ { "pdf_page": 458, "source_image": "source-pages/bnf-458.png", "printed_page": 426, "bbox_pixels": [ 350, 2400, 2250, 685 ], "crop_image": "assets/IV.18-002.png" } ] }, { "id": "IV.18-003", "type": "paragraph", "section": "IV.18", "lesson": 106, "exercise": 106, "reading_order": 2771, "original": "2°. Il faut conformer son accompagnement au caractere des voix, & à celui des Airs ; entrant dans l’esprit des Paroles ou de la seule expression de l’Air, s’il n’y a point de paroles : Il faut proportionner également cet accompagnement à la force des Voix, ou des Instruments ; de sorte qu’on ne les étouffe point par un trop grand bruit, ou qu’on ne les soûtienne pas assez par le contraire ; pouvant doubler de la main gauche les Accords que l’on touche de la main droite, en exceptant les Dissonances de cette regle, ou pouvant retrancher des Accords les Octaves, ou même certaines Dissonances, selon le cas.", "english": "2°. Your accompaniment must suit the character of the voices and of the airs, entering into the spirit of the words—or, if there are no words, the expression of the air alone. Its strength must also be proportioned to that of the voices or instruments, so that you neither overwhelm them with excessive sound nor, by the opposite fault, fail to support them sufficiently. According to the circumstances, you may double in the left hand the chords played by the right, excepting dissonances from this rule; or you may remove octaves, or even certain dissonances, from the chords.", "sources": [ { "pdf_page": 458, "source_image": "source-pages/bnf-458.png", "printed_page": 426, "bbox_pixels": [ 350, 3085, 2250, 450 ], "crop_image": "assets/IV.18-003.png" }, { "pdf_page": 459, "source_image": "source-pages/bnf-459.png", "printed_page": 427, "bbox_pixels": [ 350, 355, 2250, 310 ], "crop_image": "assets/IV.18-004.png" } ] }, { "id": "IV.18-005", "type": "paragraph", "section": "IV.18", "lesson": 106, "exercise": 106, "reading_order": 2772, "original": "3°. Quand le Son du Clavecin ou du Theorbe se perd ; l’on peut repeter un même Accord, faisant ensorte que ce soit plûtôt sur le premier temps de la Mesure, que sur aucun autre, & avec la derniere syllabe d’un mot ; car cette repetition faite au milieu d’un mot, ou même au milieu d’une phrase, pourroit empêcher souvent d’en entendre le sens ; cela est inutile pour l’Orgue, puisque les Sons y sont contenus.", "english": "3°. When the sound of a harpsichord or theorbo dies away, you may repeat the same chord. Preferably do so on the first beat of the measure rather than on another beat, and with the final syllable of a word. Repeating a chord in the middle of a word, or even in the middle of a phrase, may often prevent its meaning from being understood. This is unnecessary on the organ, since its sounds are “contained” [printed wording; the supplement corrects this to “continuous”].", "sources": [ { "pdf_page": 459, "source_image": "source-pages/bnf-459.png", "printed_page": 427, "bbox_pixels": [ 350, 665, 2250, 520 ], "crop_image": "assets/IV.18-005.png" } ] }, { "id": "IV.18-006", "type": "paragraph", "section": "IV.18", "lesson": 106, "exercise": 106, "reading_order": 2773, "original": "4°. Il faut tenir ses Accords au milieu du Clavier, autant que la Basse le permet ; & quand on est obligé de les changer de lieu, il faut faire ensorte que ce soit sur le même Accord, ou du moins après un Accord consonant, jamais après un dissonant ; bien que l’on n’en soit pas toûjours le maître, par rapport à des changemens imprévûs dans la Basse qui monte ou descend quelquefois de deux Octaves, selon la fantaisie du Compositeur : Au reste pour transposer ainsi les Accords d’un lieu à l’autre ; si l’on voit, ou si l’on sent qu’une même touche de l’Accord que l’on tient peut servir à celui qu’il faut transposer, il faut y porter le doigt d’en-bas si c’est en montant, ou celui d’en-haut si c’est en descendant, de façon que la main ne se leve point ; & que cette transposition se fasse du seul mouvement d’un doigt qui prend la place de l’autre ; si bien que par ce moyen, l’on n’est point obligé de quitter la vûë de dessus le Livre, en se souvenant d’ailleurs de la maniere dont nous avons dit que les Accords devoient être harpegez.", "english": "4°. Keep your chords in the middle of the keyboard as far as the bass permits. When you must shift their position, try to do so on the same chord, or at least after a consonant chord, never after a dissonant one. You cannot always control this, since unexpected changes in the bass may make it rise or fall by two octaves at the composer's whim. To shift chords in this way, if you see or feel that a key in the chord you are holding can also serve the chord to which you must move, place the lowest finger on that key when moving upward, or the highest finger when moving downward. The hand should not lift: the change of position should result from the movement of a single finger taking another's place. This lets you keep your eyes on the book. Remember also the manner in which we have said chords should be arpeggiated.", "sources": [ { "pdf_page": 459, "source_image": "source-pages/bnf-459.png", "printed_page": 427, "bbox_pixels": [ 350, 1185, 2250, 1200 ], "crop_image": "assets/IV.18-006.png" } ] }, { "id": "IV.18-007", "type": "paragraph", "section": "IV.18", "lesson": 106, "exercise": 106, "reading_order": 2774, "original": "Pour ce qui est d’accompagner sans chiffres, bien que toutes nos regles roulent sur ce sujet ; il faut encore y joindre celles de la Composition, & malgré tout cela, l’on y réüssira difficilement, si l’oreille, le goût & les doigts ne préviennent pas la connoissance ; ainsi il n’y a rien de tel que d’accoutumer l’oreille à la bonne & à la veritable Harmonie par une frequente pratique des principes precedens.", "english": "As for accompanying without figures, although all our rules concern this subject, those of composition must also be added. Even with all this, success will be difficult unless the ear, taste and fingers anticipate conscious knowledge. Nothing therefore equals training the ear in good and true harmony through frequent practice of the preceding principles.", "sources": [ { "pdf_page": 459, "source_image": "source-pages/bnf-459.png", "printed_page": 427, "bbox_pixels": [ 350, 2385, 2250, 525 ], "crop_image": "assets/IV.18-007.png" } ] }, { "id": "IV.19-001", "type": "heading", "section": "IV.19", "lesson": 107, "exercise": 107, "reading_order": 2775, "original": "CHAPITRE DIX-NEUVIÉME.\nDe la maniere de chiffrer une Basse-Continuë, & de connoître les Accords que chaque chiffre dénotte.", "english": "CHAPTER XIX. Figuring a continuo bass and recognizing the chord indicated by each figure.", "sources": [ { "pdf_page": 460, "source_image": "source-pages/bnf-460.png", "printed_page": 428, "bbox_pixels": [ 350, 555, 2250, 330 ], "crop_image": "assets/IV.19-001.png" } ], "correction_refs": [ "supplement-298" ] }, { "id": "IV.19-002", "type": "paragraph", "section": "IV.19", "lesson": 107, "exercise": 107, "reading_order": 2776, "original": "L’Accord parfait peut être chiffré par l’un des trois Intervales qui le composent ; quoique pour l’ordinaire il ne se chiffre point, si ce n’est pour en faire distinguer la Tierce par un ♯, quand elle est majeure, ou par un ♭, quand elle mineure.", "english": "A perfect chord may be figured by any of the three intervals composing it, although it is ordinarily left unfigured, except to distinguish its third with a ♯ when major or a ♭ when minor.", "sources": [ { "pdf_page": 460, "source_image": "source-pages/bnf-460.png", "printed_page": 428, "bbox_pixels": [ 350, 920, 2250, 300 ], "crop_image": "assets/IV.19-002.png" } ] }, { "id": "IV.19-003", "type": "paragraph", "section": "IV.19", "lesson": 107, "exercise": 107, "reading_order": 2777, "original": "Le ♯ seul marque par tout la Tierce majeure, & le ♭ seul marque la Tierce mineure ; s’ils sont joint à quelques chiffres, ils en alterent l’Intervale d’un semi-Ton, à proportion de leur naturel.", "english": "A ♯ alone always indicates the major third, and a ♭ alone the minor third. When joined to figures, they alter the indicated interval by a semitone relative to its natural form.", "sources": [ { "pdf_page": 460, "source_image": "source-pages/bnf-460.png", "printed_page": 428, "bbox_pixels": [ 350, 1220, 2250, 225 ], "crop_image": "assets/IV.19-003.png" } ] }, { "id": "IV.19-004", "type": "paragraph", "section": "IV.19", "lesson": 107, "exercise": 107, "reading_order": 2778, "original": "Tous les Accords doivent se chiffrer par le chiffre dont ils portent le nom. Par Exemple.", "english": "Every chord should be figured with the number from which it takes its name. For example:", "sources": [ { "pdf_page": 460, "source_image": "source-pages/bnf-460.png", "printed_page": 428, "bbox_pixels": [ 350, 1445, 2250, 155 ], "crop_image": "assets/IV.19-004.png" } ] }, { "id": "IV.19-005", "type": "paragraph", "section": "IV.19", "lesson": 107, "exercise": 107, "reading_order": 2779, "original": "", "english": "", "sources": [ { "pdf_page": 460, "source_image": "source-pages/bnf-460.png", "printed_page": 428, "bbox_pixels": [ 350, 1670, 2250, 430 ], "crop_image": "assets/IV.19-005.png" } ], "tables": { "fr": { "columns": [ "Accord", "Chiffre" ], "rows": [ [ "Celui de la 2.", "2" ], [ "Celui de la 2 superfluë.", "2♯" ], [ "Celui de la 11, dite 4.", "4" ], [ "Celui du Triton.", "4 ou 4♯" ], [ "Celui de la fausse 5.", "5̸ ou 5" ], [ "Celui de la 5 superfluë.", "5♯" ], [ "Celui de la 7.", "7" ], [ "Celui de la 7 diminuée.", "7♭" ], [ "Celui de la 7 superfluë", "7♯" ], [ "Celui de la 6 min.", "6♭" ], [ "Celui de la 6 maj.", "6♯" ], [ "Celui de la petite 6ᵗᵉ.", "6" ], [ "Celui de la grande 6ᵗᵉ.", "⁶₅" ], [ "Celui de la 6—4", "⁶₄" ], [ "Celui de la 9ᵉ.", "9" ] ] }, "en": { "columns": [ "Chord", "Figure" ], "rows": [ [ "Chord of the second", "2" ], [ "Augmented-second chord", "2♯" ], [ "Eleventh chord, called the fourth", "4" ], [ "Tritone chord", "4 or 4♯" ], [ "Diminished-fifth chord", "5̸ or 5" ], [ "Augmented-fifth chord", "5♯" ], [ "Seventh chord", "7" ], [ "Diminished-seventh chord", "7♭" ], [ "Augmented-seventh chord", "7♯" ], [ "Minor-sixth chord", "6♭" ], [ "Major-sixth chord", "6♯" ], [ "Small-sixth chord", "6" ], [ "Great-sixth chord", "⁶₅" ], [ "Sixth–fourth chord", "⁶₄" ], [ "Ninth chord", "9" ] ] }, "simple": { "columns": [ "Chord", "Figure" ], "rows": [ [ "Chord of the second", "2" ], [ "Augmented-second chord", "2♯" ], [ "Eleventh, also called fourth", "4" ], [ "Tritone chord", "4 or 4♯" ], [ "Diminished-fifth chord", "5̸ or 5" ], [ "Augmented-fifth chord", "5♯" ], [ "Seventh chord", "7" ], [ "Diminished-seventh chord", "7♭" ], [ "Augmented-seventh chord", "7♯" ], [ "Minor-sixth chord", "6♭" ], [ "Major-sixth chord", "6♯" ], [ "Small-sixth chord", "6" ], [ "Great-sixth chord", "⁶₅" ], [ "Sixth–fourth chord", "⁶₄" ], [ "Ninth chord", "9" ] ] }, "caveman": { "columns": [ "Chord", "Figure" ], "rows": [ [ "Chord of second", "2" ], [ "Augmented second", "2♯" ], [ "Eleventh, called fourth", "4" ], [ "Tritone", "4 or 4♯" ], [ "Diminished fifth", "5̸ or 5" ], [ "Augmented fifth", "5♯" ], [ "Seventh", "7" ], [ "Diminished seventh", "7♭" ], [ "Augmented seventh", "7♯" ], [ "Minor sixth", "6♭" ], [ "Major sixth", "6♯" ], [ "Small sixth", "6" ], [ "Great sixth", "⁶₅" ], [ "Sixth–fourth", "⁶₄" ], [ "Ninth", "9" ] ] } } }, { "id": "IV.19-006", "type": "paragraph", "section": "IV.19", "lesson": 107, "exercise": 107, "reading_order": 2780, "original": "L’on ne doit pas joindre de ♯ ni de ♭ aux chiffres qui marquent des Intervales qui sont naturellement majeurs ou mineurs dans le Ton que l’on traite ; & au cas qu’il faille le faire, il vaut mieux se servir du ♮ ; il n’y a qu’au chiffre qui marque le Tri-Ton que l’on a accoûtumé de joindre un ♯.", "english": "Do not attach ♯ or ♭ to figures indicating intervals that are naturally major or minor in the key being used. If a sign must be supplied in such a case, it is better to use ♮. Only the figure indicating the tritone customarily receives a ♯.", "sources": [ { "pdf_page": 460, "source_image": "source-pages/bnf-460.png", "printed_page": 428, "bbox_pixels": [ 350, 2140, 2250, 380 ], "crop_image": "assets/IV.19-006.png" } ] }, { "id": "IV.19-007", "type": "paragraph", "section": "IV.19", "lesson": 107, "exercise": 107, "reading_order": 2781, "original": "Il faut ajoûter le chiffre qui change la construction naturelle d’un Accord au chiffre qui marque cet Accord.", "english": "Add the figure that changes a chord's natural construction to the figure identifying that chord.", "sources": [ { "pdf_page": 460, "source_image": "source-pages/bnf-460.png", "printed_page": 428, "bbox_pixels": [ 350, 2520, 2250, 150 ], "crop_image": "assets/IV.19-007.png" } ] }, { "id": "IV.19-008", "type": "heading", "section": "IV.19", "lesson": 107, "exercise": 107, "reading_order": 2782, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 460, "source_image": "source-pages/bnf-460.png", "printed_page": 428, "bbox_pixels": [ 350, 2670, 2250, 100 ], "crop_image": "assets/IV.19-008.png" } ] }, { "id": "IV.19-009", "type": "paragraph", "section": "IV.19", "lesson": 107, "exercise": 107, "reading_order": 2783, "original": "", "english": "", "sources": [ { "pdf_page": 460, "source_image": "source-pages/bnf-460.png", "printed_page": 428, "bbox_pixels": [ 350, 2770, 2250, 645 ], "crop_image": "assets/IV.19-009.png" } ], "tables": { "fr": { "columns": [ "Accord", "Chiffre (haut → bas)" ], "rows": [ [ "La 11, dite 4 accomp. de la 2. au lieu de l’Octave.", "4 / 2 ou 5 / 2" ], [ "La 11, dite 4 accomp. de la 9.", "4 / 9" ], [ "La 7 accomp. de la fausse-Quinte.", "7 / 5̸" ], [ "Le Tri-Ton accomp. de la 3. min.", "4♯ / ♭" ], [ "La petite Sixte accomp. de la fausse-Quinte.", "6♯ / 5̸" ], [ "La 5. superfluë accomp. de la 4.", "5♯ / 4" ], [ "La 7. superfluë accomp. de la 6. min.", "7♯ / 6♭" ] ] }, "en": { "columns": [ "Chord", "Figure (top → bottom)" ], "rows": [ [ "Eleventh, called fourth, with the second instead of the octave", "4 / 2 or 5 / 2" ], [ "Eleventh, called fourth, with the ninth", "4 / 9" ], [ "Seventh with the diminished fifth", "7 / 5̸" ], [ "Tritone with the minor third", "4♯ / ♭" ], [ "Small sixth with the diminished fifth", "6♯ / 5̸" ], [ "Augmented fifth with the fourth", "5♯ / 4" ], [ "Augmented seventh with the minor sixth", "7♯ / 6♭" ] ] }, "simple": { "columns": [ "Chord", "Figure (top → bottom)" ], "rows": [ [ "Eleventh or fourth chord, adding a second instead of the octave", "4 / 2 or 5 / 2" ], [ "Eleventh or fourth chord with a ninth", "4 / 9" ], [ "Seventh chord with a diminished fifth", "7 / 5̸" ], [ "Tritone chord with a minor third", "4♯ / ♭" ], [ "Small-sixth chord with a diminished fifth", "6♯ / 5̸" ], [ "Augmented-fifth chord with a fourth", "5♯ / 4" ], [ "Augmented-seventh chord with a minor sixth", "7♯ / 6♭" ] ] }, "caveman": { "columns": [ "Chord", "Figure (top → bottom)" ], "rows": [ [ "Eleventh, called fourth. Second replaces octave.", "4 / 2 or 5 / 2" ], [ "Eleventh, called fourth. Add ninth.", "4 / 9" ], [ "Seventh. Add diminished fifth.", "7 / 5̸" ], [ "Tritone. Add minor third.", "4♯ / ♭" ], [ "Small sixth. Add diminished fifth.", "6♯ / 5̸" ], [ "Augmented fifth. Add fourth.", "5♯ / 4" ], [ "Augmented seventh. Add minor sixth.", "7♯ / 6♭" ] ] } } }, { "id": "IV.19-010", "type": "paragraph", "section": "IV.19", "lesson": 107, "exercise": 107, "reading_order": 2784, "original": "Tous les Accords où la Dissonance majeure peut avoir lieu, doivent être désignez par le chiffre qui marque en même tems l’Intervale de cette Dissonance.", "english": "Every chord in which a major dissonance can occur should be identified by the figure that also indicates the interval of that dissonance.", "sources": [ { "pdf_page": 460, "source_image": "source-pages/bnf-460.png", "printed_page": 428, "bbox_pixels": [ 350, 3430, 2250, 90 ], "crop_image": "assets/IV.19-010.png" }, { "pdf_page": 461, "source_image": "source-pages/bnf-461.png", "printed_page": 429, "bbox_pixels": [ 350, 385, 2250, 150 ], "crop_image": "assets/IV.19-011.png" } ] }, { "id": "IV.19-012", "type": "paragraph", "section": "IV.19", "lesson": 107, "exercise": 107, "reading_order": 2785, "original": "Il y a beaucoup de Basses-Continuës où cette regularité n’est pas observée ; de sorte que cela peut tromper ceux qui ne se guident que par les chiffres ; mais ceux qui voudront se guider par nos regles, verront combien elles sont necessaires en pareil cas.", "english": "Many continuo basses do not observe this consistency and may therefore mislead those guided solely by the figures. Those who follow our rules will see how necessary they are in such cases.", "sources": [ { "pdf_page": 461, "source_image": "source-pages/bnf-461.png", "printed_page": 429, "bbox_pixels": [ 350, 535, 2250, 300 ], "crop_image": "assets/IV.19-012.png" } ] }, { "id": "IV.19-013", "type": "paragraph", "section": "IV.19", "lesson": 107, "exercise": 107, "reading_order": 2786, "original": "Il y a des Auteurs qui mettent encore plusieurs chiffres où un seul suffiroit ; ce qui embrouïlle beaucoup.", "english": "Some writers also put several figures where one would suffice, causing much confusion.", "sources": [ { "pdf_page": 461, "source_image": "source-pages/bnf-461.png", "printed_page": 429, "bbox_pixels": [ 350, 835, 2250, 150 ], "crop_image": "assets/IV.19-013.png" } ] }, { "id": "IV.19-014", "type": "paragraph", "section": "IV.19", "lesson": 107, "exercise": 107, "reading_order": 2787, "original": "Un chiffre mis à côté d’une Notte, marque toûjours l’Accord ; mais s’il est un peu après la Notte, & que cette Notte puisse porter un Accord parfait, c’est marque qu’il faut faire sur le premier tems de la Notte l’Accord parfait, & sur le second tems, ou troisiéme, ou quatriéme tems, selon l’éloignement du chiffre ; l’Accord désigné par ce chiffre.", "english": "A figure placed beside a note always indicates the chord. But if it appears a little after the note, and the note can bear a perfect chord, this means that the perfect chord is to be played on its first beat and the indicated chord on the second, third or fourth beat, according to the figure's distance from the note.", "sources": [ { "pdf_page": 461, "source_image": "source-pages/bnf-461.png", "printed_page": 429, "bbox_pixels": [ 350, 985, 2250, 450 ], "crop_image": "assets/IV.19-014.png" } ] }, { "id": "IV.19-015", "type": "paragraph", "section": "IV.19", "lesson": 107, "exercise": 107, "reading_order": 2788, "original": "Une Notte qui vaut plusieurs tems, peut porter un Accord different pour chaque tems, ou quelquefois elle portera le même Accord pendant deux tems ; de sorte que quand cela ne peut pas bien se distinguer par la disposition des chiffres, c’est à l’oreille à en decider.", "english": "A note lasting several beats can carry a different chord on each beat, or sometimes the same chord for two beats. When the positioning of the figures does not make this clear, the ear must decide.", "sources": [ { "pdf_page": 461, "source_image": "source-pages/bnf-461.png", "printed_page": 429, "bbox_pixels": [ 350, 1435, 2250, 375 ], "crop_image": "assets/IV.19-015.png" } ] }, { "id": "IV.19-016", "type": "paragraph", "section": "IV.19", "lesson": 107, "exercise": 107, "reading_order": 2789, "original": "Le Point represente la Notte qui le précede, ainsi ; de sorte que le chiffre mis au-dessus ou au-dessous du Point, signifie que l’Accord doit être fait dans la valeur du tems de ce Point.", "english": "The dot represents the note preceding it, as shown. A figure above or below the dot therefore means that the chord must be played during the duration belonging to that dot.", "sources": [ { "pdf_page": 461, "source_image": "source-pages/bnf-461.png", "printed_page": 429, "bbox_pixels": [ 350, 1810, 1750, 295 ], "crop_image": "assets/IV.19-016.png" } ] }, { "id": "IV.19-p429", "type": "music", "section": "IV.19", "lesson": 107, "exercise": 107, "reading_order": 2790, "original": "Chiffre 6 sur le point de prolongation.", "english": "Figure 6 over the augmentation dot.", "sources": [ { "pdf_page": 461, "source_image": "source-pages/bnf-461.png", "printed_page": 429, "bbox_pixels": [ 2100, 1785, 400, 265 ], "crop_image": "assets/IV.19-017.png" } ], "original_title": "Chiffre 6 sur le point de prolongation.", "english_title": "Figure 6 over the augmentation dot.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.19-p429" ], "music_asset_refs": [ "IV.19-p429" ] }, { "id": "IV.20-001", "type": "heading", "section": "IV.20", "lesson": 108, "exercise": 108, "reading_order": 2791, "original": "CHAPITRE VINGTIÉME.\nComment on peut distinguer dans une Basse les Nottes qui doivent porter un Accord.", "english": "CHAPTER XX. Distinguishing the bass notes that must bear a chord.", "sources": [ { "pdf_page": 461, "source_image": "source-pages/bnf-461.png", "printed_page": 429, "bbox_pixels": [ 350, 2240, 2250, 325 ], "crop_image": "assets/IV.20-001.png" } ], "correction_refs": [ "supplement-301" ] }, { "id": "IV.20-002", "type": "paragraph", "section": "IV.20", "lesson": 108, "exercise": 108, "reading_order": 2792, "original": "L’On doit faire un Accord dans le premier moment de chaque tems de la Mesure ; quoiqu’une même Notte puisse porter le même Accord pendant plusieurs tems ou plusieurs mesures.", "english": "A chord should be played at the first instant of each beat of the measure, although one note may bear the same chord for several beats or several measures.", "sources": [ { "pdf_page": 461, "source_image": "source-pages/bnf-461.png", "printed_page": 429, "bbox_pixels": [ 350, 2630, 2250, 225 ], "crop_image": "assets/IV.20-002.png" } ] }, { "id": "IV.20-003", "type": "paragraph", "section": "IV.20", "lesson": 108, "exercise": 108, "reading_order": 2793, "original": "Une Notte qui ne vaudra qu’un tems, peut se diviser en deux tems, & porter par consequent deux Accords differens ; on pourroit même la diviser en davantage de tems ; mais les Accords y seroient pour lors trop précipitez.", "english": "A note worth only one beat may be divided into two beats and thus bear two different chords. It could even be divided into more, but the chords would then follow too hurriedly.", "sources": [ { "pdf_page": 461, "source_image": "source-pages/bnf-461.png", "printed_page": 429, "bbox_pixels": [ 350, 2855, 2250, 300 ], "crop_image": "assets/IV.20-003.png" } ] }, { "id": "IV.20-004", "type": "paragraph", "section": "IV.20", "lesson": 108, "exercise": 108, "reading_order": 2794, "original": "Dans les Basses figurées l’on fait souvent passer plusieurs Nottes dans un tems ; mais c’est sur la premiere de chaque tems que l’Accord doit se faire ; & la main droite qui frappe un Accord à chaque tems, bat pour ainsi dire la mesure.", "english": "In basses with melodic figuration, several notes often pass within one beat. The chord, however, should fall on the first note of each beat. The right hand, striking a chord on each beat, thus marks the meter, as it were.", "sources": [ { "pdf_page": 461, "source_image": "source-pages/bnf-461.png", "printed_page": 429, "bbox_pixels": [ 350, 3155, 2250, 300 ], "crop_image": "assets/IV.20-004.png" } ] }, { "id": "IV.20-005", "type": "paragraph", "section": "IV.20", "lesson": 108, "exercise": 108, "reading_order": 2795, "original": "Quand le mouvement est un peu précipité, & qu’un même Accord peut servir dans plusieurs tems consécutifs, il est bon de ne pas le repeter, jusqu’à ce que l’on sente que le son de l’Instrument est entierement éteint ; un même Accord trop réiteré devenant ennuyeux.", "english": "When the movement is somewhat rapid and the same chord can serve for several successive beats, it is best not to repeat it until one hears that the instrument's sound has died away entirely. Too much repetition of the same chord becomes tiresome.", "sources": [ { "pdf_page": 461, "source_image": "source-pages/bnf-461.png", "printed_page": 429, "bbox_pixels": [ 350, 3455, 2250, 80 ], "crop_image": "assets/IV.20-005.png" }, { "pdf_page": 462, "source_image": "source-pages/bnf-462.png", "printed_page": 430, "bbox_pixels": [ 350, 395, 2250, 300 ], "alternate_image": "source-pages/alternate/bne-466-native.png", "crop_image": "assets/IV.20-006.png" } ] }, { "id": "IV.20-007", "type": "paragraph", "section": "IV.20", "lesson": 108, "exercise": 108, "reading_order": 2796, "original": "L’on trouve de certaines Basses figurées, qu’il est souvent difficile de bien chiffrer, parce que les Nottes de cette Basse ne sont pas toûjours contenuës dans l’Accord qui doit être entendu ; si bien que nos regles sont ici d’un grand secours ; ne pouvant jamais s’y tromper en employant les Accords que l’on sçait qui doivent se suivre naturellement. Par exemple, si l’on voit plusieurs Accords dissonans de suite, comme plusieurs 7, ou 2, & dans une progression diatonique de la Basse, sans être entre-lacez par des Accords de Sixte, tels que la regle l’ordonne ; supposé même que chacun de ces Accords dissonans frappe dans le premier moment de chaque tems ; il faut pour lors partager chacun de ces tems en deux parties égales, & faire entendre sur la Notte, par où commence la seconde partie du tems, l’Accord que l’on sçait qui doit suivre & préceder un certain Accord dissonant ; les doigts nous prévenant même souvent dans cette occasion, lorsque l’on s’est une fois formé une bonne habitude sur les principes précedens ; & comme la Notte qui doit porter cet Accord non chiffré, ou chiffré d’une certaine façon qu’on n’a point accoûtumée, n’est pas toûjours celle qui devoit paroître naturellement ; il faut se gouverner en ce cas, plûtôt sur la suite naturelle des doigts, que sur cette Notte qui pourroit nous tromper.", "english": "Some basses with melodic figuration are often difficult to figure properly, because their notes are not always contained in the chord that must be heard. Our rules are therefore very useful here: one cannot go wrong by using the chords known to follow one another naturally. For example, suppose there are several dissonant chords in succession, such as repeated 7s or 2s, over a diatonically moving bass, without the intervening sixth chords required by the rule. Even if each dissonant chord strikes at the beginning of a beat, divide each such beat into two equal parts. On the note beginning the second half, play the chord known to follow and precede the dissonant chords in question. Once good habits have been acquired through the preceding principles, the fingers often anticipate us in this situation. And since the note bearing this unfigured or unusually figured chord is not always the note that would naturally be expected, be guided here by the fingers' natural succession rather than by that note, which might mislead us.", "sources": [ { "pdf_page": 462, "source_image": "source-pages/bnf-462.png", "printed_page": 430, "bbox_pixels": [ 350, 695, 2250, 1550 ], "alternate_image": "source-pages/alternate/bne-466-native.png", "crop_image": "assets/IV.20-007.png" } ] }, { "id": "IV.20-008", "type": "heading", "section": "IV.20", "lesson": 108, "exercise": 108, "reading_order": 2797, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 462, "source_image": "source-pages/bnf-462.png", "printed_page": 430, "bbox_pixels": [ 350, 2170, 2250, 100 ], "alternate_image": "source-pages/alternate/bne-466-native.png", "crop_image": "assets/IV.20-008.png" } ] }, { "id": "IV.20-p430", "type": "music", "section": "IV.20", "lesson": 108, "exercise": 108, "reading_order": 2798, "original": "Basse figurée et trois parties supérieures — début de l’exemple continu.", "english": "Figurated bass and three upper parts — opening of the continuous example.", "sources": [ { "pdf_page": 462, "source_image": "source-pages/bnf-462.png", "printed_page": 430, "bbox_pixels": [ 350, 2265, 2250, 1300 ], "alternate_image": "source-pages/alternate/bne-466-native.png", "crop_image": "assets/IV.20-009.png" } ], "original_title": "Basse figurée et trois parties supérieures — début de l’exemple continu.", "english_title": "Figurated bass and three upper parts — opening of the continuous example.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.20-p430" ], "music_asset_refs": [ "IV.20-p430" ] }, { "id": "IV.20-p431", "type": "music", "section": "IV.20", "lesson": 108, "exercise": 108, "reading_order": 2799, "original": "Basse figurée et trois parties supérieures — suite, deux systèmes.", "english": "Figurated bass and three upper parts — continuation in two systems.", "sources": [ { "pdf_page": 463, "source_image": "source-pages/bnf-463.png", "printed_page": 431, "bbox_pixels": [ 350, 425, 2250, 2810 ], "alternate_image": "source-pages/alternate/bne-467-native.png", "crop_image": "assets/IV.20-010.png" } ], "original_title": "Basse figurée et trois parties supérieures — suite, deux systèmes.", "english_title": "Figurated bass and three upper parts — continuation in two systems.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "IV.20-p431" ], "music_asset_refs": [ "IV.20-p431" ] }, { "id": "IV.20-011", "type": "paragraph", "section": "IV.20", "lesson": 108, "exercise": 108, "reading_order": 2800, "original": "Comme l’on sçait que l’Accord de la petite Sixte doit préceder celui de la Septiéme en descendant diatoniquement, & que celui de la grande Sixte, ou de la fausse-Quinte doit préceder celui de la Seconde sur deux Nottes en même degré, bien que ces Nottes ne se trouvent point dans le premier moment du tems où l’Accord doit être entendu, & bien que cet Accord ne soit point chiffré, comme à A, & à D, ou qu’il soit chiffré d’une maniere difficile à comprendre, comme à B, & à C ; il ne faut pas moins faire ces Accords de petite ou de grande Sixte entre chacun de ces Accords de Septiéme ou de Seconde, selon la teneur des regles, & conformément à l’habitude où l’on est de faire descendre un ou deux doigts après la Dissonante mineure, pendant que les autres restent sur le même degré, ainsi de plusieurs autres progressions où de pareils inconveniens peuvent se rencontrer.", "english": "We know that the small-sixth chord should precede the seventh chord when the bass descends diatonically, and that the great-sixth or diminished-fifth chord should precede the second chord over two notes on the same degree. Even if those bass notes do not occur at the first instant of the beat when the chord must be heard, and even if that chord is unfigured, as at A and D, or figured in a way difficult to understand, as at B and C, the small- or great-sixth chords must still be played between the seventh or second chords. This follows the rules and the habit of letting one or two fingers descend after a minor dissonance while the others remain at the same degree. The same applies to many other progressions in which similar difficulties may arise.", "sources": [ { "pdf_page": 463, "source_image": "source-pages/bnf-463.png", "printed_page": 431, "bbox_pixels": [ 350, 3235, 2250, 305 ], "alternate_image": "source-pages/alternate/bne-467-native.png", "crop_image": "assets/IV.20-011.png" }, { "pdf_page": 464, "source_image": "source-pages/bnf-464.png", "printed_page": 432, "bbox_pixels": [ 350, 375, 2250, 745 ], "crop_image": "assets/IV.20-012.png" } ] }, { "id": "IV.20-013", "type": "paragraph", "section": "IV.20", "lesson": 108, "exercise": 108, "reading_order": 2801, "original": "Il ne faut jamais quitter un Dieze ou un B-mol, qui ayant servis à un Accord, peuvent servir encore à l’Accord suivant, excepté que cela ne soit précisément marqué par un nouveau chiffre qui détruit ce Dieze ou ce B-mol ; car ce Dieze ou ce B-mol étant pour lors naturels dans le Ton que l’on traite, peuvent former des Quintes fausses ou superfluës, qui doivent être préferées, en ce cas, à la Quinte juste, ainsi de tout autre Intervale ; l’Auteur devant marquer le contraire, lorsque son sujet le demande ; sinon il n’y a que l’oreille qui puisse en decider.", "english": "Never abandon a sharp or flat that has served one chord and can still serve the next, unless a new figure expressly cancels it. Those sharps or flats, being natural to the key in use, may produce diminished or augmented fifths, which in this case must be preferred to the perfect fifth. The same applies to any other interval. The composer must indicate the contrary when the subject requires it; otherwise, only the ear can decide.", "sources": [ { "pdf_page": 464, "source_image": "source-pages/bnf-464.png", "printed_page": 432, "bbox_pixels": [ 350, 1120, 2250, 680 ], "crop_image": "assets/IV.20-013.png" } ] }, { "id": "IV.20-014", "type": "paragraph", "section": "IV.20", "lesson": 108, "exercise": 108, "reading_order": 2802, "original": "FIN.", "english": "END.", "sources": [ { "pdf_page": 464, "source_image": "source-pages/bnf-464.png", "printed_page": 432, "bbox_pixels": [ 350, 1840, 2250, 105 ], "crop_image": "assets/IV.20-014.png" } ] }, { "id": "IV.20-015", "type": "heading", "section": "IV.20", "lesson": 108, "exercise": 108, "reading_order": 2803, "original": "Attribution de la Charge de Seul Imprimeur du Roy pour la Musique.", "english": "Grant of the office of sole printer to the King for music.", "sources": [ { "pdf_page": 464, "source_image": "source-pages/bnf-464.png", "printed_page": 432, "bbox_pixels": [ 350, 2070, 2250, 120 ], "crop_image": "assets/IV.20-015.png" } ] }, { "id": "IV.20-016", "type": "paragraph", "section": "IV.20", "lesson": 108, "exercise": 108, "reading_order": 2804, "original": "Par Lettres Patentes du Roy, données à Fontainebleau le cinquiéme jour du mois d’Octobre, l’An de Grace mil six cent quatre-vingt quinze, Signées, LOUIS ; & sur le replis, Par le Roy, Phelypeaux ; Scellées du grand Sceau de cire jaune ; Confirmées par Lettres de Suranation, données à Marly le vingt huitiéme May mil sept cent quinze, Signées comme dessus : Toutes lesdites Lettres verifiées & Registrées en Parlement le sept Juin 1715. Il est permis (à J B-Christophe Ballard, Seul Imprimeur du Roy pour la Musique, & Noteur de la Chapelle de Sa Majesté,) d’Imprimer, faire Imprimer, Vendre & Distribuer toute sorte de Musique, tant Vocale qu’Instrumentale, de quelque Auteur ou Auteurs que ce soit, avec tres-expresses inhibitions & défenses à tous Imprimeurs, Libraires, Tailleurs & Fondeurs de Caracteres, & autres personnes generalement quelconques, de Tailler, Fondre, ni contrefaire les Notes, Caracteres, Lettres grises, & autres choses inventées par ledit Ballard, ny d’entreprendre ou faire entreprendre ladite Impression de Musique, en aucun lieu de ce Royaume, Terres & Seigneuries de l’obeïssance de Sa Majesté, nonobstant toutes Lettres à ce contraires sans le congé & permission dudit Ballard ; A peine de confiscation des Livres ou Exemplaires, Notes, Caracteres, & autres Instruments servant au fait de ladite Impression de Musique, & de six mille livres d’Amende ; Ainsi qu’il est plus amplement declaré esdites Lettres : Sadite Majesté voulant qu’à l’Extrait d’icelles mis au commencement ou fin desdits Livres imprimez, foy soit ajoûtée comme à l’Original.", "english": "By letters patent of the King issued at Fontainebleau on the fifth day of October in the year of grace sixteen hundred and ninety-five, signed LOUIS, and on the fold, “By the King, Phelypeaux,” sealed with the great seal in yellow wax; confirmed by letters of “Suranation” issued at Marly on the twenty-eighth of May seventeen hundred and fifteen, signed as above; all these letters having been verified and registered in Parlement on 7 June 1715: J B-Christophe Ballard, sole printer to the King for music and music copyist to His Majesty's Chapel, is permitted to print, have printed, sell and distribute every kind of music, vocal and instrumental, by any author or authors whatsoever. All printers, booksellers, engravers and type-founders, and all other persons whatsoever, are expressly forbidden to engrave, cast or counterfeit the notes, characters, ornamental initial letters and other things invented by the said Ballard, or to undertake or commission the said printing of music anywhere in this kingdom or in the lands and lordships under His Majesty's authority, notwithstanding any letters to the contrary, without Ballard's leave and permission. The penalties are confiscation of the books or copies, notes, characters and other instruments used in that printing of music, and a fine of six thousand livres, as is set out more fully in those letters. His Majesty wills that this extract, placed at the beginning or end of such printed books, be credited as the original itself.", "sources": [ { "pdf_page": 464, "source_image": "source-pages/bnf-464.png", "printed_page": 432, "bbox_pixels": [ 350, 2220, 2250, 1320 ], "crop_image": "assets/IV.20-016.png" } ] }, { "id": "supplement-001", "type": "heading", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2805, "original": "SUPPLÉMENT\nQui contient des changemens de deux Chapitres, & quelques Corrections necessaires.", "english": "SUPPLEMENT\nContaining changes to two chapters and several necessary corrections.", "sources": [ { "pdf_page": 465, "source_image": "source-pages/bnf-465.png", "printed_label": "Supplement p. 1", "bbox_pixels": [ 405, 500, 2205, 320 ], "crop_image": "assets/supplement-001.png" } ] }, { "id": "supplement-002", "type": "heading", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2806, "original": "LIVRE PREMIER.", "english": "BOOK I.", "sources": [ { "pdf_page": 465, "source_image": "source-pages/bnf-465.png", "printed_label": "Supplement p. 1", "bbox_pixels": [ 405, 935, 2205, 100 ], "crop_image": "assets/supplement-002.png" } ] }, { "id": "supplement-003", "type": "image", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2807, "original": "Page 3, ligne 9, en remontant, il y a A D C E B ; il faut, A D C E B.", "english": "Page 3, ninth line from the bottom: A D C E B should read A D C E B.", "sources": [ { "pdf_page": 465, "source_image": "source-pages/bnf-465.png", "printed_label": "Supplement p. 1", "bbox_pixels": [ 405, 1050, 1085, 190 ], "crop_image": "assets/supplement-003.png" } ], "original_title": "Correction de la figure : A et B placés aux extrémités de la ligne, D C E au-dessus des repères.", "english_title": "Corrected figure: A and B at the line’s ends, D C E above the markers.", "asset_refs": [ "supplement-003" ] }, { "id": "supplement-004", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2808, "original": "P. 8, ligne 5, il y a, ces : lisez ses.", "english": "Page 8, line 5: replace “ces” (these) with “ses” (its/their).", "sources": [ { "pdf_page": 465, "source_image": "source-pages/bnf-465.png", "printed_label": "Supplement p. 1", "bbox_pixels": [ 405, 1240, 1085, 65 ], "crop_image": "assets/supplement-004.png" } ] }, { "id": "supplement-005", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2809, "original": "P. 9, ligne 13, après ces mots, L’accord parfait, il doit se trouver un petit renvoy au bas de la page, par lequel on peut juger de ce dont il s’agit après ces mêmes mots ; ainsi lisez, voyez le Chap. VII & le Chap. VIII, art. I. Pag. 35 & 36.", "english": "Page 9, line 13: after “L’accord parfait” (the perfect chord), add a footnote clarifying what follows: “See chapter VII and chapter VIII, article I, pages 35 and 36.”", "sources": [ { "pdf_page": 465, "source_image": "source-pages/bnf-465.png", "printed_label": "Supplement p. 1", "bbox_pixels": [ 405, 1305, 1085, 310 ], "crop_image": "assets/supplement-005.png" } ] }, { "id": "supplement-006", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2810, "original": "Pag. 14, lignes 22, 23, 24 & 25, il y a, majeure ou mineure : lisez majeur ou mineur.", "english": "Page 14, lines 22–25: replace “majeure ou mineure” with “majeur ou mineur” (major or minor; correct the French grammatical gender).", "sources": [ { "pdf_page": 465, "source_image": "source-pages/bnf-465.png", "printed_label": "Supplement p. 1", "bbox_pixels": [ 405, 1615, 1085, 105 ], "crop_image": "assets/supplement-006.png" } ] }, { "id": "supplement-007", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2811, "original": "Pag. 15, ligne 5, il y a nombre 1, il faut retrancher 1, & lire seulement, nombre. Ibidem, ligne 3, en remontant, il faut encore retrancher le chiffre 1.", "english": "Page 15, line 5: replace “nombre 1” with “nombre” (number), removing 1. On the same page, third line from the bottom, also remove the numeral 1.", "sources": [ { "pdf_page": 465, "source_image": "source-pages/bnf-465.png", "printed_label": "Supplement p. 1", "bbox_pixels": [ 405, 1720, 1085, 215 ], "crop_image": "assets/supplement-007.png" } ] }, { "id": "supplement-008", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2812, "original": "Pag. 19, ligne 11, il y a, aussi : lisez plus.", "english": "Page 19, line 11: replace “aussi” (as much/also) with “plus” (more).", "sources": [ { "pdf_page": 465, "source_image": "source-pages/bnf-465.png", "printed_label": "Supplement p. 1", "bbox_pixels": [ 405, 1935, 1085, 70 ], "crop_image": "assets/supplement-008.png" } ] }, { "id": "supplement-009", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2813, "original": "Pag. 21, Deuxiéme Alinea, ligne 1, il y a, si nous trouvons des Accords : lisez si nous trouvons dans la suite des Accords. Ibidem, il doit se trouver icy au bas de la Page, le renvoy suivant : Voyez les Demonstrations du Chap. VIII, pour vous mettre au fait de ce que nous avançons icy.", "english": "Page 21, second paragraph, line 1: replace “si nous trouvons des Accords” (if we find chords) with “si nous trouvons dans la suite des Accords” (if we subsequently find chords). Add this footnote: “See the demonstrations in chapter VIII to understand what we assert here.”", "sources": [ { "pdf_page": 465, "source_image": "source-pages/bnf-465.png", "printed_label": "Supplement p. 1", "bbox_pixels": [ 405, 2005, 1085, 355 ], "crop_image": "assets/supplement-009.png" } ] }, { "id": "supplement-010", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2814, "original": "Pag. 22, Premier Alinea, ligne 3, il y a, Chap. VI. art. VII & VIII : lisez Chap. VIII, art. VI & VII. Ibidem, La Demonstration qui se trouve au bas de la Page, doit être ainsi.", "english": "Page 22, first paragraph, line 3: replace “chapter VI, articles VII and VIII” with “chapter VIII, articles VI and VII.” The demonstration at the foot of the page should be as follows.", "sources": [ { "pdf_page": 465, "source_image": "source-pages/bnf-465.png", "printed_label": "Supplement p. 1", "bbox_pixels": [ 405, 2360, 1085, 390 ], "crop_image": "assets/supplement-010.png" } ] }, { "id": "supplement-011", "type": "image", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2815, "original": "2 — 3 — 4 — 5 — 6 — 1\nTon : 3 à 4. Semi-Ton majeur : 4 à 5. Semi-Ton mineur : 5 à 6.", "english": "2 — 3 — 4 — 5 — 6 — 1\nWhole tone: 3 to 4. Major semitone: 4 to 5. Minor semitone: 5 to 6.", "sources": [ { "pdf_page": 465, "source_image": "source-pages/bnf-465.png", "printed_label": "Supplement p. 1", "bbox_pixels": [ 645, 2490, 1840, 435 ], "crop_image": "assets/supplement-011.png" } ], "original_title": "Démonstration corrigée de la division de la corde.", "english_title": "Corrected demonstration of string division.", "asset_refs": [ "supplement-011" ] }, { "id": "supplement-012", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2816, "original": "Pag. 24, ligne 2, il y a, s’épuiser : lisez se puiser.", "english": "Page 24, line 2: replace “s’épuiser” (be exhausted) with “se puiser” (be drawn from).", "sources": [ { "pdf_page": 465, "source_image": "source-pages/bnf-465.png", "printed_label": "Supplement p. 1", "bbox_pixels": [ 1490, 1060, 1120, 110 ], "crop_image": "assets/supplement-012.png" } ] }, { "id": "supplement-013", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2817, "original": "Pag. 25, il y a, double : lisez doublée.", "english": "Page 25: replace “double” with “doublée” (doubled).", "sources": [ { "pdf_page": 465, "source_image": "source-pages/bnf-465.png", "printed_label": "Supplement p. 1", "bbox_pixels": [ 1490, 1170, 1120, 70 ], "crop_image": "assets/supplement-013.png" } ] }, { "id": "supplement-014", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2818, "original": "Pag. 27, ligne 18, Ces mots, l’on peut pousser, &c. doivent commencer par un Alinea. Ibid. ligne 4, en remontant, il y a, dont on sert : lisez dont on se sert. Ibid. ligne derniere, il y a, Systême : lisez Systême Chromatique suivant.", "english": "Page 27, line 18: begin a new paragraph with “l’on peut pousser,” etc. (“one can extend,” etc.). Fourth line from the bottom: replace “dont on sert” with “dont on se sert” (which one uses). Last line: replace “Systême” (system) with “Systême Chromatique suivant” (following chromatic system).", "sources": [ { "pdf_page": 465, "source_image": "source-pages/bnf-465.png", "printed_label": "Supplement p. 1", "bbox_pixels": [ 1490, 1240, 1120, 310 ], "crop_image": "assets/supplement-014.png" } ] }, { "id": "supplement-015", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2819, "original": "Pag. 28, Ces mots, Systême Chromatique, suffisent ; & les autres, Chromatique suivant, doivent être retranchez. Ibid. ligne 1, après le Systême, il y a, le : lisez ce.", "english": "Page 28: “Systême Chromatique” (chromatic system) suffices; remove the additional words “Chromatique suivant.” In the first line after the system, replace “le” with “ce” (the → this).", "sources": [ { "pdf_page": 465, "source_image": "source-pages/bnf-465.png", "printed_label": "Supplement p. 1", "bbox_pixels": [ 1490, 1550, 1120, 215 ], "crop_image": "assets/supplement-015.png" } ] }, { "id": "supplement-016", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2820, "original": "Pag. 34, Chap. VIII, ligne 2, il y a, avoir : lisez, a. Ibid. ligne 5, il y a, on a fait : lisez on fait.", "english": "Page 34, chapter VIII, line 2: replace “avoir” with “a” (to have → has). Line 5: replace “on a fait” with “on fait” (one has made → one makes).", "sources": [ { "pdf_page": 465, "source_image": "source-pages/bnf-465.png", "printed_label": "Supplement p. 1", "bbox_pixels": [ 1490, 1765, 1120, 155 ], "crop_image": "assets/supplement-016.png" } ] }, { "id": "supplement-017", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2821, "original": "Pag. 36, ligne 1, il y a, comme majeur : lisez comme le majeur. Ibid. ligne 9, il y a, donc le dernier : lisez donc ce dernier.", "english": "Page 36, line 1: replace “comme majeur” with “comme le majeur” (as major → as the major). Line 9: replace “donc le dernier” with “donc ce dernier” (therefore the latter → therefore this latter).", "sources": [ { "pdf_page": 465, "source_image": "source-pages/bnf-465.png", "printed_label": "Supplement p. 1", "bbox_pixels": [ 1490, 1920, 1120, 155 ], "crop_image": "assets/supplement-017.png" } ] }, { "id": "supplement-018", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2822, "original": "Pag. 40, ligne 3, il y a, 20 : lisez 10", "english": "Page 40, line 3: replace 20 with 10.", "sources": [ { "pdf_page": 465, "source_image": "source-pages/bnf-465.png", "printed_label": "Supplement p. 1", "bbox_pixels": [ 1490, 2070, 1120, 75 ], "crop_image": "assets/supplement-018.png" } ] }, { "id": "supplement-019", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2823, "original": "Pag. 41, ligne 6, il y a, occupant : lisez octuplant.", "english": "Page 41, line 6: replace “occupant” (occupying) with “octuplant” (multiplying eightfold).", "sources": [ { "pdf_page": 465, "source_image": "source-pages/bnf-465.png", "printed_label": "Supplement p. 1", "bbox_pixels": [ 1490, 2135, 1120, 70 ], "crop_image": "assets/supplement-019.png" } ] }, { "id": "supplement-020", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2824, "original": "Pag. 47, ligne derniere, il y a, par ce moyen : lisez, par le Moyen.", "english": "Page 47, last line: replace “par ce moyen” (by this means) with “par le Moyen” (by the Mean).", "sources": [ { "pdf_page": 465, "source_image": "source-pages/bnf-465.png", "printed_label": "Supplement p. 1", "bbox_pixels": [ 1490, 2205, 1120, 105 ], "crop_image": "assets/supplement-020.png" } ] }, { "id": "supplement-021", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2825, "original": "Pag. 48, Alinea, ligne 10, il y a, elle contiendra : lisez contiendra. Ibid. ligne 12, il y a, que les longueurs : lisez que ces longueurs.", "english": "Page 48, paragraph, line 10: replace “elle contiendra” with “contiendra” (remove the pronoun before “will contain”). Line 12: replace “que les longueurs” with “que ces longueurs” (than the lengths → than these lengths).", "sources": [ { "pdf_page": 465, "source_image": "source-pages/bnf-465.png", "printed_label": "Supplement p. 1", "bbox_pixels": [ 1490, 2310, 1120, 215 ], "crop_image": "assets/supplement-021.png" } ] }, { "id": "supplement-022", "type": "heading", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2826, "original": "LIVRE SECOND.", "english": "BOOK II.", "sources": [ { "pdf_page": 465, "source_image": "source-pages/bnf-465.png", "printed_label": "Supplement p. 1", "bbox_pixels": [ 405, 3060, 2205, 100 ], "crop_image": "assets/supplement-022.png" } ] }, { "id": "supplement-023", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2827, "original": "Pag. 52, Deuxiéme Alinea, ligne penultiéme, il y a, voyez ci-après les Chap. XIX, &c : lisez les Chap. XVIII, XIX & XXI.", "english": "Page 52, second paragraph, next-to-last line: replace “see below, chapters XIX, etc.” with “chapters XVIII, XIX, and XXI.”", "sources": [ { "pdf_page": 465, "source_image": "source-pages/bnf-465.png", "printed_label": "Supplement p. 1", "bbox_pixels": [ 405, 3200, 1085, 155 ], "crop_image": "assets/supplement-023.png" } ] }, { "id": "supplement-024", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2828, "original": "Pag. 53, ligne 7, ces mots (toute la piéce de Musique étant fondée sur lui,) ne doivent point être separez par une virgule, & doivent au contraire se trouver entre deux virgules, ou entre deux Parantheses.", "english": "Page 53, line 7: do not divide the words “toute la piéce de Musique étant fondée sur lui” (the whole piece of music being founded upon it) with a comma. Instead, put the entire phrase between two commas or parentheses.", "sources": [ { "pdf_page": 465, "source_image": "source-pages/bnf-465.png", "printed_label": "Supplement p. 1", "bbox_pixels": [ 405, 3350, 1085, 75 ], "crop_image": "assets/supplement-024.png" }, { "pdf_page": 465, "source_image": "source-pages/bnf-465.png", "printed_label": "Supplement p. 1", "bbox_pixels": [ 1490, 3200, 1120, 235 ], "crop_image": "assets/supplement-025.png" } ] }, { "id": "supplement-026", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2829, "original": "Pag. 54, Chap. V, ligne 3, les mots suivans doivent commencer par un Alinea. Nous devons avoir déja, &c.", "english": "Page 54, chapter V, line 3: begin a new paragraph at “Nous devons avoir déja,” etc. (“We should already have,” etc.).", "sources": [ { "pdf_page": 466, "source_image": "source-pages/bnf-466.png", "printed_label": "Supplement p. 2", "bbox_pixels": [ 405, 355, 1085, 165 ], "crop_image": "assets/supplement-026.png" } ] }, { "id": "supplement-027", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2830, "original": "Pag. 55, Premier Alinea, lignes 12, 13 & 14, les mots suivans doivent être retranchez. Que leur extremitez aiment naturellement à se porter vers la partie qui approche le plus de leur être ; de sorte.", "english": "Page 55, first paragraph, lines 12–14: delete “Que leur extremitez aiment naturellement à se porter vers la partie qui approche le plus de leur être ; de sorte” (“That their extremes naturally tend toward the part closest to their nature; so that”).", "sources": [ { "pdf_page": 466, "source_image": "source-pages/bnf-466.png", "printed_label": "Supplement p. 2", "bbox_pixels": [ 405, 520, 1085, 275 ], "crop_image": "assets/supplement-027.png" } ] }, { "id": "supplement-028", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2831, "original": "Pag. 56, Deuxiéme Alinea, il y a, La Septiéme qui provient : &c : lisez La Septiéme qui provient d’une Tierce mineure ajoûtée à l’accord parfait de la Dominante, forme non-seulement une dissonnance avec cette Dominante, mais encore avec la Tierce majeure de cette même Dominante ; de sorte que la Tierce majeure forme encore ici une nouvelle dissonnance par rapport à la Septiéme ajoûtée ; cette Tierce majeure étant pour lors l’origine de toutes les dissonnances majeures & cette Septiéme étant l’origine de toutes les dissonnances mineures, sans aucune exception.", "english": "Page 56, second paragraph: replace the passage beginning “La Septiéme qui provient,” etc., with: “The seventh produced by a minor third added to the dominant’s perfect chord forms a dissonance not only with the dominant but also with its major third. Thus the major third itself forms a new dissonance against the added seventh. This major third is the source of all major dissonances, and this seventh the source of all minor dissonances, without exception.”", "sources": [ { "pdf_page": 466, "source_image": "source-pages/bnf-466.png", "printed_label": "Supplement p. 2", "bbox_pixels": [ 405, 790, 1085, 165 ], "crop_image": "assets/supplement-028.png" }, { "pdf_page": 466, "source_image": "source-pages/bnf-466.png", "printed_label": "Supplement p. 2", "bbox_pixels": [ 1490, 365, 1120, 550 ], "crop_image": "assets/supplement-029.png" } ] }, { "id": "supplement-030", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2832, "original": "Pag. 57. L’Exemple de cette Page doit être disposé de cette façon.", "english": "Page 57: arrange the example as follows.", "sources": [ { "pdf_page": 466, "source_image": "source-pages/bnf-466.png", "printed_label": "Supplement p. 2", "bbox_pixels": [ 405, 995, 2205, 100 ], "crop_image": "assets/supplement-030.png" } ] }, { "id": "supplement-466-major", "type": "music", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2833, "original": "Cadence Parfaite dans le Mode majeur — correction de p57.", "english": "Perfect cadence in major mode—correction to page 57.", "sources": [ { "pdf_page": 466, "source_image": "source-pages/bnf-466.png", "printed_label": "Supplement p. 2", "bbox_pixels": [ 435, 1120, 1085, 1660 ], "crop_image": "assets/supplement-031.png" } ], "original_title": "Cadence Parfaite dans le Mode majeur — correction de p57.", "english_title": "Perfect cadence in major mode—correction to page 57.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "supplement-466-major" ], "music_asset_refs": [ "supplement-466-major" ] }, { "id": "supplement-466-minor", "type": "music", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2834, "original": "Cadence Parfaite dans le Mode mineur — correction de p57.", "english": "Perfect cadence in minor mode—correction to page 57.", "sources": [ { "pdf_page": 466, "source_image": "source-pages/bnf-466.png", "printed_label": "Supplement p. 2", "bbox_pixels": [ 1520, 1120, 1090, 1660 ], "crop_image": "assets/supplement-032.png" } ], "original_title": "Cadence Parfaite dans le Mode mineur — correction de p57.", "english_title": "Perfect cadence in minor mode—correction to page 57.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "supplement-466-minor" ], "music_asset_refs": [ "supplement-466-minor" ] }, { "id": "supplement-033", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2835, "original": "Pag. 58, le chiffre 6, qui se trouve dans l’Exemple, doit être barré, au lieu d’être accompagné d’un Dieze ; & cette même faute se trouve par tout où j’ay voulu employer un accord pareil à celuy que ce chiffre dénotte : A la verité on n’a pas fait encore usage de cette distinction dans les Ouvrages que les Auteurs ont fait imprimer jusques à present.", "english": "Page 58: slash the example’s figure 6 instead of attaching a sharp. This same error occurs wherever I intended a chord of the kind that this figure denotes. Admittedly, authors have not yet used this distinction in their published works.", "sources": [ { "pdf_page": 466, "source_image": "source-pages/bnf-466.png", "printed_label": "Supplement p. 2", "bbox_pixels": [ 405, 2860, 1085, 450 ], "crop_image": "assets/supplement-033.png" } ] }, { "id": "supplement-034", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2836, "original": "Ibid. aux citations qui sont au bas de la page, il y a, (b cap. 5, f. 251.) lisez (b cap. 51, f. 251.)", "english": "Same page, references at the bottom: replace “(b cap. 5, f. 251.)” with “(b cap. 51, f. 251.).”", "sources": [ { "pdf_page": 466, "source_image": "source-pages/bnf-466.png", "printed_label": "Supplement p. 2", "bbox_pixels": [ 1490, 2860, 1120, 175 ], "crop_image": "assets/supplement-034.png" } ] }, { "id": "supplement-035", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2837, "original": "Pag. 59, à la citation du bas de la page, il y a, cap. 6 : lisez cap. 52. Ibid. ligne 6, il y a, chap. VI : lisez Chap. LII. Ibid. la Partie d’en-haut de l’Exemple doit être absolument retranchée.", "english": "Page 59, footnote reference: replace “cap. 6” with “cap. 52.” Line 6: replace “chap. VI” with “Chap. LII.” Delete the example’s top part entirely.", "sources": [ { "pdf_page": 466, "source_image": "source-pages/bnf-466.png", "printed_label": "Supplement p. 2", "bbox_pixels": [ 1490, 3030, 1120, 280 ], "crop_image": "assets/supplement-035.png" } ] }, { "id": "supplement-036", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2838, "original": "Pag. 62. L’exemple de cette Page doit être disposé de cette façon.", "english": "Page 62: arrange the example as follows.", "sources": [ { "pdf_page": 467, "source_image": "source-pages/bnf-467.png", "printed_label": "Supplement p. 3", "bbox_pixels": [ 405, 390, 2205, 110 ], "crop_image": "assets/supplement-036.png" } ] }, { "id": "supplement-467-major", "type": "music", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2839, "original": "Cadence rompuë dans le mode majeur — correction de p62.", "english": "Interrupted cadence in major mode—correction to page 62.", "sources": [ { "pdf_page": 467, "source_image": "source-pages/bnf-467.png", "printed_label": "Supplement p. 3", "bbox_pixels": [ 480, 510, 1050, 1690 ], "crop_image": "assets/supplement-037.png" } ], "original_title": "Cadence rompuë dans le mode majeur — correction de p62.", "english_title": "Interrupted cadence in major mode—correction to page 62.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "supplement-467-major" ], "music_asset_refs": [ "supplement-467-major" ] }, { "id": "supplement-467-minor", "type": "music", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2840, "original": "Cadence rompuë dans le mode mineur — correction de p62.", "english": "Interrupted cadence in minor mode—correction to page 62.", "sources": [ { "pdf_page": 467, "source_image": "source-pages/bnf-467.png", "printed_label": "Supplement p. 3", "bbox_pixels": [ 1530, 510, 1080, 1690 ], "crop_image": "assets/supplement-038.png" } ], "original_title": "Cadence rompuë dans le mode mineur — correction de p62.", "english_title": "Interrupted cadence in minor mode—correction to page 62.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "supplement-467-minor" ], "music_asset_refs": [ "supplement-467-minor" ] }, { "id": "supplement-039", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2841, "original": "Pag. 64, jusqu’à la pag. 67, le Chap VII, doit être retranché, & celui qui suit doit servir en sa place.", "english": "Pages 64–67: delete chapter VII and replace it with the following chapter.", "sources": [ { "pdf_page": 467, "source_image": "source-pages/bnf-467.png", "printed_label": "Supplement p. 3", "bbox_pixels": [ 405, 2220, 2205, 140 ], "crop_image": "assets/supplement-039.png" } ] }, { "id": "supplement-040", "type": "heading", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2842, "original": "CHAPITRE SEPTIÉME, Reformé.\nDe la Cadence irreguliere.", "english": "CHAPTER SEVEN, revised.\nOn the irregular cadence.", "sources": [ { "pdf_page": 467, "source_image": "source-pages/bnf-467.png", "printed_label": "Supplement p. 3", "bbox_pixels": [ 405, 2440, 2205, 185 ], "crop_image": "assets/supplement-040.png" } ] }, { "id": "supplement-041", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2843, "original": "Au lieu que la Cadence parfaite se termine de la Dominante à la Notte Tonique ; celle dont il s’agit ici se termine au contraire de la Notte Tonique à sa Dominante, ou encore de la quatriéme Notte à la Tonique ; d’où nous lui donnons l’Epithete d’irreguliere.", "english": "Whereas the perfect cadence ends by moving from dominant to tonic, this cadence reverses that course, from tonic to dominant, or from fourth note to tonic. We therefore call it irregular.", "sources": [ { "pdf_page": 467, "source_image": "source-pages/bnf-467.png", "printed_label": "Supplement p. 3", "bbox_pixels": [ 405, 2655, 1085, 330 ], "crop_image": "assets/supplement-041.png" } ] }, { "id": "supplement-042", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2844, "original": "Nous avons ici une nouvelle Dissonnance à proposer, dont il n’a pas encore été fait mention ; bien que la plûpart des habiles Musiciens la pratiquent avec succès : Elle cause non-seulement une diversité charmante dans l’Harmonie, & donne lieu à produire des chants gracieux ; mais elle est encore d’une grande ressource pour les Piéces à 4 & à plus de Parties : De sorte que nous ne pouvons que loüer les personnes qui en ont hazardé l’usage les premieres.", "english": "We propose a new dissonance not yet discussed, although most accomplished musicians use it successfully. It gives harmony delightful variety, produces graceful melodies, and offers great resources in pieces of four or more parts. We can only praise those who first ventured to use it.", "sources": [ { "pdf_page": 467, "source_image": "source-pages/bnf-467.png", "printed_label": "Supplement p. 3", "bbox_pixels": [ 405, 2985, 1085, 430 ], "crop_image": "assets/supplement-042.png" }, { "pdf_page": 467, "source_image": "source-pages/bnf-467.png", "printed_label": "Supplement p. 3", "bbox_pixels": [ 1490, 2660, 1120, 165 ], "crop_image": "assets/supplement-043.png" } ] }, { "id": "supplement-044", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2845, "original": "La Dissonnance dont il s’agit, n’est point telle contre la Basse ; c’est une Sixte qui est Consonante, mais qui forme pour lors une Dissonance avec la Quinte de cette Basse ; Si bien qu’on ne peut se dispenser de la sauver en montant, comme nous tâcherons de le prouver dans la suite.", "english": "This sound is not dissonant against the bass. It is a consonant sixth, but clashes with the bass’s fifth. It must therefore resolve upward, as we shall try to prove.", "sources": [ { "pdf_page": 467, "source_image": "source-pages/bnf-467.png", "printed_label": "Supplement p. 3", "bbox_pixels": [ 1490, 2825, 1120, 365 ], "crop_image": "assets/supplement-044.png" } ] }, { "id": "supplement-045", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2846, "original": "L’accord formé de cette Sixte ajoûtée à l’accord parfait, s’appelle Accord de grande Sixte ; il dérive naturellement de celui de la Septiéme : * Cependant il doit être regardé ici comme Original ; au lieu qu’en toute autre occasion il doit suivre la nature & les proprietez de celui dont il tire son origine en premier lieu.", "english": "Adding this sixth to the perfect chord forms the great-sixth chord. It naturally derives from the seventh chord,* but here must be treated as original. Elsewhere it must follow the nature and properties of the chord from which it first arose.", "sources": [ { "pdf_page": 467, "source_image": "source-pages/bnf-467.png", "printed_label": "Supplement p. 3", "bbox_pixels": [ 1490, 3190, 1120, 220 ], "crop_image": "assets/supplement-045.png" }, { "pdf_page": 468, "source_image": "source-pages/bnf-468.png", "printed_label": "Supplement p. 4", "bbox_pixels": [ 405, 355, 2205, 155 ], "crop_image": "assets/supplement-047.png" } ] }, { "id": "supplement-046", "type": "footnote", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2847, "original": "* Voyez livre premier, Chap. VIII. art. IV.", "english": "* See Book I, chapter VIII, article IV.", "sources": [ { "pdf_page": 467, "source_image": "source-pages/bnf-467.png", "printed_label": "Supplement p. 3", "bbox_pixels": [ 1490, 3430, 1120, 90 ], "crop_image": "assets/supplement-046.png" } ] }, { "id": "supplement-048", "type": "heading", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2848, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 468, "source_image": "source-pages/bnf-468.png", "printed_label": "Supplement p. 4", "bbox_pixels": [ 405, 510, 2205, 85 ], "crop_image": "assets/supplement-048.png" } ] }, { "id": "supplement-468-major", "type": "music", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2849, "original": "Cadence irreguliere dans le Mode majeur — chapitre VII reformé.", "english": "Irregular cadence in major mode—revised chapter VII.", "sources": [ { "pdf_page": 468, "source_image": "source-pages/bnf-468.png", "printed_label": "Supplement p. 4", "bbox_pixels": [ 440, 560, 1060, 1150 ], "crop_image": "assets/supplement-049.png" } ], "original_title": "Cadence irreguliere dans le Mode majeur — chapitre VII reformé.", "english_title": "Irregular cadence in major mode—revised chapter VII.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "supplement-468-major" ], "music_asset_refs": [ "supplement-468-major" ] }, { "id": "supplement-468-minor", "type": "music", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2850, "original": "Cadence irreguliere dans le Mode mineur — chapitre VII reformé.", "english": "Irregular cadence in minor mode—revised chapter VII.", "sources": [ { "pdf_page": 468, "source_image": "source-pages/bnf-468.png", "printed_label": "Supplement p. 4", "bbox_pixels": [ 1500, 550, 1100, 1160 ], "crop_image": "assets/supplement-050.png" } ], "original_title": "Cadence irreguliere dans le Mode mineur — chapitre VII reformé.", "english_title": "Irregular cadence in minor mode—revised chapter VII.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "supplement-468-minor" ], "music_asset_refs": [ "supplement-468-minor" ] }, { "id": "supplement-051", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2851, "original": "Pour que la Notte qui commence cette Cadence puisse passer pour Tonique, & que celle qui la termine puisse passer pour Dominante ; il n’y a qu’à donner toûjours la Tierce majeure à la derniere Note : & pour lors la différence du Mode ne paroîtra que sur la premiere Notte qui sera, en ce cas, la Tonique, & qui peut porter indifferemment la Tierce majeure ou la mineure.", "english": "To make the cadence’s first note count as tonic and its last as dominant, always give the last a major third. The mode’s difference then appears only on the first note, the tonic, which may take either major or minor third.", "sources": [ { "pdf_page": 468, "source_image": "source-pages/bnf-468.png", "printed_label": "Supplement p. 4", "bbox_pixels": [ 405, 1730, 1085, 470 ], "crop_image": "assets/supplement-051.png" } ] }, { "id": "supplement-052", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2852, "original": "Le Sieur Masson, qui ne parle point comme nous de cette Cadence, en donne cependant un Exemple, mais par renversement, & dans des Accords dont il ignore l’origine : car il traite de Triton (A) ce qui n’est au fond qu’une Quarte alterée par la force de la Modulation ; mais bien plus, ce qui n’est au fond qu’une Sixte à l’égard de la Basse Fondamentale.", "english": "Masson does not discuss this cadence as we do, but supplies an inverted example in chords whose origin he does not know. He calls A a tritone, although it is fundamentally only a fourth altered by modulation—or, more precisely, a sixth against the fundamental bass.", "sources": [ { "pdf_page": 468, "source_image": "source-pages/bnf-468.png", "printed_label": "Supplement p. 4", "bbox_pixels": [ 1490, 1730, 1120, 470 ], "crop_image": "assets/supplement-052.png" } ] }, { "id": "supplement-053", "type": "heading", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2853, "original": "EXEMPLE du Sieur MASSON,", "english": "EXAMPLE BY MR. MASSON,", "sources": [ { "pdf_page": 468, "source_image": "source-pages/bnf-468.png", "printed_label": "Supplement p. 4", "bbox_pixels": [ 405, 2220, 2205, 90 ], "crop_image": "assets/supplement-053.png" } ] }, { "id": "supplement-054", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2854, "original": "Où l’on connoîtra, par le moyen de la Basse Fondamentale ajoûtée, que la Cadence irreguliere y est renversée. a", "english": "in which the added fundamental bass shows the irregular cadence in inversion. a", "sources": [ { "pdf_page": 468, "source_image": "source-pages/bnf-468.png", "printed_label": "Supplement p. 4", "bbox_pixels": [ 405, 2310, 2205, 120 ], "crop_image": "assets/supplement-054.png" } ] }, { "id": "supplement-468-masson", "type": "music", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2855, "original": "Exemple de Masson, avec Basse Fondamentale ajoûtée.", "english": "Masson’s example with added fundamental bass.", "sources": [ { "pdf_page": 468, "source_image": "source-pages/bnf-468.png", "printed_label": "Supplement p. 4", "bbox_pixels": [ 460, 2420, 1060, 890 ], "crop_image": "assets/supplement-055.png" } ], "original_title": "Exemple de Masson, avec Basse Fondamentale ajoûtée.", "english_title": "Masson’s example with added fundamental bass.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "supplement-468-masson" ], "music_asset_refs": [ "supplement-468-masson" ] }, { "id": "supplement-056", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2856, "original": "Zarlin ne fait point mention de cette Cadence ; & lorsque le Sieur Masson en parle, il lui donne l’Epithete d’imparfaite. Monsieur de Brossard en a fait autant, & il ne se sert du terme d’irregulier que pour determiner l’usage des Cadences ; on nomme Cadence irreguliere, dit-il, b celle dont la finale n’est pas une des Cordes essentielles du Mode dans lequel on travaille. Or il faut remarquer ici, que ces Cordes essentielles du mode sont, la Note Tonique ou finale, sa Tierce & sa Quinte, que le terme d’irregulier n’y étant point appliqué au genre d’une Cadence, mais seulement à l’usage des differentes Cadences que l’on peut employer en pareil cas, nous laisse dans l’incertitude du choix de ces differentes Cadences, & nous donne une égale idée de chacune d’elles en cette occasion ; & que par consequent, ce terme qui n’attaque point le genre de la Cadence, attaque pour lors la Modulation, prétendant donner à entendre par là que la Modulation est irreguliere, dès que les Cadences s’éloignent des Cordes essentielles du premier Mode.", "english": "Zarlin does not mention this cadence; Masson calls it imperfect. Brossard does likewise, using irregular only to describe where cadences are used. An irregular cadence, he says,b ends on a note outside the essential pitches of the current mode. These essential pitches are tonic or final, its third, and its fifth. His term therefore describes the use of different cadences rather than their kind, leaving their choice uncertain and giving the same description to each. It concerns modulation rather than cadence type: modulation is supposedly irregular whenever cadences depart from the original mode’s essential notes.", "sources": [ { "pdf_page": 468, "source_image": "source-pages/bnf-468.png", "printed_label": "Supplement p. 4", "bbox_pixels": [ 405, 3310, 1085, 100 ], "crop_image": "assets/supplement-056.png" }, { "pdf_page": 468, "source_image": "source-pages/bnf-468.png", "printed_label": "Supplement p. 4", "bbox_pixels": [ 1490, 2440, 1120, 970 ], "crop_image": "assets/supplement-057.png" }, { "pdf_page": 469, "source_image": "source-pages/bnf-469.png", "printed_label": "Supplement p. 5", "bbox_pixels": [ 405, 400, 1085, 215 ], "crop_image": "assets/supplement-060.png" } ] }, { "id": "supplement-058", "type": "footnote", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2857, "original": "a Masson, nouveau Traité de Musique, page 99.", "english": "a Masson, Nouveau Traité de Musique, page 99.", "sources": [ { "pdf_page": 468, "source_image": "source-pages/bnf-468.png", "printed_label": "Supplement p. 4", "bbox_pixels": [ 405, 3430, 2205, 65 ], "crop_image": "assets/supplement-058.png" } ] }, { "id": "supplement-059", "type": "footnote", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2858, "original": "b Dictionnaire de Monsieur de Brossard, au mot irregolare.", "english": "b Mr. de Brossard’s dictionary, under irregolare.", "sources": [ { "pdf_page": 468, "source_image": "source-pages/bnf-468.png", "printed_label": "Supplement p. 4", "bbox_pixels": [ 405, 3495, 2205, 65 ], "crop_image": "assets/supplement-059.png" } ] }, { "id": "supplement-061", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2859, "original": "Monsieur de Brossard n’a pas apparemment fait attention, en traduisant ce passage des Anciens, que leur maniere de Moduler étoit bien différente de la nôtre ; que faute d’experience ils étoient extrémement bornez, qu’ils n’appliquoient pas seulement ce terme d’irregulier aux Cadences étrangeres du premier Mode, mais encore à l’étenduë du chant, qui ne dépend que de celle de la voix ; & qu’en un mot toutes leurs Musiques continuoient & finissoient sur le même Mode par lequel ils les avoient commencées, si nous devons du moins nous en rapporter à la Musique de Zarlin ; de sorte que c’étoit une irregularité parmi eux, pour ne pas dire une faute, de pratiquer des Cadences hors du Mode : Mais parmi nous qui sommes assez heureux pour connoître la bonne & la véritable Modulation, c’est une perfection de sçavoir passer à propos d’un Mode à un autre, & de sçavoir donner par-là, une nouvelle diversité à l’Harmonie : Ces Anciens, encore une fois, connoissoient si peu la bonne Modulation, qu’ils avoient inventé une infinité de regles pour en couvrir les défauts, & ces Regles deviennent à présent inutiles par nos heureuses découvertes. Si Monsieur de Brossard s’étoit souvenu, en cette occasion, de ce qu’il dit lui-même des Modes Anciens & Modernes, nous ne doutons pas qu’il n’eût ajoûté quelques correctifs à cette sorte de Cadences qu’il appelle irregulieres.", "english": "In translating this ancient passage, Brossard apparently overlooked how different their modulation was from ours. Lacking experience, they were extremely restricted. They applied irregular not only to cadences foreign to the first mode but also to melodic range, which depends only on the voice. All their music continued and ended in its initial mode, if Zarlin’s music is our evidence. Cadencing outside it was an irregularity, if not a fault. We, fortunately knowing true and proper modulation, regard well-judged movement between modes as a perfection that adds harmonic variety. The ancients understood modulation so poorly that they invented countless rules to cover its defects; our discoveries make these unnecessary. Had Brossard remembered his own discussion of ancient and modern modes, he would surely have qualified this category of irregular cadences.", "sources": [ { "pdf_page": 469, "source_image": "source-pages/bnf-469.png", "printed_label": "Supplement p. 5", "bbox_pixels": [ 405, 615, 1085, 1650 ], "crop_image": "assets/supplement-061.png" } ] }, { "id": "supplement-062", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2860, "original": "L’on dira peut-être que nous n’agitons ici qu’une dispute de noms à l’égard de la Cadence dont il s’agit, & que nous aurions mieux fait de nous soumettre à l’usage : nous en pourrions convenir, si cet usage étoit bien établi ; mais les Musiciens de pratique se mettent si peu en peine des termes de leur Art, qu’ils les confondent à tout moment, sans s’en soucier beaucoup ; ils y prennent même plaisir, à ce qu’il semble, pour embarrasser par-là ceux qui veulent disputer avec eux ; enfin ceux-là mêmes qui en ont écrit, ont plûtôt suivis en cela leur fantaisie, que leur raison ; Par exemple, s’il faut s’en rapporter à l’usage, nous croyons bien qu’en ce cas, Zarlin doit nous guider plûtôt qu’aucun de ceux qui ont écrit après lui. Or cet Auteur qui ne parle presque que de la Cadence parfaite, appelle Cadenze fuggite, * (c’est ce que nous devrions entendre par le mot de Cadence rompuë) les Cadences renversées de la parfaite : Ce sont donc ces sortes de Cadences que nous devrions distinguer par le terme d’imparfait, pour nous moins éloigner de son idée ; car si nous les appellions rompuës, le terme ne seroit pas propre dans nôtre langue, puisqu’il nous prévient sur une certaine interruption de la Cadence parfaite, qui ne se trouve certainement pas dans les Cadences qui en sont renversées, mais bien dans celle que tous nos Modernes appellent rompuë : Et puisque cet Auteur donne le nom d’irregulier à des choses qui selon nous, sont très regulieres, il faut chercher à l’appliquer plus à propos. En effet, la progression de la Cadence en question est tout à fait irreguliere, par rapport à celle de la Cadence parfaite : si la Basse Fondamentale de celle-ci doit descendre de Quinte, la Basse Fondamentale de l’autre doit au contraire monter de Quinte ; & si la Dissonance fait d’un côté la Septiéme, & doit se sauver en descendant ; de l’autre côté la Dissonance fait la Sixte, & doit se sauver en montant ; au lieu que dans les Cadences que l’on devroit appeller imparfaites, il ne s’y trouve d’imperfections qu’en ce que la Basse Fondamentale en est retranchée ; ou bien, qu’elle y est transposée ou renversée. Car bien que ces termes imparfait & irregulier soient presque synonimes, il semble néanmoins que l’imparfait approche plus du parfait que l’irregulier, ou du moins cela doit nous paroître tel dans cette conjoncture", "english": "Perhaps this is merely a dispute over names, and we should follow usage. We could agree if usage were settled. Practicing musicians care so little about terminology that they constantly confuse it, seemingly even enjoying the confusion as a way to embarrass disputants. Writers too have followed whim more than reason. If usage is authoritative, Zarlin should guide us before later authors. He discusses almost only perfect cadence, calling its inversions Cadenze fuggite*—what interrupted cadence ought to translate. To approach his meaning in French, however, we should call those inversions imperfect. “Interrupted” suggests a break in the perfect cadence, absent from inversions but present in what modern musicians call interrupted cadence. Since he applies irregular to things we find entirely regular, we should use that word more appropriately. Our cadence truly reverses the perfect cadence’s course: its fundamental rises a fifth instead of falling; its dissonant sixth rises instead of a seventh falling. Cadences properly called imperfect are imperfect only because the fundamental bass is removed, transposed, or inverted. Although imperfect and irregular are nearly synonymous, imperfect seems closer to perfect in this context.", "sources": [ { "pdf_page": 469, "source_image": "source-pages/bnf-469.png", "printed_label": "Supplement p. 5", "bbox_pixels": [ 405, 2265, 1085, 1135 ], "crop_image": "assets/supplement-062.png" }, { "pdf_page": 469, "source_image": "source-pages/bnf-469.png", "printed_label": "Supplement p. 5", "bbox_pixels": [ 1490, 400, 1120, 1650 ], "crop_image": "assets/supplement-063.png" } ] }, { "id": "supplement-064", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2861, "original": "Nous n’en avons que trop dit sur ce sujet ; passons à quelque chose de plus solide.", "english": "We have said more than enough on this subject. Let us turn to something more substantial.", "sources": [ { "pdf_page": 469, "source_image": "source-pages/bnf-469.png", "printed_label": "Supplement p. 5", "bbox_pixels": [ 1490, 2050, 1120, 115 ], "crop_image": "assets/supplement-064.png" } ] }, { "id": "supplement-065", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2862, "original": "Il s’agit encore ici d’une Dissonance pratiquée par tous les habiles Maîtres de l’Art, d’une Dissonance dont l’effet n’est pas moins agréable à l’oreille que celle que nous avons employée dans la Cadence parfaite, enfin d’une Dissonnance dont le secours nous est d’une utilité admirable dans l’Harmonie & dans la Mélodie : Cependant on a tellement gardé le silence sur son sujet, que nous ne croyons pas pouvoir nous dispenser de joindre à l’experience qui l’approuve déja, toutes les raisons qui pourront encore nous convaincre sur l’usage que nous devons en faire.", "english": "This dissonance is used by every accomplished master, pleases the ear as much as the perfect cadence’s dissonance, and greatly assists harmony and melody. Yet so little has been said about it that we must supplement approving experience with every reason clarifying its proper use.", "sources": [ { "pdf_page": 469, "source_image": "source-pages/bnf-469.png", "printed_label": "Supplement p. 5", "bbox_pixels": [ 1490, 2165, 1120, 690 ], "crop_image": "assets/supplement-065.png" } ] }, { "id": "supplement-066", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2863, "original": "Si les differentes occasions où la Dissonance peut avoir lieu, nous obligent de la distinguer par des noms differens ; ce n’est que pour en faciliter la pratique : car dans le fond il n’y en a qu’une, dont toutes les autres dérivent directement ou indirectement, comme la suite nous l’apprendra. Cette Dissonance que nous avons déja declarée sous le nom de Septiéme, se reconnoît encore plus facilement dans un intervale de Seconde, ce qui est tout un, puisque la seconde est renversée de la septiéme, ne pouvant nous empêcher de répeter ici l’ordre admirable que les raisons Harmoniques gardent en cette occasion ; lors qu’après nous avoir donné toutes les Consonnances dans les premieres divisions, elles nous donnent enfin cette Dissonance unique dans la division de la Tierce majeure, par où finissent toutes les proprietez de ces divisions, quant à l’Harmonie.", "english": "Different names for dissonance in different circumstances merely ease practice. Fundamentally there is only one, from which the others derive directly or indirectly. Already named the seventh, it is even easier to recognize as a second, its inversion. Recall the admirable order of harmonic ratios: their first divisions give every consonance; division of the major third finally gives this single dissonance, completing the harmonic properties of division.", "sources": [ { "pdf_page": 469, "source_image": "source-pages/bnf-469.png", "printed_label": "Supplement p. 5", "bbox_pixels": [ 1490, 2855, 1120, 545 ], "crop_image": "assets/supplement-066.png" }, { "pdf_page": 470, "source_image": "source-pages/bnf-470.png", "printed_label": "Supplement p. 6", "bbox_pixels": [ 405, 355, 1085, 530 ], "crop_image": "assets/supplement-068.png" } ] }, { "id": "supplement-067", "type": "footnote", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2864, "original": "* Zarlino, Terza Parte, Cap. 52. fol. 254.", "english": "* Zarlino, Terza Parte, chapter 52, folio 254.", "sources": [ { "pdf_page": 469, "source_image": "source-pages/bnf-469.png", "printed_label": "Supplement p. 5", "bbox_pixels": [ 405, 3425, 1085, 90 ], "crop_image": "assets/supplement-067.png" } ] }, { "id": "supplement-069", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2865, "original": "L’experience qui nous prouve que l’on ne peut insérer aucun Son entre deux autres Sons qui forment ensemble un intervale de Seconde (ne s’agissant ici que des Sons Diatoniques propres à l’usage de l’Harmonie & de la Mélodie) nous prouve par conséquent que deux Sons ne peuvent s’approcher de plus près ; & s’il nous étoit permis ici pour un moment de traiter des Sons, comme des corps solides, nous pourrions dire que par conséquent aussi ces deux Sons se touchent & se heurtent pour ainsi dire ; car cela peut fort bien s’entendre conformément à l’effet que produisent les Sons à l’oreille ; puisque l’on est dans l’habitude de dire que la Dissonance choque l’oreille, de même qu’à l’égard de la vûë, l’on dit que des couleurs mal assorties la choquent ; en attribuant ainsi aux Sens l’effet que produisent entr’eux les objets dont chacun de ces sens est susceptible. Et pour mieux nous convaincre encore que cette idée du choc des Sons n’est pas de nôtre pure invention ; il n’y a qu’à consulter pour cela ce que signifie à la lettre, le terme de Syncope, principalement affecté à l’usage de la Dissonance. En effet ce terme composé de ces deux mots Grecs Syn & Copto, dont l’un signifie ensemble & l’autre je frappe ou je heurte, nous donne bien à connoître que ce choc a été sensible du moment que la Dissonance s’est faite entendre. Monsieur de Brossard veut nous le prouver en partie, lorsqu’il dit, (a) qu’une Note Syncopée frappe & heurte, pour ainsi dire, les Temps naturels de la Mesure, & la main de celui qui les marque : où l’on peut remarquer cependant que cet Auteur ne parle ici que d’une cause seconde provenant sans doute du choc supposé des Sons : Car quel rapport peut avoir cette Note Syncopée avec les Temps de la Mesure &c. si ce n’est que cette Note heurtant pour lors une autre Note (prenant icy les Notes pour des Sons) fait sentir en même temps son choc dans les Temps naturels de la Mesure, & par conséquent dans la main de celui qui les marque.", "english": "Experience shows no usable diatonic sound can be inserted between two sounds a second apart, so sounds cannot approach more closely. Treating them momentarily like solid bodies, we might say they touch and collide. This fits their audible effect: dissonance is said to strike or offend the ear, just as mismatched colors offend the eye. We attribute to the senses the effect of their objects. Nor is the collision idea invented by us. Syncope, a term chiefly applied to dissonance, combines Greek syn, “together,” and copto, “I strike or collide.” The collision was evidently felt as soon as dissonance sounded. Brossard partly confirms this, sayinga that a syncopated note strikes the natural beats and the conductor’s hand. Yet he describes only a secondary cause arising from the supposed collision of sounds. How else could the syncopated note relate to the beat and hand, except by striking another note, with the collision then felt in the natural beats and the hand marking them?", "sources": [ { "pdf_page": 470, "source_image": "source-pages/bnf-470.png", "printed_label": "Supplement p. 6", "bbox_pixels": [ 405, 885, 1085, 1330 ], "crop_image": "assets/supplement-069.png" }, { "pdf_page": 470, "source_image": "source-pages/bnf-470.png", "printed_label": "Supplement p. 6", "bbox_pixels": [ 1490, 355, 1120, 1060 ], "crop_image": "assets/supplement-070.png" } ] }, { "id": "supplement-071", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2866, "original": "Si l’on veut aller plus avant, l’on trouvera que l’effet qui resulte de ce choc prétendu des Sons, a beaucoup de rapport avec celui des Corps solides, conformément aux deux propositions suivantes du R. P. Pardie : b", "english": "The supposed collision of sounds resembles the behavior of solid bodies in the following two propositions by Reverend Father Pardie:b", "sources": [ { "pdf_page": 470, "source_image": "source-pages/bnf-470.png", "printed_label": "Supplement p. 6", "bbox_pixels": [ 1490, 1415, 1120, 270 ], "crop_image": "assets/supplement-071.png" } ] }, { "id": "supplement-072", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2867, "original": "Un Corps mobile rencontrant un autre corps en repos, lui donne tout son mouvement, & demeure lui-même immobile.", "english": "A moving body encountering another body at rest gives it all its motion and itself becomes motionless.", "sources": [ { "pdf_page": 470, "source_image": "source-pages/bnf-470.png", "printed_label": "Supplement p. 6", "bbox_pixels": [ 1490, 1685, 1120, 160 ], "crop_image": "assets/supplement-072.png" } ] }, { "id": "supplement-073", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2868, "original": "Un Corps dur venant à frapper sur un autre corps inébranlable, se réfléchit avec tout son mouvement.", "english": "A hard body striking an immovable body rebounds with all its motion.", "sources": [ { "pdf_page": 470, "source_image": "source-pages/bnf-470.png", "printed_label": "Supplement p. 6", "bbox_pixels": [ 1490, 1845, 1120, 155 ], "crop_image": "assets/supplement-073.png" } ] }, { "id": "supplement-074", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2869, "original": "Le premier effet se rencontre, en quelque façon, dans la Dissonance préparée ; & le second dans la Dissonance non préparée.", "english": "The first effect appears, in a manner, in prepared dissonance; the second in unprepared dissonance.", "sources": [ { "pdf_page": 470, "source_image": "source-pages/bnf-470.png", "printed_label": "Supplement p. 6", "bbox_pixels": [ 1490, 2000, 1120, 160 ], "crop_image": "assets/supplement-074.png" } ] }, { "id": "supplement-075", "type": "heading", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2870, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 470, "source_image": "source-pages/bnf-470.png", "printed_label": "Supplement p. 6", "bbox_pixels": [ 405, 2230, 2205, 70 ], "crop_image": "assets/supplement-075.png" } ] }, { "id": "supplement-470-parfaites", "type": "music", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2871, "original": "Cadences Parfaites — dissonance préparée et non préparée.", "english": "Perfect cadences—prepared and unprepared dissonance.", "sources": [ { "pdf_page": 470, "source_image": "source-pages/bnf-470.png", "printed_label": "Supplement p. 6", "bbox_pixels": [ 475, 2300, 1150, 1030 ], "crop_image": "assets/supplement-076.png" } ], "original_title": "Cadences Parfaites — dissonance préparée et non préparée.", "english_title": "Perfect cadences—prepared and unprepared dissonance.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "supplement-470-parfaites" ], "music_asset_refs": [ "supplement-470-parfaites" ] }, { "id": "supplement-470-irregulieres", "type": "music", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2872, "original": "Cadences irregulieres — dissonance préparée et non préparée.", "english": "Irregular cadences—prepared and unprepared dissonance.", "sources": [ { "pdf_page": 470, "source_image": "source-pages/bnf-470.png", "printed_label": "Supplement p. 6", "bbox_pixels": [ 1625, 2300, 1000, 1030 ], "crop_image": "assets/supplement-077.png" } ], "original_title": "Cadences irregulieres — dissonance préparée et non préparée.", "english_title": "Irregular cadences—prepared and unprepared dissonance.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "supplement-470-irregulieres" ], "music_asset_refs": [ "supplement-470-irregulieres" ] }, { "id": "supplement-078", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2873, "original": "Les Consonances sont contenuës dans le premier Dessus, & les Dissonances dans le second Dessus.", "english": "Consonances are in the first upper part; dissonances in the second.", "sources": [ { "pdf_page": 470, "source_image": "source-pages/bnf-470.png", "printed_label": "Supplement p. 6", "bbox_pixels": [ 405, 3330, 2205, 70 ], "crop_image": "assets/supplement-078.png" } ] }, { "id": "supplement-079", "type": "footnote", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2874, "original": "a Dictionnaire de Monsieur de Brossard, au mot Syncope.", "english": "a Mr. de Brossard’s dictionary, under Syncope.", "sources": [ { "pdf_page": 470, "source_image": "source-pages/bnf-470.png", "printed_label": "Supplement p. 6", "bbox_pixels": [ 405, 3400, 2205, 65 ], "crop_image": "assets/supplement-079.png" } ] }, { "id": "supplement-080", "type": "footnote", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2875, "original": "b Le R. P. Pardie p. 147 Proposition XVIII & p. 153 Proposition XXIII.", "english": "b Reverend Father Pardie, page 147, proposition XVIII, and page 153, proposition XXIII.", "sources": [ { "pdf_page": 470, "source_image": "source-pages/bnf-470.png", "printed_label": "Supplement p. 6", "bbox_pixels": [ 405, 3465, 2205, 65 ], "crop_image": "assets/supplement-080.png" } ] }, { "id": "supplement-081", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2876, "original": "Les chiffres marquent les intervales que chaque dessus forme avec la Basse ; & les lignes tirées ainsi ↘ ↗ désignent la progression de la Dissonance, tant en descendant qu’en montant. Les Notes marquées d’un B sont les Dissonances préparées ; & les Notes marquées d’une F sont les Dissonances non préparées.", "english": "Figures show the intervals each upper part forms with the bass. Diagonal lines ↘ ↗ show dissonance moving down or up. B marks prepared dissonances; F marks unprepared dissonances.", "sources": [ { "pdf_page": 471, "source_image": "source-pages/bnf-471.png", "printed_label": "Supplement p. 7", "bbox_pixels": [ 405, 380, 1085, 370 ], "crop_image": "assets/supplement-081.png" } ] }, { "id": "supplement-082", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2877, "original": "Pour bien juger de l’effet dont il s’agit ; il n’y a qu’à remarquer dans cet Exemple, que la Dissonance B, est en repos, pendant que la Consonance A, vient la frapper, & qu’incontinent après le choc, cette Consonance demeurant immobile, oblige cette Dissonance de passer à C, qui est effectivement le lieu où la Consonance auroit pû passer ; mais elle ne le peut plus dès que la Dissonance prend sa place ; de sorte qu’il semble que pour lors la Consonance lui donne tout son mouvement. Ensuite la Consonance D, qui paroît inébranlable, après avoir reçu le choc de la Dissonance F, l’oblige de retourner à G, d’où elle étoit partie : de sorte qu’il semble encore ici que la Dissonance se réflechisse avec tout son mouvement, après avoir frappé sur la Consonance inébranlable.", "english": "In the example, dissonance B rests while consonance A strikes it. Immediately afterward the consonance stops and forces the dissonance toward C, where the consonance itself might have moved. The consonance can no longer go there once the dissonance takes its place; it seems to give the dissonance all its movement. Consonance D, meanwhile, appears immovable. Struck by dissonance F, it forces F back to its starting point G. The dissonance seems to rebound with all its motion from the immovable consonance.", "sources": [ { "pdf_page": 471, "source_image": "source-pages/bnf-471.png", "printed_label": "Supplement p. 7", "bbox_pixels": [ 405, 750, 1085, 965 ], "crop_image": "assets/supplement-082.png" } ] }, { "id": "supplement-083", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2878, "original": "Nous voyons par-là que la progression des Dissonances dépend des Consonances qui les approchent le plus : mais ce n’est pas le tout ; chacune de ces Consonances y agit encore selon son degré de perfection.", "english": "Dissonances thus depend for their movement on the nearest consonances. Moreover, each consonance acts according to its degree of perfection.", "sources": [ { "pdf_page": 471, "source_image": "source-pages/bnf-471.png", "printed_label": "Supplement p. 7", "bbox_pixels": [ 405, 1715, 1085, 260 ], "crop_image": "assets/supplement-083.png" } ] }, { "id": "supplement-084", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2879, "original": "Dans la Cadence parfaite l’on voit que l’Octave A & D qui représente le son Fondamental, oblige la Septiéme B & F de s’en éloigner en descendant : & dans la Cadence irreguliere la Quinte D & A qui dégenere autant de l’Octave que cette Cadence dégenere de la Parfaite, agit pour lors, & c’est elle qui oblige la Sixte F & B de s’en éloigner en montant ; où l’on voit sensiblement que 7 après avoir heurté 8, ne peut que descendre ; de même que 6 après avoir heurté 5, ne peut que monter. De plus, la Tierce C & G vient de tous côtez au secours de ces Dissonances qu’elle a engendrée, pour en adoucir la dureté ; conformément à nôtre remarque du chap. 2 pag. 53.", "english": "In perfect cadence, octave A and D represents the fundamental and forces seventh B and F away downward. In irregular cadence, fifth D and A departs from the octave as much as this cadence departs from perfect cadence. It forces sixth F and B away upward. Clearly 7, after striking 8, can only descend; 6, after striking 5, can only ascend. Third C and G comes to the aid of both dissonances that it generated, softening them, as noted in chapter II, page 53.", "sources": [ { "pdf_page": 471, "source_image": "source-pages/bnf-471.png", "printed_label": "Supplement p. 7", "bbox_pixels": [ 405, 1975, 1085, 795 ], "crop_image": "assets/supplement-084.png" } ] }, { "id": "supplement-085", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2880, "original": "Pour peu que l’on fasse attention à présent, à ce que l’Harmonie contenuë dans l’exemple precédent est la plus parfaite que l’on puisse employer à l’égard des Dissonances préparées ou non préparées ; sans s’attacher aux Sons que l’on y pourroit suppléer pour rendre les Accords complets ; & en se souvenant d’ailleurs que le principe de l’Harmonie résidant uniquement dans l’Accord parfait, l’on ne peut y ajoûter aucun nouveau Son qu’il ne soit Dissonant, que ce Son ajoûté n’est Dissonant * que par rapport à la Consonance dont il approche le plus ; & que c’est pour lors cette Consonnance qui détermine la progression de ce son Dissonant ; d’autant que ce son qui n’a d’autres proprietez que celles que lui donne la Consonance dont il s’approche, ne peut agir par conséquent sans le secours de cette Consonance qui fait partie du principe, l’on ne pourra gueres se dispenser de nous accorder que si l’on peut ajoûter une Sixte au premier Accord parfait d’une Cadence irreguliere, telle que l’experience l’approuve ; il faut absolument que cette Sixte soit sauvée en montant ; puisqu’elle est toûjours majeure en pareil cas ; & que la cause de cette progression irreguliere ne provient que d’une disposition entre les Sons, pareille à celle qui dans la Cadence parfaite oblige la Septiéme de se sauver en descendant, puisque encore ces deux Dissonances, qui dans le fond ne different entr’elles que par rapport à la Consonance dont elles approchent le plus (car elles forment également un intervale de Seconde ou de Septiéme par renversement avec la Consonance qui les joint) vont perdre également leur dureté sur la Consonance dont elles ont été engendrées, c’est-à-dire, sur la Tierce.", "english": "The preceding example gives the most perfect harmony for prepared or unprepared dissonance, setting aside notes that could fill out its chords. Remember that harmony’s principle lies solely in the perfect chord: any new sound added must be dissonant,* and dissonant only against its nearest consonance. That consonance determines its movement. The added sound has only the properties supplied by the neighboring consonance, which belongs to the principle. Thus, if experience permits adding a sixth to the first perfect chord of an irregular cadence, that sixth must resolve upward. It is always major here. The disposition causing this irregular movement parallels the one forcing the perfect cadence’s seventh downward. These dissonances differ only in their nearest consonance; each forms a second or inverted seventh against it. Both lose their harshness on the consonance that generated them: the third.", "sources": [ { "pdf_page": 471, "source_image": "source-pages/bnf-471.png", "printed_label": "Supplement p. 7", "bbox_pixels": [ 405, 2770, 1085, 640 ], "crop_image": "assets/supplement-085.png" }, { "pdf_page": 471, "source_image": "source-pages/bnf-471.png", "printed_label": "Supplement p. 7", "bbox_pixels": [ 1490, 380, 1120, 1385 ], "crop_image": "assets/supplement-086.png" } ] }, { "id": "supplement-087", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2881, "original": "Comme on pourroit nous opposer que les progressions de l’Exemple precédent sont arbitraires, tant à l’égard des Consonances qui précedent les Dissonances non préparées, qu’à l’égard de la Consonance C, où nous avons dit que la Consonance A, auroit pû passer ; nous répondrons à cela que, dès que ces Progressions sont bonnes, pour ne pas dire, les meilleures ; on n’en doit pas demander davantage", "english": "One might object that the example’s movements are arbitrary, both the consonances before unprepared dissonances and consonance C, to which we said A could have moved. We answer that these movements are good, if not the best; nothing more need be demanded.", "sources": [ { "pdf_page": 471, "source_image": "source-pages/bnf-471.png", "printed_label": "Supplement p. 7", "bbox_pixels": [ 1490, 1765, 1120, 540 ], "crop_image": "assets/supplement-087.png" } ] }, { "id": "supplement-088", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2882, "original": "Les trois Cadences dont nous venons de parler dans les trois derniers Chapitres, renferment tout ce que l’Harmonie a de plus essentiel ; non-seulement tous les Accords & leur progression peuvent en être tirez, mais la véritable Modulation y trouve encore son origine : Tous les Accords Consonans sont contenus dans le parfait, & tous les Dissonans proviennent d’un nouveau son ajoûté à cet Accord parfait, dont se forme un Accord de Septiéme qui les comprend tous : Car nous venons de voir déja que l’Accord de grande Sixte, formé d’une Sixte ajoûtée au premier Accord parfait de la Cadence irreguliere, pouvoit se réduire en un Accord de Septiéme. Ceux qui veulent s’instruire doivent donc bien s’attacher aux differentes proprietez de ces trois Cadences ; puisque nous n’avons plus rien à dire qui n’en dépende en quelque façon.", "english": "The three cadences discussed in the last three chapters contain everything essential to harmony. All chords and their movements, and true modulation itself, arise from them. Every consonant chord lies in the perfect chord. Dissonant chords come from adding a sound, producing the seventh chord containing them all. We have just seen that the irregular cadence’s great-sixth chord likewise reduces to a seventh chord. Students should therefore study the three cadences’ properties carefully. Everything still to be said depends upon them in some way.", "sources": [ { "pdf_page": 471, "source_image": "source-pages/bnf-471.png", "printed_label": "Supplement p. 7", "bbox_pixels": [ 1490, 2305, 1120, 995 ], "crop_image": "assets/supplement-088.png" } ] }, { "id": "supplement-089", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2883, "original": "Fin du Chapitre VII.", "english": "End of chapter VII.", "sources": [ { "pdf_page": 471, "source_image": "source-pages/bnf-471.png", "printed_label": "Supplement p. 7", "bbox_pixels": [ 1490, 3340, 1120, 80 ], "crop_image": "assets/supplement-089.png" } ] }, { "id": "supplement-090", "type": "footnote", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2884, "original": "* Voyez Chap. XIV. art. I. p. 95, 96, 97, & 98.", "english": "* See chapter XIV, article I, pages 95, 96, 97, and 98.", "sources": [ { "pdf_page": 471, "source_image": "source-pages/bnf-471.png", "printed_label": "Supplement p. 7", "bbox_pixels": [ 405, 3440, 1085, 100 ], "crop_image": "assets/supplement-090.png" } ] }, { "id": "supplement-091", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2885, "original": "Page 70. Penultiéme Alinea, La Cadence rompuë s’évite de même que la Parfaite cette premiere ligne suffit, & le reste du même alinea doit être suprimé. Ibid. ligne 3, en remontant, il y a renversée : lisez renversé.", "english": "Page 70, next-to-last paragraph: retain only its first line, “La Cadence rompuë s’évite de même que la Parfaite” (“The interrupted cadence is avoided like the perfect cadence”); delete the remainder. Third line from the bottom: replace “renversée” with “renversé” (correct the grammatical gender of “inverted”).", "sources": [ { "pdf_page": 472, "source_image": "source-pages/bnf-472.png", "printed_label": "Supplement p. 8", "bbox_pixels": [ 405, 375, 1085, 160 ], "crop_image": "assets/supplement-091.png" }, { "pdf_page": 472, "source_image": "source-pages/bnf-472.png", "printed_label": "Supplement p. 8", "bbox_pixels": [ 1490, 375, 1120, 110 ], "crop_image": "assets/supplement-092.png" } ] }, { "id": "supplement-093", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2886, "original": "Pag. 71. L’exemple suivant doit être mis à la place de celui qui se trouve dans cette Page.", "english": "Page 71: replace the example with the following.", "sources": [ { "pdf_page": 472, "source_image": "source-pages/bnf-472.png", "printed_label": "Supplement p. 8", "bbox_pixels": [ 405, 590, 2205, 135 ], "crop_image": "assets/supplement-093.png" } ] }, { "id": "supplement-472-p71", "type": "music", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2887, "original": "Exemple à cinq parties — remplacement de p71.", "english": "Five-part example replacing page 71.", "sources": [ { "pdf_page": 472, "source_image": "source-pages/bnf-472.png", "printed_label": "Supplement p. 8", "bbox_pixels": [ 435, 750, 2170, 1790 ], "crop_image": "assets/supplement-094.png" } ], "original_title": "Exemple à cinq parties — remplacement de p71.", "english_title": "Five-part example replacing page 71.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "supplement-472-p71" ], "music_asset_refs": [ "supplement-472-p71" ] }, { "id": "supplement-095", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2888, "original": "Pag. 72, Le huitiéme alinea qui commence par un X, doit être retranché.", "english": "Page 72: delete the eighth paragraph, which begins with X.", "sources": [ { "pdf_page": 472, "source_image": "source-pages/bnf-472.png", "printed_label": "Supplement p. 8", "bbox_pixels": [ 405, 2560, 1085, 105 ], "crop_image": "assets/supplement-095.png" } ] }, { "id": "supplement-096", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2889, "original": "Pag. 75, La Partie superieure de l’Exemple doit en être retranchée.", "english": "Page 75: delete the example’s upper part.", "sources": [ { "pdf_page": 472, "source_image": "source-pages/bnf-472.png", "printed_label": "Supplement p. 8", "bbox_pixels": [ 405, 2665, 1085, 110 ], "crop_image": "assets/supplement-096.png" } ] }, { "id": "supplement-097", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2890, "original": "Pag. 76, Dans la Basse par supposition de l’Exemple, à la Note marquée d’un A, il faut chiffrer 4 / 9, au lieu de 4 / 2.", "english": "Page 76: at note A in the example’s bass by supposition, write 4 over 9 instead of 4 over 2.", "sources": [ { "pdf_page": 472, "source_image": "source-pages/bnf-472.png", "printed_label": "Supplement p. 8", "bbox_pixels": [ 405, 2775, 1085, 210 ], "crop_image": "assets/supplement-097.png" } ] }, { "id": "supplement-098", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2891, "original": "Pag. 77, ligne 4, en remontant, la lettre b doit être mise ici après le mot mention & doit être effacée dans la ligne suivante : Ibid. Le chiffre 290, doit préceder celui de 291, dans la citation de Zarlino.", "english": "Page 77, fourth line from the bottom: put reference letter b after “mention” and remove it from the next line. In the Zarlino citation, put 290 before 291.", "sources": [ { "pdf_page": 472, "source_image": "source-pages/bnf-472.png", "printed_label": "Supplement p. 8", "bbox_pixels": [ 405, 2985, 1085, 115 ], "crop_image": "assets/supplement-098.png" }, { "pdf_page": 472, "source_image": "source-pages/bnf-472.png", "printed_label": "Supplement p. 8", "bbox_pixels": [ 1490, 2560, 1120, 165 ], "crop_image": "assets/supplement-099.png" } ] }, { "id": "supplement-100", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2892, "original": "Pag. 78, Alinea, ligne 7, il faut ici une petite marque au mot Onziéme, pour désigner le renvoy qui suit, Zarlin rapporte au même Chap. (folio 178) que les Pytagoriciens eurent une dispute sur ce sujet avec Ptolomée ; sur quoi il y auroit encore bien des réflexions à faire.", "english": "Page 78, paragraph, line 7: add a reference mark at “Onziéme” (eleventh) for this footnote: “Zarlin reports in the same chapter, folio 178, that the Pythagoreans disputed this with Ptolemy; there would be much more to reflect upon here.”", "sources": [ { "pdf_page": 472, "source_image": "source-pages/bnf-472.png", "printed_label": "Supplement p. 8", "bbox_pixels": [ 1490, 2725, 1120, 380 ], "crop_image": "assets/supplement-100.png" } ] }, { "id": "supplement-101", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2893, "original": "Pag. 80, La deuxiéme Portée de l’Exemple doit se trouver ainsi :", "english": "Page 80: the example’s second staff should appear as follows.", "sources": [ { "pdf_page": 472, "source_image": "source-pages/bnf-472.png", "printed_label": "Supplement p. 8", "bbox_pixels": [ 405, 3150, 1085, 110 ], "crop_image": "assets/supplement-101.png" } ] }, { "id": "supplement-472-p80", "type": "music", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2894, "original": "Deuxième portée corrigée de p80 — Tierce, Octave ; dissonance majeure introduite par l’emprunt.", "english": "Corrected second staff of page 80—third, octave; major dissonance introduced by borrowing.", "sources": [ { "pdf_page": 472, "source_image": "source-pages/bnf-472.png", "printed_label": "Supplement p. 8", "bbox_pixels": [ 1200, 3110, 1360, 275 ], "crop_image": "assets/supplement-102.png" } ], "original_title": "Deuxième portée corrigée de p80 — Tierce, Octave ; dissonance majeure introduite par l’emprunt.", "english_title": "Corrected second staff of page 80—third, octave; major dissonance introduced by borrowing.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "supplement-472-p80" ], "music_asset_refs": [ "supplement-472-p80" ] }, { "id": "supplement-103", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2895, "original": "D’ailleurs, il faut prendre garde qu’il se trouve dans cet Exemple des lignes tirées orizontalement qui partagent le discours qui concerne la même Portée ; ce qui ne doit point être, & ce que l’on doit corriger de soi-même, comme nous l’avons fait aux Pag. 57 & 62.", "english": "Horizontal lines in this example divide text belonging to the same staff. They should not do so. Readers should correct this themselves, as we have done on pages 57 and 62.", "sources": [ { "pdf_page": 472, "source_image": "source-pages/bnf-472.png", "printed_label": "Supplement p. 8", "bbox_pixels": [ 405, 3385, 1085, 110 ], "crop_image": "assets/supplement-103.png" }, { "pdf_page": 472, "source_image": "source-pages/bnf-472.png", "printed_label": "Supplement p. 8", "bbox_pixels": [ 1490, 3385, 1120, 155 ], "crop_image": "assets/supplement-104.png" }, { "pdf_page": 473, "source_image": "source-pages/bnf-473.png", "printed_label": "Supplement p. 9", "bbox_pixels": [ 405, 385, 1085, 105 ], "crop_image": "assets/supplement-105.png" } ] }, { "id": "supplement-106", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2896, "original": "Pag. 82, Alinea, aux deux dernieres lignes, il y a, Cinquiéme ou de la Sixiéme, lisez Quinte ou de la Sixte. Ibidem. Deuxiéme Alinea, ligne 2, l’Etoile mise à côté du mot Zarlin, concerne l’Exemple qui suit. Ibid. Les Citations du bas de la Page doivent être ainsi :", "english": "Page 82, paragraph, last two lines: replace “Cinquiéme ou de la Sixiéme” with “Quinte ou de la Sixte” (use the interval names fifth and sixth, rather than ordinal degree names). In the second paragraph, line 2, the star beside Zarlin refers to the following example. The footnotes should read:", "sources": [ { "pdf_page": 473, "source_image": "source-pages/bnf-473.png", "printed_label": "Supplement p. 9", "bbox_pixels": [ 405, 490, 1085, 320 ], "crop_image": "assets/supplement-106.png" } ] }, { "id": "supplement-107", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2897, "original": "(A) De Brossard, Dictionnaire de Musique, p. 91. & 110.", "english": "(A) De Brossard, Dictionnaire de Musique, pages 91 and 110.", "sources": [ { "pdf_page": 473, "source_image": "source-pages/bnf-473.png", "printed_label": "Supplement p. 9", "bbox_pixels": [ 405, 810, 1085, 105 ], "crop_image": "assets/supplement-107.png" } ] }, { "id": "supplement-108", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2898, "original": "(B) Masson, p. 74. 75. & 77.", "english": "(B) Masson, pages 74, 75, and 77.", "sources": [ { "pdf_page": 473, "source_image": "source-pages/bnf-473.png", "printed_label": "Supplement p. 9", "bbox_pixels": [ 405, 915, 1085, 55 ], "crop_image": "assets/supplement-108.png" } ] }, { "id": "supplement-109", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2899, "original": "Pag. 85, ligne 11, le mot soit doit être retranché. Ibid. Ligne 15, il y a, parlerons, lisez parlons.", "english": "Page 85, line 11: delete “soit.” Line 15: replace “parlerons” with “parlons” (shall speak → speak).", "sources": [ { "pdf_page": 473, "source_image": "source-pages/bnf-473.png", "printed_label": "Supplement p. 9", "bbox_pixels": [ 405, 970, 1085, 155 ], "crop_image": "assets/supplement-109.png" } ] }, { "id": "supplement-110", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2900, "original": "Pag. 86, Dernier Alinea, ligne 3, en remontant ; il faut faire commencer par un nouvel alinea les mots suivans. Si l’on fait monter la Basse, &c.", "english": "Page 86, last paragraph, third line from the bottom: start a new paragraph at “Si l’on fait monter la Basse,” etc. (“If the bass is made to rise,” etc.).", "sources": [ { "pdf_page": 473, "source_image": "source-pages/bnf-473.png", "printed_label": "Supplement p. 9", "bbox_pixels": [ 405, 1125, 1085, 210 ], "crop_image": "assets/supplement-110.png" } ] }, { "id": "supplement-111", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2901, "original": "Pag. 87, Les guidons qui se trouvent dans les deux Parties placées immediatement au-dessus de la Basse Fondamentale, doivent être ainsi :", "english": "Page 87: the guide signs in the two parts immediately above the fundamental bass should be as follows.", "sources": [ { "pdf_page": 473, "source_image": "source-pages/bnf-473.png", "printed_label": "Supplement p. 9", "bbox_pixels": [ 405, 1335, 1085, 220 ], "crop_image": "assets/supplement-111.png" } ] }, { "id": "supplement-473-p87", "type": "music", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2902, "original": "Guidons corrigés de p87.", "english": "Corrected guide notes for page 87.", "sources": [ { "pdf_page": 473, "source_image": "source-pages/bnf-473.png", "printed_label": "Supplement p. 9", "bbox_pixels": [ 550, 1500, 420, 470 ], "crop_image": "assets/supplement-112.png" } ], "original_title": "Guidons corrigés de p87.", "english_title": "Corrected guide notes for page 87.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "supplement-473-p87" ], "music_asset_refs": [ "supplement-473-p87" ] }, { "id": "supplement-113", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2903, "original": "Pag. 88, La Pre. Partie de l’Exemple doit être ainsi :", "english": "Page 88: the example’s first part should be as follows.", "sources": [ { "pdf_page": 473, "source_image": "source-pages/bnf-473.png", "printed_label": "Supplement p. 9", "bbox_pixels": [ 1490, 385, 1120, 105 ], "crop_image": "assets/supplement-113.png" } ] }, { "id": "supplement-473-p88", "type": "music", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2904, "original": "Première partie corrigée de p88.", "english": "Corrected first part of page 88.", "sources": [ { "pdf_page": 473, "source_image": "source-pages/bnf-473.png", "printed_label": "Supplement p. 9", "bbox_pixels": [ 1590, 405, 950, 390 ], "crop_image": "assets/supplement-114.png" } ], "original_title": "Première partie corrigée de p88.", "english_title": "Corrected first part of page 88.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "supplement-473-p88" ], "music_asset_refs": [ "supplement-473-p88" ] }, { "id": "supplement-115", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2905, "original": "Ibid. Après l’exemple, ligne 3, il y a, s’épuiser, lisez se puiser.", "english": "Same page, third line after the example: replace “s’épuiser” (be exhausted) with “se puiser” (be drawn from).", "sources": [ { "pdf_page": 473, "source_image": "source-pages/bnf-473.png", "printed_label": "Supplement p. 9", "bbox_pixels": [ 1490, 785, 1120, 105 ], "crop_image": "assets/supplement-115.png" } ] }, { "id": "supplement-116", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2906, "original": "Pag. 90, Il faut ajoûter les mots suivans à la fin du premier Alinea : Outre que deux Accords parfaits de suite en Progression diatonique de la Basse, ne seroient point dans l’ordre de la bonne Modulation.", "english": "Page 90: add at the end of the first paragraph: “Furthermore, two successive perfect chords over a diatonic bass progression would not follow proper modulation.”", "sources": [ { "pdf_page": 473, "source_image": "source-pages/bnf-473.png", "printed_label": "Supplement p. 9", "bbox_pixels": [ 1490, 890, 1120, 265 ], "crop_image": "assets/supplement-116.png" } ] }, { "id": "supplement-117", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2907, "original": "Pag. 92. Deuxiéme Alinea, ligne 1, il y a, qui, lisez, lequel. Ibid. Ligne 2, il y a, dans, lisez audessus de.", "english": "Page 92, second paragraph, line 1: replace “qui” with “lequel” (which). Line 2: replace “dans” (in) with “audessus de” (above).", "sources": [ { "pdf_page": 473, "source_image": "source-pages/bnf-473.png", "printed_label": "Supplement p. 9", "bbox_pixels": [ 1490, 1155, 1120, 155 ], "crop_image": "assets/supplement-117.png" } ] }, { "id": "supplement-118", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2908, "original": "Pag. 92, Les mots qui suivent doivent se trouver avant le dernier Alinea.", "english": "Page 92: insert the following before the last paragraph.", "sources": [ { "pdf_page": 473, "source_image": "source-pages/bnf-473.png", "printed_label": "Supplement p. 9", "bbox_pixels": [ 1490, 1310, 1120, 110 ], "crop_image": "assets/supplement-118.png" } ] }, { "id": "supplement-119", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2909, "original": "L’on peut encore faire monter la Tierce mineure sur l’Octave, pourvû que la Septiéme puisse être sous-entenduë avec cette Octave, & que dans l’Accord suivant l’on tombe sur la Consonance qui doit sauver naturellement cette Septiéme sous-entenduë.", "english": "A minor third may also rise to the octave, provided a seventh can be understood with that octave and the following chord reaches the consonance that naturally resolves the implied seventh.", "sources": [ { "pdf_page": 473, "source_image": "source-pages/bnf-473.png", "printed_label": "Supplement p. 9", "bbox_pixels": [ 1490, 1420, 1120, 325 ], "crop_image": "assets/supplement-119.png" } ] }, { "id": "supplement-120", "type": "heading", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2910, "original": "EXEMPLE.", "english": "EXAMPLE.", "sources": [ { "pdf_page": 473, "source_image": "source-pages/bnf-473.png", "printed_label": "Supplement p. 9", "bbox_pixels": [ 405, 1980, 2205, 90 ], "crop_image": "assets/supplement-120.png" } ] }, { "id": "supplement-473-p92", "type": "music", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2911, "original": "Exemple ajouté à p92 — Tierce mineure et Octave par supposition.", "english": "Added page 92 example—minor third and octave through supposition.", "sources": [ { "pdf_page": 473, "source_image": "source-pages/bnf-473.png", "printed_label": "Supplement p. 9", "bbox_pixels": [ 425, 2070, 2160, 635 ], "crop_image": "assets/supplement-121.png" } ], "original_title": "Exemple ajouté à p92 — Tierce mineure et Octave par supposition.", "english_title": "Added page 92 example—minor third and octave through supposition.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "supplement-473-p92" ], "music_asset_refs": [ "supplement-473-p92" ] }, { "id": "supplement-122", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2912, "original": "Les Notes marquées d’un (A), sont celles qui doivent sauver la Septiéme sous-entenduë laquelle est chiffrée dans la Basse.", "english": "Notes marked A must resolve the implied seventh indicated by the bass figures.", "sources": [ { "pdf_page": 473, "source_image": "source-pages/bnf-473.png", "printed_label": "Supplement p. 9", "bbox_pixels": [ 405, 2710, 1085, 170 ], "crop_image": "assets/supplement-122.png" } ] }, { "id": "supplement-123", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2913, "original": "Vous voyez icy qu’en parlant de la Tierce mineure, nous parlons en même temps des Dissonnances qui peuvent en dériver ; ce qui ne provient que des différentes dispositions de la Basse : mais il faut remarquer néanmoins que ceci regarde le goût du Chant, C’est-à-dire, que cette Octave n’est admise pour lors que par supposition ; nous en parlerons au troisiéme Livre.", "english": "In discussing the minor third, we also discuss dissonances derived from it through different bass arrangements. Notice, however, that this concerns melodic expression: the octave is admitted only by supposition. We return to this in Book III.", "sources": [ { "pdf_page": 473, "source_image": "source-pages/bnf-473.png", "printed_label": "Supplement p. 9", "bbox_pixels": [ 405, 2880, 1085, 480 ], "crop_image": "assets/supplement-123.png" } ] }, { "id": "supplement-124", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2914, "original": "De plus, si la Tierce mineure, &c. Ces derniers mots commencent le dernier Alinea de la Page 92, qu’il faut continuer jusqu’à la fin.", "english": "“De plus, si la Tierce mineure,” etc. (“Furthermore, if the minor third,” etc.) begins page 92’s last paragraph. Continue that paragraph to its end.", "sources": [ { "pdf_page": 473, "source_image": "source-pages/bnf-473.png", "printed_label": "Supplement p. 9", "bbox_pixels": [ 405, 3360, 1085, 105 ], "crop_image": "assets/supplement-124.png" }, { "pdf_page": 473, "source_image": "source-pages/bnf-473.png", "printed_label": "Supplement p. 9", "bbox_pixels": [ 1490, 2710, 1120, 65 ], "crop_image": "assets/supplement-125.png" } ] }, { "id": "supplement-126", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2915, "original": "Pag. 95, ligne 4, il y a, audessus, lisez au-dessous.", "english": "Page 95, line 4: replace “audessus” (above) with “au-dessous” (below).", "sources": [ { "pdf_page": 473, "source_image": "source-pages/bnf-473.png", "printed_label": "Supplement p. 9", "bbox_pixels": [ 1490, 2775, 1120, 105 ], "crop_image": "assets/supplement-126.png" } ] }, { "id": "supplement-127", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2916, "original": "Pag. 97, Premier Alinea, ligne 6, il y a, ce qui s’éclaircira &c. lisez ce qui a été expliqué au Chap. VII dans le Supplément, & ce qui doit toûjours être sous-entendu dans le reste de ce Chapitre.", "english": "Page 97, first paragraph, line 6: replace “ce qui s’éclaircira,” etc. (“which will be clarified,” etc.) with “what was explained in chapter VII of the Supplement, and must always be understood throughout the rest of this chapter.”", "sources": [ { "pdf_page": 473, "source_image": "source-pages/bnf-473.png", "printed_label": "Supplement p. 9", "bbox_pixels": [ 1490, 2880, 1120, 265 ], "crop_image": "assets/supplement-127.png" } ] }, { "id": "supplement-128", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2917, "original": "Pag. 98, ligne 4. il y a, Ch. XIX. lisez Ch. XVIII.", "english": "Page 98, line 4: replace chapter XIX with chapter XVIII.", "sources": [ { "pdf_page": 473, "source_image": "source-pages/bnf-473.png", "printed_label": "Supplement p. 9", "bbox_pixels": [ 1490, 3145, 1120, 55 ], "crop_image": "assets/supplement-128.png" } ] }, { "id": "supplement-129", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2918, "original": "Pag. 104, Lignes 10 & 11, il y a, Octaves consécutives, lisez Octaves ou Quintes consécutives.", "english": "Page 104, lines 10–11: replace “consecutive octaves” with “consecutive octaves or fifths.”", "sources": [ { "pdf_page": 473, "source_image": "source-pages/bnf-473.png", "printed_label": "Supplement p. 9", "bbox_pixels": [ 1490, 3200, 1120, 155 ], "crop_image": "assets/supplement-129.png" } ] }, { "id": "supplement-130", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2919, "original": "Pag. 113, Ligne penultiéme, il y a ou en exclure, lisez ou exclure.", "english": "Page 113, next-to-last line: replace “ou en exclure” with “ou exclure” (or exclude; remove en).", "sources": [ { "pdf_page": 473, "source_image": "source-pages/bnf-473.png", "printed_label": "Supplement p. 9", "bbox_pixels": [ 1490, 3355, 1120, 110 ], "crop_image": "assets/supplement-130.png" } ] }, { "id": "supplement-131", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2920, "original": "Pag. 115, La Partie superieure de l’Exemple où il est écrit, Partie ajoûtée, doit être retranchée : & le Guidon qui se trouve dans la Partie audessous, doit être AINSI :", "english": "Page 115: delete the example’s top part labeled “Partie ajoûtée” (added part). The guide sign in the part below it should be as follows.", "sources": [ { "pdf_page": 474, "source_image": "source-pages/bnf-474.png", "printed_label": "Supplement p. 10", "bbox_pixels": [ 405, 385, 1085, 220 ], "alternate_image": "source-pages/alternate/bne-478-native.png", "crop_image": "assets/supplement-131.png" } ] }, { "id": "supplement-474-p115", "type": "music", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2921, "original": "Guidon corrigé de p115.", "english": "Corrected guide note for page 115.", "sources": [ { "pdf_page": 474, "source_image": "source-pages/bnf-474.png", "printed_label": "Supplement p. 10", "bbox_pixels": [ 825, 600, 675, 245 ], "alternate_image": "source-pages/alternate/bne-478-native.png", "crop_image": "assets/supplement-132.png" } ], "original_title": "Guidon corrigé de p115.", "english_title": "Corrected guide note for page 115.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "supplement-474-p115" ], "music_asset_refs": [ "supplement-474-p115" ] }, { "id": "supplement-133", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2922, "original": "Pag. 116, Lignes 4, 5 & 6, il y a, de plus la Partie ajoûtée &c. lisez seulement, de plus ces deux Basses ne doivent point être mises audessus des autres Parties. Ibid. Deuxiéme Alinea, ligne 6, il y a, audessus, lisez audessous.", "english": "Page 116, lines 4–6: replace the passage beginning “de plus la Partie ajoûtée,” etc., with only: “Furthermore, these two basses must not be placed above the other parts.” Second paragraph, line 6: replace “audessus” (above) with “audessous” (below).", "sources": [ { "pdf_page": 474, "source_image": "source-pages/bnf-474.png", "printed_label": "Supplement p. 10", "bbox_pixels": [ 405, 845, 1085, 270 ], "alternate_image": "source-pages/alternate/bne-478-native.png", "crop_image": "assets/supplement-133.png" } ] }, { "id": "supplement-134", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2923, "original": "Pag. 117, Ligne 8, il y a, devienne-t-elle, lisez devienne telle. Ibid. Le penultiéme Alinea qui commence par ces mots : Ce n’est pas le tout, doit être retranché jusqu’au dernier Alinea qui commence par ces mots. Au reste, nos raisons, &c.", "english": "Page 117, line 8: replace “devienne-t-elle” with “devienne telle” (becomes such, rather than an inverted question). Delete the next-to-last paragraph beginning “Ce n’est pas le tout” up to the last paragraph beginning “Au reste, nos raisons,” etc.", "sources": [ { "pdf_page": 474, "source_image": "source-pages/bnf-474.png", "printed_label": "Supplement p. 10", "bbox_pixels": [ 405, 1115, 1085, 320 ], "alternate_image": "source-pages/alternate/bne-478-native.png", "crop_image": "assets/supplement-134.png" } ] }, { "id": "supplement-135", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2924, "original": "Pag. 118, Ligne 3, il y a, continuës, lisez contenuës. Ibid. Ligne 6, il y a, perfection, lisez imperfection.", "english": "Page 118, line 3: replace “continuës” (continuous) with “contenuës” (contained). Line 6: replace “perfection” with “imperfection.”", "sources": [ { "pdf_page": 474, "source_image": "source-pages/bnf-474.png", "printed_label": "Supplement p. 10", "bbox_pixels": [ 405, 1435, 1085, 155 ], "alternate_image": "source-pages/alternate/bne-478-native.png", "crop_image": "assets/supplement-135.png" } ] }, { "id": "supplement-136", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2925, "original": "Pag. 121, Dernier Alinea, ligne 2, il y a, ces Consonances, lisez les Consonances.", "english": "Page 121, last paragraph, line 2: replace “ces Consonances” (these consonances) with “les Consonances” (the consonances).", "sources": [ { "pdf_page": 474, "source_image": "source-pages/bnf-474.png", "printed_label": "Supplement p. 10", "bbox_pixels": [ 405, 1590, 1085, 110 ], "alternate_image": "source-pages/alternate/bne-478-native.png", "crop_image": "assets/supplement-136.png" } ] }, { "id": "supplement-137", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2926, "original": "Pag. 122, Dernier Alinea, ligne 4, Cet Alinea doit finir par ces mots les plus naturelles, & le reste doit être retranché.", "english": "Page 122, last paragraph, line 4: end the paragraph at “les plus naturelles” (the most natural); delete the rest.", "sources": [ { "pdf_page": 474, "source_image": "source-pages/bnf-474.png", "printed_label": "Supplement p. 10", "bbox_pixels": [ 405, 1700, 1085, 160 ], "alternate_image": "source-pages/alternate/bne-478-native.png", "crop_image": "assets/supplement-137.png" } ] }, { "id": "supplement-138", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2927, "original": "Pag. 124. ligne 2. il y a, qui, lisez, qu’on.", "english": "Page 124, line 2: replace “qui” with “qu’on.”", "sources": [ { "pdf_page": 474, "source_image": "source-pages/bnf-474.png", "printed_label": "Supplement p. 10", "bbox_pixels": [ 405, 1860, 1085, 55 ], "alternate_image": "source-pages/alternate/bne-478-native.png", "crop_image": "assets/supplement-138.png" } ] }, { "id": "supplement-139", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2928, "original": "Pag. 126. Deuxiéme Alinea, ligne 1, il y a, tous ceux qui ne sont, lisez, tous ceux qui ne se sont.", "english": "Page 126, second paragraph, line 1: replace “tous ceux qui ne sont” with “tous ceux qui ne se sont” (restore the reflexive se).", "sources": [ { "pdf_page": 474, "source_image": "source-pages/bnf-474.png", "printed_label": "Supplement p. 10", "bbox_pixels": [ 405, 1915, 1085, 150 ], "alternate_image": "source-pages/alternate/bne-478-native.png", "crop_image": "assets/supplement-139.png" } ] }, { "id": "supplement-140", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2929, "original": "Pag. 127, Ligne 2, il y a, la pratique de ceux, lisez la pratique dans ceux. Ibid. Ligne 5, il y a, Chap. XXIII, lisez Chap. XXI.", "english": "Page 127, line 2: replace “la pratique de ceux” with “la pratique dans ceux” (practice of those → practice within those). Line 5: replace chapter XXIII with chapter XXI.", "sources": [ { "pdf_page": 474, "source_image": "source-pages/bnf-474.png", "printed_label": "Supplement p. 10", "bbox_pixels": [ 405, 2065, 1085, 160 ], "alternate_image": "source-pages/alternate/bne-478-native.png", "crop_image": "assets/supplement-140.png" } ] }, { "id": "supplement-141", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2930, "original": "Pag. 128, Premier Alinea, ligne 6, il y a, s’accordant, lisez s’accordent. Ibid. Deuxieme Alinea, ligne 4, il y a, prouvient, lisez provient ; & ligne 5, il y a, dans un son, lisez dans un seul son.", "english": "Page 128, first paragraph, line 6: replace “s’accordant” with “s’accordent” (agreeing → agree). Second paragraph, line 4: correct “prouvient” to “provient”; line 5: replace “dans un son” with “dans un seul son” (in a sound → in a single sound).", "sources": [ { "pdf_page": 474, "source_image": "source-pages/bnf-474.png", "printed_label": "Supplement p. 10", "bbox_pixels": [ 405, 2225, 1085, 265 ], "alternate_image": "source-pages/alternate/bne-478-native.png", "crop_image": "assets/supplement-141.png" } ] }, { "id": "supplement-142", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2931, "original": "Pag. 130, Ligne 3, en remontant, il y a, ne dépend du, lisez ne dépend que du.", "english": "Page 130, third line from the bottom: replace “ne dépend du” with “ne dépend que du” (depends only on).", "sources": [ { "pdf_page": 474, "source_image": "source-pages/bnf-474.png", "printed_label": "Supplement p. 10", "bbox_pixels": [ 405, 2490, 1085, 110 ], "alternate_image": "source-pages/alternate/bne-478-native.png", "crop_image": "assets/supplement-142.png" } ] }, { "id": "supplement-143", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2932, "original": "Pag. 134, Lignes 5 & 6, il y a, Chapitres XXII, &c. lisez Chapitres XXI, XXII, & XXIII.", "english": "Page 134, lines 5–6: replace “chapters XXII, etc.” with “chapters XXI, XXII, and XXIII.”", "sources": [ { "pdf_page": 474, "source_image": "source-pages/bnf-474.png", "printed_label": "Supplement p. 10", "bbox_pixels": [ 405, 2600, 1085, 160 ], "alternate_image": "source-pages/alternate/bne-478-native.png", "crop_image": "assets/supplement-143.png" } ] }, { "id": "supplement-144", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2933, "original": "Pag. 135, Ligne derniere, & Page 136, ligne premiere, il y a, faire préceder, lisez faire procéder.", "english": "Page 135, last line, and page 136, first line: replace “faire préceder” (make precede) with “faire procéder” (make proceed).", "sources": [ { "pdf_page": 474, "source_image": "source-pages/bnf-474.png", "printed_label": "Supplement p. 10", "bbox_pixels": [ 405, 2760, 1085, 160 ], "alternate_image": "source-pages/alternate/bne-478-native.png", "crop_image": "assets/supplement-144.png" } ] }, { "id": "supplement-145", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2934, "original": "Pag. 136, Lignes 18 & 19, il y a, Ces Sons devant être absolument extraits de l’idée dans la preuve, lisez Ces sons devant être absolument retranchez dans la preuve. Ibid. Ligne 25, il y a, cela étant fait, lisez cela supposé.", "english": "Page 136, lines 18–19: replace “Ces Sons devant être absolument extraits de l’idée dans la preuve” (“These sounds must be entirely removed from the idea in the proof”) with “Ces sons devant être absolument retranchez dans la preuve” (“These sounds must be entirely removed in the proof”). Line 25: replace “cela étant fait” (this being done) with “cela supposé” (this being assumed).", "sources": [ { "pdf_page": 474, "source_image": "source-pages/bnf-474.png", "printed_label": "Supplement p. 10", "bbox_pixels": [ 405, 2920, 1085, 265 ], "alternate_image": "source-pages/alternate/bne-478-native.png", "crop_image": "assets/supplement-145.png" } ] }, { "id": "supplement-146", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2935, "original": "Pag. 139, Ligne 27, il y a, Chap. XXII, lisez, Chap. XXI.", "english": "Page 139, line 27: replace chapter XXII with chapter XXI.", "sources": [ { "pdf_page": 474, "source_image": "source-pages/bnf-474.png", "printed_label": "Supplement p. 10", "bbox_pixels": [ 405, 3185, 1085, 110 ], "alternate_image": "source-pages/alternate/bne-478-native.png", "crop_image": "assets/supplement-146.png" } ] }, { "id": "supplement-147", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2936, "original": "P. 142, Ligne 9, en remontant, il y a, Misse, lisez, Ulisse. Ibid. Lignes 4 & 3, en remontant, il y a, toutes les particularitez, lisez tous ces effets.", "english": "Page 142, ninth line from the bottom: replace “Misse” with “Ulisse” (Ulysses). Fourth and third lines from the bottom: replace “toutes les particularitez” (all the particulars) with “tous ces effets” (all these effects).", "sources": [ { "pdf_page": 474, "source_image": "source-pages/bnf-474.png", "printed_label": "Supplement p. 10", "bbox_pixels": [ 405, 3295, 1085, 210 ], "alternate_image": "source-pages/alternate/bne-478-native.png", "crop_image": "assets/supplement-147.png" } ] }, { "id": "supplement-148", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2937, "original": "Pag. 143, Ligne 6, il y a, qu’ils appellent, lisez, qu’il appelle.", "english": "Page 143, line 6: replace “qu’ils appellent” with “qu’il appelle” (which they call → which he calls).", "sources": [ { "pdf_page": 474, "source_image": "source-pages/bnf-474.png", "printed_label": "Supplement p. 10", "bbox_pixels": [ 1490, 385, 1120, 105 ], "alternate_image": "source-pages/alternate/bne-478-native.png", "crop_image": "assets/supplement-148.png" } ] }, { "id": "supplement-149", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2938, "original": "Pag. 145, Deuxiéme Alinea, ligne 3, Ces trois mots, par ce que, doivent être séparez : Ibid. Lignes 8 & 7, en remontant ; il y a, Ce Systême parfait n’a-t-il donc rien de particulier, &c. lisez Ce Systême parfait ne l’est-il donc plus, quand il s’agit de l’imiter ? Pourquoi, &c.", "english": "Page 145, second paragraph, line 3: separate the three words “par ce que.” Eighth and seventh lines from the bottom: replace “Does this perfect system therefore have nothing distinctive, etc.?” with “Does this perfect system cease to be perfect when we are to imitate it? Why, etc.?”", "sources": [ { "pdf_page": 474, "source_image": "source-pages/bnf-474.png", "printed_label": "Supplement p. 10", "bbox_pixels": [ 1490, 490, 1120, 375 ], "alternate_image": "source-pages/alternate/bne-478-native.png", "crop_image": "assets/supplement-149.png" } ] }, { "id": "supplement-150", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2939, "original": "Pag. 146, Ligne 13, en remontant, il y a, ainsi, lisez, & si.", "english": "Page 146, thirteenth line from the bottom: replace “ainsi” (thus) with “& si” (and if).", "sources": [ { "pdf_page": 474, "source_image": "source-pages/bnf-474.png", "printed_label": "Supplement p. 10", "bbox_pixels": [ 1490, 865, 1120, 105 ], "alternate_image": "source-pages/alternate/bne-478-native.png", "crop_image": "assets/supplement-150.png" } ] }, { "id": "supplement-151", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2940, "original": "Pag. 147, Ligne 24, il y a, établirent, lisez établir. Ibid. Ligne 3, en remontant il y a, par la Quinte & le Collateral, & où &c. lisez, par la Quinte, & le Collateral, où &c.", "english": "Page 147, line 24: replace “établirent” with “établir” (they established → establish). Third line from the bottom: replace “par la Quinte & le Collateral, & où” with “par la Quinte, & le Collateral, où” (correct the comma and remove the second &).", "sources": [ { "pdf_page": 474, "source_image": "source-pages/bnf-474.png", "printed_label": "Supplement p. 10", "bbox_pixels": [ 1490, 970, 1120, 270 ], "alternate_image": "source-pages/alternate/bne-478-native.png", "crop_image": "assets/supplement-151.png" } ] }, { "id": "supplement-152", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2941, "original": "Pag. 148, L’Exemple doit être disposé ainsi :", "english": "Page 148: arrange the example as follows.", "sources": [ { "pdf_page": 474, "source_image": "source-pages/bnf-474.png", "printed_label": "Supplement p. 10", "bbox_pixels": [ 1490, 1240, 1120, 70 ], "alternate_image": "source-pages/alternate/bne-478-native.png", "crop_image": "assets/supplement-152.png" } ] }, { "id": "supplement-474-p148", "type": "music", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2942, "original": "Exemple corrigé de p148 — premier, second et mediante.", "english": "Corrected page 148 example—first, second, and mediant.", "sources": [ { "pdf_page": 474, "source_image": "source-pages/bnf-474.png", "printed_label": "Supplement p. 10", "bbox_pixels": [ 1475, 1310, 1085, 340 ], "alternate_image": "source-pages/alternate/bne-478-native.png", "crop_image": "assets/supplement-153.png" } ], "original_title": "Exemple corrigé de p148 — premier, second et mediante.", "english_title": "Corrected page 148 example—first, second, and mediant.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "supplement-474-p148" ], "music_asset_refs": [ "supplement-474-p148" ] }, { "id": "supplement-154", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2943, "original": "Ibid. Ligne 9, en remontant, il y a, leur, lisez lui.", "english": "Same page, ninth line from the bottom: replace “leur” with “lui” (to them → to him).", "sources": [ { "pdf_page": 474, "source_image": "source-pages/bnf-474.png", "printed_label": "Supplement p. 10", "bbox_pixels": [ 1490, 1650, 1120, 110 ], "alternate_image": "source-pages/alternate/bne-478-native.png", "crop_image": "assets/supplement-154.png" } ] }, { "id": "supplement-155", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2944, "original": "Pag. 149 & 150, le Chap. coté vingt-quatriéme de la Page 157, & intitulé, De la proprieté des Modes & des Tons, doit être mis entre les deux Chap. des Pages 149 & 150.", "english": "Pages 149–150: place the chapter numbered XXIV on page 157, “On the character of modes and keys,” between the chapters on pages 149 and 150.", "sources": [ { "pdf_page": 474, "source_image": "source-pages/bnf-474.png", "printed_label": "Supplement p. 10", "bbox_pixels": [ 1490, 1760, 1120, 215 ], "alternate_image": "source-pages/alternate/bne-478-native.png", "crop_image": "assets/supplement-155.png" } ] }, { "id": "supplement-156", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2945, "original": "Pag. 150, Dernier Alinea, ligne 2, il y a, nombres deux, trois, quatre, lisez nombres 2, 3, 4. Ibid. Ligne derniere, il y a, quatre six, &c. lisez, 4, 6, 8, 10, 12. 15, 16, 20, &c. Ibid. Ligne 10, en remontant, il faut retrancher ces mots. Par une volonté contre nature.", "english": "Page 150, last paragraph, line 2: replace the spelled-out “nombres deux, trois, quatre” with “nombres 2, 3, 4.” Last line: replace spelled-out “quatre six,” etc., with “4, 6, 8, 10, 12, 15, 16, 20,” etc. Tenth line from the bottom: delete “Par une volonté contre nature” (“By a will contrary to nature”).", "sources": [ { "pdf_page": 474, "source_image": "source-pages/bnf-474.png", "printed_label": "Supplement p. 10", "bbox_pixels": [ 1490, 1975, 1120, 370 ], "alternate_image": "source-pages/alternate/bne-478-native.png", "crop_image": "assets/supplement-156.png" } ] }, { "id": "supplement-157", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2946, "original": "Pag. 151, Ligne premiere, il y a, deux, trois & cinq, lisez, 2, 3 & 5.", "english": "Page 151, first line: replace spelled-out “deux, trois & cinq” with “2, 3 & 5.”", "sources": [ { "pdf_page": 474, "source_image": "source-pages/bnf-474.png", "printed_label": "Supplement p. 10", "bbox_pixels": [ 1490, 2345, 1120, 110 ], "alternate_image": "source-pages/alternate/bne-478-native.png", "crop_image": "assets/supplement-157.png" } ] }, { "id": "supplement-158", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2947, "original": "Pag. 152, Quatriéme Alinea, ligne premiere, il y a, voudroit, lisez vaudroit. Ibid. Ligne penultiéme avant le dernier Alinea, il y a, lourré, & aux, lisez, lourré aux. Ibid. Ligne derniere, il y a, l’observerons, lisez l’observons.", "english": "Page 152, fourth paragraph, first line: replace “voudroit” (would wish) with “vaudroit” (would be worth). Next-to-last line before the last paragraph: replace “lourré, & aux” with “lourré aux.” Last line: replace “l’observerons” with “l’observons” (shall observe it → observe it).", "sources": [ { "pdf_page": 474, "source_image": "source-pages/bnf-474.png", "printed_label": "Supplement p. 10", "bbox_pixels": [ 1490, 2455, 1120, 315 ], "alternate_image": "source-pages/alternate/bne-478-native.png", "crop_image": "assets/supplement-158.png" } ] }, { "id": "supplement-159", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2948, "original": "Pag. 157, Ligne 5, il y a, & de celles, lisez & des Mesures.", "english": "Page 157, line 5: replace “& de celles” with “& des Mesures” (and of those → and of the measures).", "sources": [ { "pdf_page": 474, "source_image": "source-pages/bnf-474.png", "printed_label": "Supplement p. 10", "bbox_pixels": [ 1490, 2770, 1120, 110 ], "alternate_image": "source-pages/alternate/bne-478-native.png", "crop_image": "assets/supplement-159.png" } ] }, { "id": "supplement-160", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2949, "original": "Pag. 158, L’Exemple doit être disposé Ainsi :", "english": "Page 158: arrange the example as follows.", "sources": [ { "pdf_page": 474, "source_image": "source-pages/bnf-474.png", "printed_label": "Supplement p. 10", "bbox_pixels": [ 1490, 2880, 1120, 65 ], "alternate_image": "source-pages/alternate/bne-478-native.png", "crop_image": "assets/supplement-160.png" } ] }, { "id": "supplement-474-p158", "type": "music", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2950, "original": "Ton majeur ; Ton mineur — armures corrigées de p158.", "english": "Major key; minor key—corrected signatures for page 158.", "sources": [ { "pdf_page": 474, "source_image": "source-pages/bnf-474.png", "printed_label": "Supplement p. 10", "bbox_pixels": [ 1635, 2945, 925, 315 ], "alternate_image": "source-pages/alternate/bne-478-native.png", "crop_image": "assets/supplement-161.png" } ], "original_title": "Ton majeur ; Ton mineur — armures corrigées de p158.", "english_title": "Major key; minor key—corrected signatures for page 158.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "supplement-474-p158" ], "music_asset_refs": [ "supplement-474-p158" ] }, { "id": "supplement-162", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2951, "original": "Ibid. Ligne 5, audessous de l’Exemple, il y a, ne soit pas observé, lisez ne sont pas observez.", "english": "Same page, fifth line below the example: replace “ne soit pas observé” with “ne sont pas observez” (correct the verb and participle to the plural).", "sources": [ { "pdf_page": 474, "source_image": "source-pages/bnf-474.png", "printed_label": "Supplement p. 10", "bbox_pixels": [ 1490, 3260, 1120, 110 ], "alternate_image": "source-pages/alternate/bne-478-native.png", "crop_image": "assets/supplement-162.png" } ] }, { "id": "supplement-163", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2952, "original": "Ibid. Il faut ajoûter à la fin de ce Chapitre les mots suivans.", "english": "Add the following at the end of this chapter.", "sources": [ { "pdf_page": 474, "source_image": "source-pages/bnf-474.png", "printed_label": "Supplement p. 10", "bbox_pixels": [ 1490, 3370, 1120, 100 ], "alternate_image": "source-pages/alternate/bne-478-native.png", "crop_image": "assets/supplement-163.png" } ] }, { "id": "supplement-164", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2953, "original": "Il y a ici deux choses à remarquer ; la premiere, que comme le mouvement peut changer au milieu d’un Air ; il faut pour lors placer la Note qui doit marquer ce changement, entre deux Parentheses audessus de la Portée ; supposé que la valeur de la Note qui doit y remplir chaque Temps de la Mesure, ne soit pas la même qu’auparavant ; sinon cela seroit inutile. Voyez l’Exemple.", "english": "Two things deserve notice. First, the tempo may change within an air. If the note value filling each beat changes, place the new beat note in parentheses above the staff. If its value remains the same, this is unnecessary. See the example.", "sources": [ { "pdf_page": 475, "source_image": "source-pages/bnf-475.png", "printed_label": "Supplement p. 11", "bbox_pixels": [ 405, 315, 1085, 270 ], "crop_image": "assets/supplement-164.png" }, { "pdf_page": 475, "source_image": "source-pages/bnf-475.png", "printed_label": "Supplement p. 11", "bbox_pixels": [ 1490, 315, 1120, 220 ], "crop_image": "assets/supplement-165.png" } ] }, { "id": "supplement-475-mouvement", "type": "music", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2954, "original": "Changement de mouvement : valeurs de temps entre parenthèses.", "english": "Change of tempo: beat values in parentheses.", "sources": [ { "pdf_page": 475, "source_image": "source-pages/bnf-475.png", "printed_label": "Supplement p. 11", "bbox_pixels": [ 440, 580, 2120, 365 ], "crop_image": "assets/supplement-166.png" } ], "original_title": "Changement de mouvement : valeurs de temps entre parenthèses.", "english_title": "Change of tempo: beat values in parentheses.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "supplement-475-mouvement" ], "music_asset_refs": [ "supplement-475-mouvement" ] }, { "id": "supplement-167", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2955, "original": "La seconde chose à remarquer, est que le peu d’exactitude que l’on observe dans le nombre des ♯ & des ♭ qui se mettent après la Clef pour désigner les degrez naturels d’un Mode transposé, fait que souvent l’on est obligé d’appeller sol la Note que l’on devroit appeller Ut ; Et Ré celle que l’on devroit appeller La : De sorte qu’il est à propos de marquer ici toutes ces Transpositions comme elles devroient l’être, & d’expliquer ensuite ce qu’il faut faire, lorsqu’elles ne seront pas marquées de même.", "english": "Second, inexact numbers of sharps and flats after clefs, intended to show the natural degrees of a transposed mode, often force one to sing “sol” for a note that should be called “ut,” or “ré” for one that should be “la.” These are movable solmization syllables. We should therefore show all transpositions correctly, then explain what to do when they are not written this way.", "sources": [ { "pdf_page": 475, "source_image": "source-pages/bnf-475.png", "printed_label": "Supplement p. 11", "bbox_pixels": [ 405, 955, 1085, 315 ], "crop_image": "assets/supplement-167.png" }, { "pdf_page": 475, "source_image": "source-pages/bnf-475.png", "printed_label": "Supplement p. 11", "bbox_pixels": [ 1490, 955, 1120, 315 ], "crop_image": "assets/supplement-168.png" } ] }, { "id": "supplement-169", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2956, "original": "TOURNEZ pour voir l’Exemple de suite, dont voici l’Explication.", "english": "TURN THE PAGE for the continuing example. Its explanation follows.", "sources": [ { "pdf_page": 475, "source_image": "source-pages/bnf-475.png", "printed_label": "Supplement p. 11", "bbox_pixels": [ 405, 1300, 2205, 90 ], "crop_image": "assets/supplement-169.png" } ] }, { "id": "supplement-170", "type": "heading", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2957, "original": "EXPLICATION.", "english": "EXPLANATION.", "sources": [ { "pdf_page": 475, "source_image": "source-pages/bnf-475.png", "printed_label": "Supplement p. 11", "bbox_pixels": [ 405, 1410, 2205, 70 ], "crop_image": "assets/supplement-170.png" } ] }, { "id": "supplement-171", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2958, "original": "De même qu’il n’y a qu’un Ton majeur dont la Clef n’est accompagnée d’aucun ♯ ni ♭, de même aussi ne doit-il y avoir qu’un Ton mineur de la sorte. Cependant nos François n’en usent pas ainsi ; car dans le Mode mineur ils ne distinguent point le Ton de ré de celui de la : De sorte que pouvant prendre indifferemment l’un de ces deux Tons pour modéle, tantôt la Note Tonique y est appellée ré & tantôt la. Il y a déja du temps que cette erreur est reconnuë sans qu’on ose la corriger, par rapport, apparemment, aux Musiques écrites de cette façon : Monsieur Frere * auroit peut-être réüssi à rendre les Musiciens plus exacts en ce cas, s’il ne fut pas tombé dans une faute pour en vouloir éviter une autre : car au lieu du ♭ que nous mettons après la Clef dans le Ton mineur de ré, lequel ♭ désigne la Sixte mineure qui doit toûjours être réputée telle dans le Mode mineur ; il veut au contraire qu’on ajoûte un ♯ à ceux qui se trouvent ordinairement après la Clef de ces Tons mineurs ; Ce ♯ désignant pour lors une Sixte majeure qui détruit l’ordre de la Modulation mineure. Cet Auteur avoit cependant quelques fondemens ; son idée étoit de faire appeller du même nom, par ce moyen, chaque Note Tonique du Mode Mineur transposé. mais s’il eut eû la même prédilection pour le la que pour le ré, bien loin de détruire cet ordre naturel, il l’auroit toûjours conservé. Nous lui avons cependant l’obligation d’y avoir pensé.", "english": "Only one major key has no sharps or flats at the clef; there should likewise be only one minor key without them. French musicians do otherwise: in minor they do not distinguish D from A by signature. Either becomes the model, so the tonic is called “ré” or “la” inconsistently. This error has long been recognized, but no one dares correct it, apparently because of existing music. Mr. Frere* might have encouraged accuracy had he not replaced one error with another. Instead of the flat we place in D minor’s signature to identify the minor sixth, which must always be regarded as minor, he adds a sharp to the customary minor-key sharps. That sharp marks a major sixth and destroys minor modulation’s order. His aim nevertheless had merit: all transposed minor tonics would receive one singing syllable. Had he preferred “la” as he preferred “ré,” he would have preserved the natural order. We still owe him thanks for considering it.", "sources": [ { "pdf_page": 475, "source_image": "source-pages/bnf-475.png", "printed_label": "Supplement p. 11", "bbox_pixels": [ 405, 1480, 1085, 1690 ], "crop_image": "assets/supplement-171.png" } ] }, { "id": "supplement-172", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2959, "original": "Il vaudroit donc bien mieux (supposé que la chose parut assez de conséquence pour vouloir bien y faire attention) conformer l’ordre de tous les Tons mineurs transposez à celui de l’Octave de la, & par conséquent appeller la chaque Note Tonique de ces Tons mineurs, de même qu’on appelle ut chaque Note Tonique des Tons majeurs transposez.", "english": "If the matter is thought worth attention, it would be better to make every transposed minor key conform to A’s octave, calling every minor tonic “la,” just as every transposed major tonic is sung “ut.” These are movable syllables, not changes of sounding key.", "sources": [ { "pdf_page": 475, "source_image": "source-pages/bnf-475.png", "printed_label": "Supplement p. 11", "bbox_pixels": [ 405, 3170, 1085, 275 ], "crop_image": "assets/supplement-172.png" }, { "pdf_page": 475, "source_image": "source-pages/bnf-475.png", "printed_label": "Supplement p. 11", "bbox_pixels": [ 1490, 1480, 1120, 165 ], "crop_image": "assets/supplement-173.png" } ] }, { "id": "supplement-174", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2960, "original": "Il paroîtra dans la suite de cet ouvrage que nous n’avons fait cette reflexion qu’après coup, puisque nous disons même à la page 158. que la Note Tonique des Tons mineurs doit toûjours être appellée ré : cependant le veritable sujet de nôtre erreur vient de nôtre premier dessein, qui a été de nous conformer à l’usage autant que nous le pourrions, & de ne nous point donner pour un réformateur ennuyeux dans des choses qui semblent ne décider de rien ; & si nous n’eussions pas remarqué que nôtre régle se trouvoit contredite par la mauvaise habitude où l’on est d’obmettre un ♭ après la Clef de tous les Tons mineurs depuis celui de ré jusqu’au dernier de ceux qui portent des ♭ nous aurions toûjours gardé le silence là-dessus ; parce que nous sommes déja prévenus que la plûpart des Musiciens n’ont pas beaucoup d’égard aux nouvelles observations qui ne concernent que la maniere de rendre les choses plus simples & plus intelligibles ; & si l’on devoit même en croire ceux qui ne se guident que par leur propre experience (ce n’est pas en excepter beaucoup) tout ce qui n’est pas expliqué de la façon dont ils le pensent, passeroit peut-être pour mauvais, mais ce détail deviendroit trop long ; revenons à nôtre sujet.", "english": "The book shows that this reflection came afterward: page 158 itself says minor tonics should always be called “ré.” Our error arose from the original wish to follow usage as far as possible and avoid becoming a tedious reformer of apparently inconsequential matters. We would have remained silent had we not noticed that the customary omission of one flat from D minor through the last flat minor key contradicts our rule. We already knew most musicians pay little attention to proposals intended merely to simplify and clarify. Those guided only by their experience—and that excludes few—might even condemn anything explained differently from their own ideas. But this digression would grow too long; let us return.", "sources": [ { "pdf_page": 475, "source_image": "source-pages/bnf-475.png", "printed_label": "Supplement p. 11", "bbox_pixels": [ 1490, 1645, 1120, 1465 ], "crop_image": "assets/supplement-174.png" } ] }, { "id": "supplement-175", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2961, "original": "Si les François oublient un ♭ dans les Tons mineurs transposez, les Italiens de leur côté oublient presque tous un ♯ dans les Tons majeurs transposez, & cela, depuis le Ton de la jusqu’au dernier de ceux qui portent des ♯.", "english": "If French musicians omit a flat in transposed minor keys, almost all Italians omit a sharp in transposed major keys, from A through the last sharp key.", "sources": [ { "pdf_page": 475, "source_image": "source-pages/bnf-475.png", "printed_label": "Supplement p. 11", "bbox_pixels": [ 1490, 3110, 1120, 265 ], "crop_image": "assets/supplement-175.png" } ] }, { "id": "supplement-176", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2962, "original": "Voyez la suite de cette Explication après l’Exemple.", "english": "The explanation continues after the example.", "sources": [ { "pdf_page": 475, "source_image": "source-pages/bnf-475.png", "printed_label": "Supplement p. 11", "bbox_pixels": [ 1490, 3430, 1120, 110 ], "crop_image": "assets/supplement-176.png" } ] }, { "id": "supplement-177", "type": "footnote", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2963, "original": "* Transposition de Musique de Monsieur Frere, p. 35.", "english": "* Mr. Frere, Transposition de Musique, page 35.", "sources": [ { "pdf_page": 475, "source_image": "source-pages/bnf-475.png", "printed_label": "Supplement p. 11", "bbox_pixels": [ 405, 3480, 1085, 80 ], "crop_image": "assets/supplement-177.png" } ] }, { "id": "supplement-178", "type": "heading", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2964, "original": "ORDRE DES DIEZES ET DES B MOLS\nqui doivent être mis après la Clef, pour marquer la Transposition des Modes.", "english": "ORDER OF SHARPS AND FLATS\nto be placed after the clef to indicate transposition of the modes.", "sources": [ { "pdf_page": 476, "source_image": "source-pages/bnf-476.png", "printed_label": "Supplement p. 12", "bbox_pixels": [ 405, 355, 2205, 140 ], "crop_image": "assets/supplement-178.png" } ] }, { "id": "supplement-179", "type": "heading", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2965, "original": "Table des Modes ou Tons majeurs.", "english": "Table of major modes or keys.", "sources": [ { "pdf_page": 476, "source_image": "source-pages/bnf-476.png", "printed_label": "Supplement p. 12", "bbox_pixels": [ 405, 525, 1085, 55 ], "crop_image": "assets/supplement-179.png" } ] }, { "id": "supplement-476-majeurs", "type": "music", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2966, "original": "Table des Tons majeurs : ut, sol, ré, la, mi, si, fa♯, ut♯, fa, si♭, mi♭, la♭.", "english": "Major keys: C, G, D, A, E, B, F♯, C♯, F, B♭, E♭, A♭.", "sources": [ { "pdf_page": 476, "source_image": "source-pages/bnf-476.png", "printed_label": "Supplement p. 12", "bbox_pixels": [ 440, 590, 880, 2980 ], "crop_image": "assets/supplement-180.png" } ], "original_title": "Table des Tons majeurs : ut, sol, ré, la, mi, si, fa♯, ut♯, fa, si♭, mi♭, la♭.", "english_title": "Major keys: C, G, D, A, E, B, F♯, C♯, F, B♭, E♭, A♭.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "supplement-476-majeurs" ], "music_asset_refs": [ "supplement-476-majeurs" ] }, { "id": "supplement-181", "type": "heading", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2967, "original": "Table des Modes ou Tons mineurs.", "english": "Table of minor modes or keys.", "sources": [ { "pdf_page": 476, "source_image": "source-pages/bnf-476.png", "printed_label": "Supplement p. 12", "bbox_pixels": [ 1490, 525, 1120, 55 ], "crop_image": "assets/supplement-181.png" } ] }, { "id": "supplement-476-mineurs", "type": "music", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2968, "original": "Table des Tons mineurs : la, ré, sol, ut, fa, si♭, mi♭, mi, si, fa♯, ut♯, sol♯.", "english": "Minor keys: A, D, G, C, F, B♭, E♭, E, B, F♯, C♯, G♯.", "sources": [ { "pdf_page": 476, "source_image": "source-pages/bnf-476.png", "printed_label": "Supplement p. 12", "bbox_pixels": [ 1560, 590, 1000, 2980 ], "crop_image": "assets/supplement-182.png" } ], "original_title": "Table des Tons mineurs : la, ré, sol, ut, fa, si♭, mi♭, mi, si, fa♯, ut♯, sol♯.", "english_title": "Minor keys: A, D, G, C, F, B♭, E♭, E, B, F♯, C♯, G♯.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "supplement-476-mineurs" ], "music_asset_refs": [ "supplement-476-mineurs" ] }, { "id": "supplement-183", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2969, "original": "Pour prévenir ces défauts, supposé que l’on veuille se servir de nôtre maniere de Solfier : Il est certain qu’on ne manquera jamais en appellant Ut la Notte Tonique de tous les Tons majeurs, & La celle de tous les Tons mineurs, dont la Clef sera accompagnée d’un nombre de ♯ ou de ♭ pareil à celui que nous venons d’observer dans l’ordre précedent : mais si par hazard l’un de ces ♯ se trouvoit oublié dans les Tons majeurs, il faudroit pour lors en appeller la Notte Tonique Sol ; de même que si l’un de ces ♭ se trouvoit oublié dans les Tons mineurs, il faudroit en appeller la Notte Tonique Ré. Cependant ces observations deviendront inutiles, dès qu’on ne sçaura pas distinguer les Tons majeurs des mineurs ; & l’on fera mieux, en ce cas, d’appeller Si le dernier ♯, & Fa le dernier ♭ ; quoique cela ne laisse pas que d’être encore embarrassant, lorsque l’un de ces ♯ ou de ces ♭ manque, outre la petite difficulté qu’il y a à trouver le dernier ♯ ou ♭ : mais du moins l’on y trouvera mieux son compte, dès que l’ordre des ♯ & des ♭ que nous venons de prescrire, y sera observé.", "english": "To avoid these faults when using our solmization method, call every major tonic “ut” and every minor tonic “la” when the signature contains the number of sharps or flats specified above. If a major key lacks one sharp, call its tonic “sol” instead; if a minor key lacks one flat, call its tonic “ré.” These observations are useless, however, if one cannot distinguish major from minor. In that case it is better to call the last sharp “si” and last flat “fa.” A missing sign still makes this awkward, besides the small difficulty of finding the last sharp or flat. At least the prescribed order of signs makes the task easier.", "sources": [ { "pdf_page": 477, "source_image": "source-pages/bnf-477.png", "printed_label": "Supplement p. 13", "bbox_pixels": [ 405, 370, 1085, 635 ], "alternate_image": "source-pages/alternate/bne-481-native.png", "crop_image": "assets/supplement-183.png" }, { "pdf_page": 477, "source_image": "source-pages/bnf-477.png", "printed_label": "Supplement p. 13", "bbox_pixels": [ 1490, 370, 1120, 635 ], "alternate_image": "source-pages/alternate/bne-481-native.png", "crop_image": "assets/supplement-184.png" } ] }, { "id": "supplement-185", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2970, "original": "FIN DU CHAPITRE XXV.", "english": "END OF CHAPTER XXV.", "sources": [ { "pdf_page": 477, "source_image": "source-pages/bnf-477.png", "printed_label": "Supplement p. 13", "bbox_pixels": [ 405, 1050, 2205, 90 ], "alternate_image": "source-pages/alternate/bne-481-native.png", "crop_image": "assets/supplement-185.png" } ] }, { "id": "supplement-186", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2971, "original": "Pag. 163. ligne 1. il y a, esclavage, lisez, asservissement. Ibid. second Alinea, ligne 6. il y a, trop grande repetition, lisez, trop frequente repetition. Ibid. ligne 8. il y a, dépendent, lisez, dépendant. Ibid. ligne pénultiéme avant le Chap. XXIX. il y a, suit, lisez, fuit.", "english": "Page 163, line 1: replace “esclavage” with “asservissement” (slavery → subjection). Second paragraph, line 6: replace “trop grande repetition” with “trop frequente repetition” (too great repetition → too frequent repetition). Line 8: replace “dépendent” with “dépendant” (depend → depending). Next-to-last line before chapter XXIX: replace “suit” with “fuit” (follows → flees).", "sources": [ { "pdf_page": 477, "source_image": "source-pages/bnf-477.png", "printed_label": "Supplement p. 13", "bbox_pixels": [ 405, 1160, 1085, 220 ], "alternate_image": "source-pages/alternate/bne-481-native.png", "crop_image": "assets/supplement-186.png" }, { "pdf_page": 477, "source_image": "source-pages/bnf-477.png", "printed_label": "Supplement p. 13", "bbox_pixels": [ 1490, 1160, 1120, 110 ], "alternate_image": "source-pages/alternate/bne-481-native.png", "crop_image": "assets/supplement-187.png" } ] }, { "id": "supplement-188", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2972, "original": "Pag. 165. l’Exemple doit être ainsi :", "english": "Page 165: the example should be as follows.", "sources": [ { "pdf_page": 477, "source_image": "source-pages/bnf-477.png", "printed_label": "Supplement p. 13", "bbox_pixels": [ 1490, 1270, 1120, 55 ], "alternate_image": "source-pages/alternate/bne-481-native.png", "crop_image": "assets/supplement-188.png" } ] }, { "id": "supplement-477-p165", "type": "music", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2973, "original": "Tierces et Sixtes — exemple corrigé de p165.", "english": "Thirds and sixths—corrected page 165 example.", "sources": [ { "pdf_page": 477, "source_image": "source-pages/bnf-477.png", "printed_label": "Supplement p. 13", "bbox_pixels": [ 425, 1370, 2130, 415 ], "alternate_image": "source-pages/alternate/bne-481-native.png", "crop_image": "assets/supplement-189.png" } ], "original_title": "Tierces et Sixtes — exemple corrigé de p165.", "english_title": "Thirds and sixths—corrected page 165 example.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "supplement-477-p165" ], "music_asset_refs": [ "supplement-477-p165" ] }, { "id": "supplement-190", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2974, "original": "Pag. 167. l’Exemple doit être ainsi.", "english": "Page 167: the example should be as follows.", "sources": [ { "pdf_page": 477, "source_image": "source-pages/bnf-477.png", "printed_label": "Supplement p. 13", "bbox_pixels": [ 405, 1900, 1085, 75 ], "alternate_image": "source-pages/alternate/bne-481-native.png", "crop_image": "assets/supplement-190.png" } ] }, { "id": "supplement-477-p167", "type": "music", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2975, "original": "Accord corrigé de p167 — intervalles 1, 2, 4, 6, 7.", "english": "Corrected page 167 chord—intervals 1, 2, 4, 6, 7.", "sources": [ { "pdf_page": 477, "source_image": "source-pages/bnf-477.png", "printed_label": "Supplement p. 13", "bbox_pixels": [ 1410, 1785, 380, 280 ], "alternate_image": "source-pages/alternate/bne-481-native.png", "crop_image": "assets/supplement-191.png" } ], "original_title": "Accord corrigé de p167 — intervalles 1, 2, 4, 6, 7.", "english_title": "Corrected page 167 chord—intervals 1, 2, 4, 6, 7.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "supplement-477-p167" ], "music_asset_refs": [ "supplement-477-p167" ] }, { "id": "supplement-192", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2976, "original": "FIN DU SECOND LIVRE.", "english": "END OF BOOK II.", "sources": [ { "pdf_page": 477, "source_image": "source-pages/bnf-477.png", "printed_label": "Supplement p. 13", "bbox_pixels": [ 405, 2080, 2205, 90 ], "alternate_image": "source-pages/alternate/bne-481-native.png", "crop_image": "assets/supplement-192.png" } ] }, { "id": "supplement-193", "type": "heading", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2977, "original": "LIVRE TROISIÉME.", "english": "BOOK III.", "sources": [ { "pdf_page": 477, "source_image": "source-pages/bnf-477.png", "printed_label": "Supplement p. 13", "bbox_pixels": [ 405, 2220, 2205, 110 ], "alternate_image": "source-pages/alternate/bne-481-native.png", "crop_image": "assets/supplement-193.png" } ] }, { "id": "supplement-194", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2978, "original": "Page 271, ligne 9, il y a, l’on ne doit pas moins, &c lisez, l’on doit aussi s’exercer à chercher dans la Gamme les Intervales en descendant, où l’on trouvera &c.", "english": "Page 271, line 9: replace the passage beginning “l’on ne doit pas moins,” etc., with “One should also practice finding descending intervals in the scale, where one will find,” etc.", "sources": [ { "pdf_page": 477, "source_image": "source-pages/bnf-477.png", "printed_label": "Supplement p. 13", "bbox_pixels": [ 405, 2350, 1085, 220 ], "alternate_image": "source-pages/alternate/bne-481-native.png", "crop_image": "assets/supplement-194.png" } ] }, { "id": "supplement-195", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2979, "original": "Pag. 174, ligne, 4, ces mots, Comme il est absolument, &c. doivent commencer par un Alinea :", "english": "Page 174, line 4: begin a new paragraph with “Comme il est absolument,” etc. (“Since it is absolutely,” etc.).", "sources": [ { "pdf_page": 477, "source_image": "source-pages/bnf-477.png", "printed_label": "Supplement p. 13", "bbox_pixels": [ 405, 2570, 1085, 155 ], "alternate_image": "source-pages/alternate/bne-481-native.png", "crop_image": "assets/supplement-195.png" } ] }, { "id": "supplement-196", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2980, "original": "Pag. 176, dernier Alinea, ligne 1, il y a, Composition, lisez, comparaison.", "english": "Page 176, last paragraph, line 1: replace “Composition” with “comparaison” (composition → comparison).", "sources": [ { "pdf_page": 477, "source_image": "source-pages/bnf-477.png", "printed_label": "Supplement p. 13", "bbox_pixels": [ 405, 2725, 1085, 110 ], "alternate_image": "source-pages/alternate/bne-481-native.png", "crop_image": "assets/supplement-196.png" } ] }, { "id": "supplement-197", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2981, "original": "Pag. 178, second Alinea, ligne 9, il y a, & de même que celle-cy, lisez, & pareillement celle-cy.", "english": "Page 178, second paragraph, line 9: replace “& de même que celle-cy” with “& pareillement celle-cy” (and just as this one → and likewise this one).", "sources": [ { "pdf_page": 477, "source_image": "source-pages/bnf-477.png", "printed_label": "Supplement p. 13", "bbox_pixels": [ 405, 2835, 1085, 155 ], "alternate_image": "source-pages/alternate/bne-481-native.png", "crop_image": "assets/supplement-197.png" } ] }, { "id": "supplement-198", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2982, "original": "Pag. 179, au-dessous de la penultiéme Portée, il y a, une Ronde ou deux Blanches, &c. lisez seulement, idem.", "english": "Page 179, below the next-to-last staff: replace “une Ronde ou deux Blanches,” etc. (“one whole note or two half notes,” etc.) with only “idem” (the same).", "sources": [ { "pdf_page": 477, "source_image": "source-pages/bnf-477.png", "printed_label": "Supplement p. 13", "bbox_pixels": [ 405, 2990, 1085, 160 ], "alternate_image": "source-pages/alternate/bne-481-native.png", "crop_image": "assets/supplement-198.png" } ] }, { "id": "supplement-199", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2983, "original": "Pag. 182, ligne 1, il y a, le Mis, lisez, le ♯ Mis. Ibid Penultiéme Alinea, ligne 2, il y a, se distinguant, lisez, se distinguent. Ibid. dernier Alinea, ligne 1, il y a, pour revenir au ♯ & aux ♯, lisez, pour revenir aux ♯ & aux ♭.", "english": "Page 182, line 1: replace “le Mis” with “le ♯ Mis” (restore the sharp sign before “placed”). Next-to-last paragraph, line 2: replace “se distinguant” with “se distinguent” (being distinguished → are distinguished). Last paragraph, line 1: replace “pour revenir au ♯ & aux ♯” with “pour revenir aux ♯ & aux ♭” (returning to sharps and flats).", "sources": [ { "pdf_page": 477, "source_image": "source-pages/bnf-477.png", "printed_label": "Supplement p. 13", "bbox_pixels": [ 405, 3150, 1085, 310 ], "alternate_image": "source-pages/alternate/bne-481-native.png", "crop_image": "assets/supplement-199.png" } ] }, { "id": "supplement-200", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2984, "original": "Pag. 183, second Alinea, ligne 1, il y a, lorsque le, le ♮, lisez, lorsque le ♯, le ♮.", "english": "Page 183, second paragraph, line 1: replace “lorsque le, le ♮” with “lorsque le ♯, le ♮” (restore the omitted sharp sign).", "sources": [ { "pdf_page": 477, "source_image": "source-pages/bnf-477.png", "printed_label": "Supplement p. 13", "bbox_pixels": [ 405, 3460, 1085, 65 ], "alternate_image": "source-pages/alternate/bne-481-native.png", "crop_image": "assets/supplement-200.png" }, { "pdf_page": 477, "source_image": "source-pages/bnf-477.png", "printed_label": "Supplement p. 13", "bbox_pixels": [ 1490, 2350, 1120, 65 ], "alternate_image": "source-pages/alternate/bne-481-native.png", "crop_image": "assets/supplement-201.png" } ] }, { "id": "supplement-202", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2985, "original": "Pag. 185, second Alinea, ligne, 7 il y a, nous sous-entendons, lisez, nous sous-entendrons.", "english": "Page 185, second paragraph, line 7: replace “nous sous-entendons” (“we imply”) with “nous sous-entendrons” (“we shall imply”).", "sources": [ { "pdf_page": 477, "source_image": "source-pages/bnf-477.png", "printed_label": "Supplement p. 13", "bbox_pixels": [ 1490, 2415, 1120, 105 ], "alternate_image": "source-pages/alternate/bne-481-native.png", "crop_image": "assets/supplement-202.png" } ] }, { "id": "supplement-203", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2986, "original": "Pag. 186, ligne derniere avant le Chap. IV. il y a, de la Fondamentale, lisez, de la Taille.", "english": "Page 186, last line before Chapter IV: replace “of the fundamental bass” with “of the tenor part”.", "sources": [ { "pdf_page": 477, "source_image": "source-pages/bnf-477.png", "printed_label": "Supplement p. 13", "bbox_pixels": [ 1490, 2520, 1120, 105 ], "alternate_image": "source-pages/alternate/bne-481-native.png", "crop_image": "assets/supplement-203.png" } ] }, { "id": "supplement-204", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2987, "original": "Pag. 187, troisiéme Alinea, ligne 3, il y a, qui est la Basse, lisez, qui est dans la Basse.", "english": "Page 187, third paragraph, line 3: replace “which is the bass” with “which is in the bass”.", "sources": [ { "pdf_page": 477, "source_image": "source-pages/bnf-477.png", "printed_label": "Supplement p. 13", "bbox_pixels": [ 1490, 2625, 1120, 110 ], "alternate_image": "source-pages/alternate/bne-481-native.png", "crop_image": "assets/supplement-204.png" } ] }, { "id": "supplement-205", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2988, "original": "Pag. 192, dernier Alinea, ligne 2, il y a, être préparée & sauvée, lisez, être préparé & sauvé.", "english": "Page 192, last paragraph, line 2: replace “être préparée & sauvée” with “être préparé & sauvé” (“be prepared and resolved”); use the masculine rather than feminine French forms.", "sources": [ { "pdf_page": 477, "source_image": "source-pages/bnf-477.png", "printed_label": "Supplement p. 13", "bbox_pixels": [ 1490, 2735, 1120, 155 ], "alternate_image": "source-pages/alternate/bne-481-native.png", "crop_image": "assets/supplement-205.png" } ] }, { "id": "supplement-206", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2989, "original": "Pag. 193, premiere Portée de l’Exemple, le Guidon au-dessous de la lettre B. doit être sur le milieu marquant la Notte ut, & non pas sur la Ligne.", "english": "Page 193, first staff of the example: the cue sign below letter B should be in the middle of the space, indicating C, rather than on the line.", "sources": [ { "pdf_page": 477, "source_image": "source-pages/bnf-477.png", "printed_label": "Supplement p. 13", "bbox_pixels": [ 1490, 2890, 1120, 215 ], "alternate_image": "source-pages/alternate/bne-481-native.png", "crop_image": "assets/supplement-206.png" } ] }, { "id": "supplement-207", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2990, "original": "Pag. 198, ligne 10, il y a, de la Tierce, lisez, de la Seconde.", "english": "Page 198, line 10: replace “of the third” with “of the second”.", "sources": [ { "pdf_page": 477, "source_image": "source-pages/bnf-477.png", "printed_label": "Supplement p. 13", "bbox_pixels": [ 1490, 3105, 1120, 105 ], "alternate_image": "source-pages/alternate/bne-481-native.png", "crop_image": "assets/supplement-207.png" } ] }, { "id": "supplement-208", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2991, "original": "Pag. 202, premier Alinea qui suit le dénombrement des Accords, ligne 2, il y a, sa Médiante se porte, lisez, sa Médiante le porte.", "english": "Page 202, first paragraph after the list of chords, line 2: replace “sa Médiante se porte” (“its mediant moves”) with “sa Médiante le porte” (“its mediant bears it”).", "sources": [ { "pdf_page": 477, "source_image": "source-pages/bnf-477.png", "printed_label": "Supplement p. 13", "bbox_pixels": [ 1490, 3210, 1120, 165 ], "alternate_image": "source-pages/alternate/bne-481-native.png", "crop_image": "assets/supplement-208.png" } ] }, { "id": "supplement-209", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2992, "original": "Ibid. ligne 13, il y a, devoit, lisez, doit.", "english": "Same page, line 13: replace “devoit” (“was to” or “should”) with “doit” (“must”).", "sources": [ { "pdf_page": 477, "source_image": "source-pages/bnf-477.png", "printed_label": "Supplement p. 13", "bbox_pixels": [ 1490, 3375, 1120, 55 ], "alternate_image": "source-pages/alternate/bne-481-native.png", "crop_image": "assets/supplement-209.png" } ] }, { "id": "supplement-210", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2993, "original": "Pag. 209, pénultiéme Alinea, ligne 1, il y a, l’on ne peut faire icy la, &c. lisez, l’on ne peut faire icy la difference d’une seconde Notte à une sixiéme Notte, ni celle d’une Notte Tonique à une Dominante, parce que &c.", "english": "Page 209, next-to-last paragraph, line 1: for “one cannot here make the …”, read “one cannot here distinguish a second degree from a sixth degree, nor a tonic from a dominant, because …”.", "sources": [ { "pdf_page": 477, "source_image": "source-pages/bnf-477.png", "printed_label": "Supplement p. 13", "bbox_pixels": [ 1490, 3430, 1120, 100 ], "alternate_image": "source-pages/alternate/bne-481-native.png", "crop_image": "assets/supplement-210.png" }, { "pdf_page": 478, "source_image": "source-pages/bnf-478.png", "printed_label": "Supplement p. 14", "bbox_pixels": [ 405, 365, 1085, 170 ], "alternate_image": "source-pages/alternate/bne-482-native.png", "crop_image": "assets/supplement-211.png" } ] }, { "id": "supplement-212", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2994, "original": "Pag. 214, dernier Alinea, ligne 5 & 6, il y a, la Septiéme se trouvant, lisez, la Septiéme de cette Notte se trouvant. Ibid. ligne 3. en remontant, il y a, (Y) retranche le Ton ou la seconde &c. lisez, (Y) retranchée ; l’intervale du Ton ou de la Seconde qui se trouve entre les Nottes (Z) & (A) est formé &c.", "english": "Page 214, last paragraph, lines 5 and 6: replace “the seventh being” with “the seventh of this note being”. Same page, third line from the bottom: replace “(Y) removes the tone or the second …” with “(Y) removed; the interval of a tone or second between notes (Z) and (A) is formed …”.", "sources": [ { "pdf_page": 478, "source_image": "source-pages/bnf-478.png", "printed_label": "Supplement p. 14", "bbox_pixels": [ 405, 535, 1085, 215 ], "alternate_image": "source-pages/alternate/bne-482-native.png", "crop_image": "assets/supplement-212.png" }, { "pdf_page": 478, "source_image": "source-pages/bnf-478.png", "printed_label": "Supplement p. 14", "bbox_pixels": [ 1490, 365, 1120, 220 ], "alternate_image": "source-pages/alternate/bne-482-native.png", "crop_image": "assets/supplement-213.png" } ] }, { "id": "supplement-214", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2995, "original": "Pag. 216. ligne 19. du petit caractere, il y a, remontoit, lisez, rencontroit.", "english": "Page 216, line 19 of the small type: replace “remontoit” (“rose again”) with “rencontroit” (“encountered”).", "sources": [ { "pdf_page": 478, "source_image": "source-pages/bnf-478.png", "printed_label": "Supplement p. 14", "bbox_pixels": [ 1490, 585, 1120, 105 ], "alternate_image": "source-pages/alternate/bne-482-native.png", "crop_image": "assets/supplement-214.png" } ] }, { "id": "supplement-215", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2996, "original": "Pag. 222. l’Exemple doit être disposé ainsi.", "english": "Page 222: arrange the example as follows.", "sources": [ { "pdf_page": 478, "source_image": "source-pages/bnf-478.png", "printed_label": "Supplement p. 14", "bbox_pixels": [ 1490, 690, 1120, 70 ], "alternate_image": "source-pages/alternate/bne-482-native.png", "crop_image": "assets/supplement-215.png" } ] }, { "id": "supplement-478-p222", "type": "music", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2997, "original": "Exemple corrigé de p222 — partie à la Sixte, Basse-Continue et Basse-Fondamentale ; Cadences irregulieres A, B.", "english": "Corrected page 222 example: sixth part, continuo bass and fundamental bass; irregular cadences A and B.", "sources": [ { "pdf_page": 478, "source_image": "source-pages/bnf-478.png", "printed_label": "Supplement p. 14", "bbox_pixels": [ 425, 780, 2160, 2050 ], "alternate_image": "source-pages/alternate/bne-482-native.png", "crop_image": "assets/supplement-216.png" } ], "original_title": "Exemple corrigé de p222 — partie à la Sixte, Basse-Continue et Basse-Fondamentale ; Cadences irregulieres A, B.", "english_title": "Corrected page 222 example: sixth part, continuo bass and fundamental bass; irregular cadences A and B.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "supplement-478-p222" ], "music_asset_refs": [ "supplement-478-p222" ] }, { "id": "supplement-217", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2998, "original": "Pag. 227. le chiffre 3. qui suit la lettre G. au-dessous du second Exemple, signifie que la Notte G. fait la Tierce de la seconde Notte F. & le chiffre 5. qui suit la lettre H. dans le troisiéme Exemple, marque que la Notte H. fait la Quinte de la seconde Notte F.", "english": "Page 227: the figure 3 after letter G below the second example means that note G forms the third of the second note F. The figure 5 after letter H in the third example means that note H forms the fifth of the second note F.", "sources": [ { "pdf_page": 478, "source_image": "source-pages/bnf-478.png", "printed_label": "Supplement p. 14", "bbox_pixels": [ 405, 2870, 1085, 370 ], "alternate_image": "source-pages/alternate/bne-482-native.png", "crop_image": "assets/supplement-217.png" } ] }, { "id": "supplement-218", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 2999, "original": "Pag. 229. ligne 9. il y a, Chap. XVI. lisez, Chap. XIII.", "english": "Page 229, line 9: replace “Chapter XVI” with “Chapter XIII”.", "sources": [ { "pdf_page": 478, "source_image": "source-pages/bnf-478.png", "printed_label": "Supplement p. 14", "bbox_pixels": [ 405, 3240, 1085, 105 ], "alternate_image": "source-pages/alternate/bne-482-native.png", "crop_image": "assets/supplement-218.png" } ] }, { "id": "supplement-219", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3000, "original": "Pag. 231. ligne 2. il y a, P. lisez, D. Ibid. second Alinea, ligne 2. la lettre G. doit commencer un nouvel Alinea. Ibid. la derniere Mesure de l’Exemple doit être ainsi dans la Basse-Continuë.", "english": "Page 231, line 2: replace “P” with “D”. In the second paragraph, line 2, letter G should begin a new paragraph. The last measure of the example’s continuo bass should read as follows.", "sources": [ { "pdf_page": 478, "source_image": "source-pages/bnf-478.png", "printed_label": "Supplement p. 14", "bbox_pixels": [ 405, 3345, 1085, 160 ], "alternate_image": "source-pages/alternate/bne-482-native.png", "crop_image": "assets/supplement-219.png" }, { "pdf_page": 478, "source_image": "source-pages/bnf-478.png", "printed_label": "Supplement p. 14", "bbox_pixels": [ 1490, 2870, 1120, 115 ], "alternate_image": "source-pages/alternate/bne-482-native.png", "crop_image": "assets/supplement-220.png" } ] }, { "id": "supplement-478-p231", "type": "music", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3001, "original": "Dernière mesure de p231, Basse-Continuë.", "english": "Last measure on page 231, continuo bass.", "sources": [ { "pdf_page": 478, "source_image": "source-pages/bnf-478.png", "printed_label": "Supplement p. 14", "bbox_pixels": [ 1950, 2985, 580, 350 ], "alternate_image": "source-pages/alternate/bne-482-native.png", "crop_image": "assets/supplement-221.png" } ], "original_title": "Dernière mesure de p231, Basse-Continuë.", "english_title": "Last measure on page 231, continuo bass.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "supplement-478-p231" ], "music_asset_refs": [ "supplement-478-p231" ] }, { "id": "supplement-222", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3002, "original": "Pag. 232. troisiéme Alinea, il y a, comme N. lisez, comme à J.", "english": "Page 232, third paragraph: replace “as N” with “as at J”.", "sources": [ { "pdf_page": 478, "source_image": "source-pages/bnf-478.png", "printed_label": "Supplement p. 14", "bbox_pixels": [ 1490, 3340, 1120, 110 ], "alternate_image": "source-pages/alternate/bne-482-native.png", "crop_image": "assets/supplement-222.png" } ] }, { "id": "supplement-223", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3003, "original": "Pag. 233. Chap. 19. ligne 8. il y a, v. le second Livre, Chap. XVI. lisez, v. le second Livre, Chap. XIII.", "english": "Page 233, Chapter 19, line 8: replace “see Book II, Chapter XVI” with “see Book II, Chapter XIII”.", "sources": [ { "pdf_page": 478, "source_image": "source-pages/bnf-478.png", "printed_label": "Supplement p. 14", "bbox_pixels": [ 1490, 3450, 1120, 65 ], "alternate_image": "source-pages/alternate/bne-482-native.png", "crop_image": "assets/supplement-223.png" }, { "pdf_page": 479, "source_image": "source-pages/bnf-479.png", "printed_label": "Supplement p. 15", "bbox_pixels": [ 405, 365, 1085, 110 ], "crop_image": "assets/supplement-224.png" } ] }, { "id": "supplement-225", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3004, "original": "Pag. 234. la penultiéme Mesure de la Basse-Fondamentale doit être ainsi.", "english": "Page 234: the next-to-last measure of the fundamental bass should read as follows.", "sources": [ { "pdf_page": 479, "source_image": "source-pages/bnf-479.png", "printed_label": "Supplement p. 15", "bbox_pixels": [ 405, 475, 1085, 105 ], "crop_image": "assets/supplement-225.png" } ] }, { "id": "supplement-479-p234", "type": "music", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3005, "original": "Pénultième mesure de p234, Basse-Fondamentale.", "english": "Next-to-last measure on page 234, fundamental bass.", "sources": [ { "pdf_page": 479, "source_image": "source-pages/bnf-479.png", "printed_label": "Supplement p. 15", "bbox_pixels": [ 855, 575, 580, 265 ], "crop_image": "assets/supplement-226.png" } ], "original_title": "Pénultième mesure de p234, Basse-Fondamentale.", "english_title": "Next-to-last measure on page 234, fundamental bass.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "supplement-479-p234" ], "music_asset_refs": [ "supplement-479-p234" ] }, { "id": "supplement-227", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3006, "original": "Pag. 239. cinquiéme Alinea, ligne 4. il y a, Basse précede, lisez, Basse procede.", "english": "Page 239, fifth paragraph, line 4: replace “the bass precedes” with “the bass proceeds”.", "sources": [ { "pdf_page": 479, "source_image": "source-pages/bnf-479.png", "printed_label": "Supplement p. 15", "bbox_pixels": [ 405, 840, 1085, 105 ], "crop_image": "assets/supplement-227.png" } ] }, { "id": "supplement-228", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3007, "original": "Pag. 240. il manque un point au côté droit de la Notte Ut, par où commence chaque Portée de l’Exemple.", "english": "Page 240: a dot is missing to the right of the C that begins each staff of the example.", "sources": [ { "pdf_page": 479, "source_image": "source-pages/bnf-479.png", "printed_label": "Supplement p. 15", "bbox_pixels": [ 405, 945, 1085, 155 ], "crop_image": "assets/supplement-228.png" } ] }, { "id": "supplement-229", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3008, "original": "Pag. 245. second Alinea, ligne 5. troisiéme, & quatriéme Alinea ; & page 247. il y a plusieurs fois, de cinq en cinq, ou de quatre en quatre, lisez, de Quinte en Quinte, & de Quarte en Quarte ; ou bien lisez, par Quintes, par Quartes.", "english": "Page 245, second paragraph, line 5, and third and fourth paragraphs; also page 247: “de cinq en cinq” (“by fives”) and “de quatre en quatre” (“by fours”) occur several times. Read “de Quinte en Quinte” (“from fifth to fifth”) and “de Quarte en Quarte” (“from fourth to fourth”), or simply “by fifths” and “by fourths”.", "sources": [ { "pdf_page": 479, "source_image": "source-pages/bnf-479.png", "printed_label": "Supplement p. 15", "bbox_pixels": [ 405, 1100, 1085, 315 ], "crop_image": "assets/supplement-229.png" } ] }, { "id": "supplement-230", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3009, "original": "Pag. 252. le premier G. de l’Exemple doit être retranché. Ibid. le Dieze qui se trouve au-dessous de la Notte Mi désigné par la lettre G. doit être associé au chiffre 6. qui est au-dessus de cette même Notte. Ibid. ligne 2. il y a, chiffrez, lisés, chiffrée. Ibid. ligne 3. il y a, qui y fait entendre une Médiante, lisés, qui s’y fait entendre, n’exige absolument que l’Accord Parfait.", "english": "Page 252: remove the first G label in the example. Move the sharp below the E labelled G to the figure 6 above that same note. Line 2: replace “chiffrez” with “chiffrée”, correcting the French form of “figured”. Line 3: replace “which makes a mediant heard there” with “which is heard there requires only the perfect chord”.", "sources": [ { "pdf_page": 479, "source_image": "source-pages/bnf-479.png", "printed_label": "Supplement p. 15", "bbox_pixels": [ 405, 1415, 1085, 475 ], "crop_image": "assets/supplement-230.png" } ] }, { "id": "supplement-231", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3010, "original": "Les mots suivans doivent commencer un nouvel Alinea… Une Médiante, &c.", "english": "The following words should begin a new paragraph: “A mediant …”.", "sources": [ { "pdf_page": 479, "source_image": "source-pages/bnf-479.png", "printed_label": "Supplement p. 15", "bbox_pixels": [ 405, 1890, 1085, 110 ], "crop_image": "assets/supplement-231.png" } ] }, { "id": "supplement-232", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3011, "original": "Pag. 256. derniere ligne avant l’Alinea, il y a, de Quarte Dieze, lisez, du Tri-Ton.", "english": "Page 256, last line before the paragraph break: replace “of the sharp fourth” with “of the tritone”.", "sources": [ { "pdf_page": 479, "source_image": "source-pages/bnf-479.png", "printed_label": "Supplement p. 15", "bbox_pixels": [ 405, 2000, 1085, 105 ], "crop_image": "assets/supplement-232.png" } ] }, { "id": "supplement-233", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3012, "original": "Pag. 259. dernier Alinea, ligne 8. il y a, peuvent nous marquer ; le rapport, &c. lisez, peuvent nous marquer, a le rapport, &c.", "english": "Page 259, last paragraph, line 8: replace “peuvent nous marquer ; le rapport” (“can indicate to us; the relation …”) with “peuvent nous marquer, a le rapport” (“can indicate to us, has the relation …”).", "sources": [ { "pdf_page": 479, "source_image": "source-pages/bnf-479.png", "printed_label": "Supplement p. 15", "bbox_pixels": [ 405, 2105, 1085, 155 ], "crop_image": "assets/supplement-233.png" } ] }, { "id": "supplement-234", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3013, "original": "Pag. 260. Il faut joindre un ♭ à la Notte Mi désignée par la lettre F.", "english": "Page 260: add a ♭ to the E labelled F.", "sources": [ { "pdf_page": 479, "source_image": "source-pages/bnf-479.png", "printed_label": "Supplement p. 15", "bbox_pixels": [ 405, 2260, 1085, 105 ], "crop_image": "assets/supplement-234.png" } ] }, { "id": "supplement-235", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3014, "original": "Pag. 261. ligne derniere avant l’Exemple, il y a, on n’en put faire ainsi, lisez, on n’eût pû faire ainsi.", "english": "Page 261, last line before the example: replace “on n’en put faire ainsi” with “on n’eût pû faire ainsi”, changing the wording to “one could not have done so”.", "sources": [ { "pdf_page": 479, "source_image": "source-pages/bnf-479.png", "printed_label": "Supplement p. 15", "bbox_pixels": [ 405, 2365, 1085, 160 ], "crop_image": "assets/supplement-235.png" } ] }, { "id": "supplement-236", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3015, "original": "Pag. 262. ligne 2. il y a, Sixte dieze, lisez, Sixte majeure. Ibid. dernier Alinea, ligne 6. cette lettre, & doit être retranchée.", "english": "Page 262, line 2: replace “sharp sixth” with “major sixth”. In the last paragraph, line 6, remove the “&”.", "sources": [ { "pdf_page": 479, "source_image": "source-pages/bnf-479.png", "printed_label": "Supplement p. 15", "bbox_pixels": [ 405, 2525, 1085, 160 ], "crop_image": "assets/supplement-236.png" } ] }, { "id": "supplement-237", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3016, "original": "Pag. 266. la lettre C. doit être mise au-dessous de la premiere Notte de la Mesure où elle se trouve, & non pas au-dessous de la seconde Notte.", "english": "Page 266: place letter C below the first note of its measure, rather than below the second note.", "sources": [ { "pdf_page": 479, "source_image": "source-pages/bnf-479.png", "printed_label": "Supplement p. 15", "bbox_pixels": [ 405, 2685, 1085, 210 ], "crop_image": "assets/supplement-237.png" } ] }, { "id": "supplement-238", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3017, "original": "Pag. 267. il doit se trouver un A. au-dessous du premier Ré dans l’Exemple.", "english": "Page 267: place an A below the example’s first D.", "sources": [ { "pdf_page": 479, "source_image": "source-pages/bnf-479.png", "printed_label": "Supplement p. 15", "bbox_pixels": [ 405, 2895, 1085, 110 ], "crop_image": "assets/supplement-238.png" } ] }, { "id": "supplement-239", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3018, "original": "Pag. 268. ligne derniere avant l’Alinea, il y a, Chap. XX. des Licences, lisez, Chap. XVII. du second Livre.", "english": "Page 268, last line before the paragraph break: replace “Chapter XX, on licenses” with “Chapter XVII of Book II”.", "sources": [ { "pdf_page": 479, "source_image": "source-pages/bnf-479.png", "printed_label": "Supplement p. 15", "bbox_pixels": [ 405, 3005, 1085, 155 ], "crop_image": "assets/supplement-239.png" } ] }, { "id": "supplement-240", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3019, "original": "Pag. 269. ligne 2. en remontant, il y a, ne diminuent rien, lisez, ne dominent rien.", "english": "Page 269, second line from the bottom: replace “ne diminuent rien” (“diminish nothing”) with “ne dominent rien” (“dominate nothing”).", "sources": [ { "pdf_page": 479, "source_image": "source-pages/bnf-479.png", "printed_label": "Supplement p. 15", "bbox_pixels": [ 405, 3160, 1085, 105 ], "crop_image": "assets/supplement-240.png" } ] }, { "id": "supplement-241", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3020, "original": "Pag. 276. ligne 2. il y a, Quintes dieze, lisez, Quintes superfluës.", "english": "Page 276, line 2: replace “sharp fifths” with “augmented fifths”.", "sources": [ { "pdf_page": 479, "source_image": "source-pages/bnf-479.png", "printed_label": "Supplement p. 15", "bbox_pixels": [ 405, 3265, 1085, 110 ], "crop_image": "assets/supplement-241.png" } ] }, { "id": "supplement-242", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3021, "original": "Pag. 277. dernier Alinea, lignes 4. & 5, il faut retrancher ces mots, bien que la Septiéme ne convienne que dans la préparation de la Onziéme héteroclite.", "english": "Page 277, last paragraph, lines 4 and 5: delete “although the seventh is suitable only in preparing the irregular eleventh”.", "sources": [ { "pdf_page": 479, "source_image": "source-pages/bnf-479.png", "printed_label": "Supplement p. 15", "bbox_pixels": [ 405, 3375, 1085, 150 ], "crop_image": "assets/supplement-242.png" }, { "pdf_page": 479, "source_image": "source-pages/bnf-479.png", "printed_label": "Supplement p. 15", "bbox_pixels": [ 1490, 365, 1120, 55 ], "crop_image": "assets/supplement-243.png" } ] }, { "id": "supplement-244", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3022, "original": "Pag. 278. il faut mettre la lettre A au-dessus de la premiere Notte de la penultiéme Mesure dans l’Exemple de la Basse-Continuë.", "english": "Page 278: put letter A above the first note of the next-to-last measure in the continuo-bass example.", "sources": [ { "pdf_page": 479, "source_image": "source-pages/bnf-479.png", "printed_label": "Supplement p. 15", "bbox_pixels": [ 1490, 420, 1120, 160 ], "crop_image": "assets/supplement-244.png" } ] }, { "id": "supplement-245", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3023, "original": "Pag. 281. dans le premier Exemple, il faut un ♯ au côté gauche de la Notte Ut, & un autre au côté droit du mot Ut ; & dans le second Exemple, il faut retrancher le ♯ associé au chiffre 7.", "english": "Page 281, first example: add a ♯ to the left of the C note and another to the right of the word “Ut” (C). In the second example, remove the ♯ attached to figure 7.", "sources": [ { "pdf_page": 479, "source_image": "source-pages/bnf-479.png", "printed_label": "Supplement p. 15", "bbox_pixels": [ 1490, 580, 1120, 265 ], "crop_image": "assets/supplement-245.png" } ] }, { "id": "supplement-246", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3024, "original": "Pag. 282. ligne 2. il y a, Deuxiéme, lisez, Seconde. Ibid. il y a, Cinquiéme, lisez, Quinte.", "english": "Page 282, line 2: replace “Deuxiéme” with “Seconde” (both mean “second”; the latter is the interval name). On the same page replace “Cinquiéme” with “Quinte” (the interval “fifth”).", "sources": [ { "pdf_page": 479, "source_image": "source-pages/bnf-479.png", "printed_label": "Supplement p. 15", "bbox_pixels": [ 1490, 845, 1120, 105 ], "crop_image": "assets/supplement-246.png" } ] }, { "id": "supplement-247", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3025, "original": "Pag. 284. à la fin du troisiéme Alinea, il y a, Basse, il faut seulement la lettre B.", "english": "Page 284, end of the third paragraph: replace “Basse” (“bass”) with the letter B alone.", "sources": [ { "pdf_page": 479, "source_image": "source-pages/bnf-479.png", "printed_label": "Supplement p. 15", "bbox_pixels": [ 1490, 950, 1120, 105 ], "crop_image": "assets/supplement-247.png" } ] }, { "id": "supplement-248", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3026, "original": "Pag. 287. il faut un ♯, au lieu d’un ♮ à côté de la deuxiéme Notte de la premiere Portée de l’Exemple, & le ♮ doit être mis à côté de l’autre Notte en même degré qui suit immédiatement celle qui vient d’être citée.", "english": "Page 287: place a ♯ instead of a ♮ beside the second note on the example’s first staff. Move the ♮ to the immediately following note at the same degree.", "sources": [ { "pdf_page": 479, "source_image": "source-pages/bnf-479.png", "printed_label": "Supplement p. 15", "bbox_pixels": [ 1490, 1055, 1120, 265 ], "crop_image": "assets/supplement-248.png" } ] }, { "id": "supplement-249", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3027, "original": "Pag. 288. ligne 6. il y a, Chap. XXXI. lisez, Chap. XXIX. p. 274.", "english": "Page 288, line 6: replace “Chapter XXXI” with “Chapter XXIX, page 274”.", "sources": [ { "pdf_page": 479, "source_image": "source-pages/bnf-479.png", "printed_label": "Supplement p. 15", "bbox_pixels": [ 1490, 1320, 1120, 105 ], "crop_image": "assets/supplement-249.png" } ] }, { "id": "supplement-250", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3028, "original": "Pag. 290. les trois derniers Alinea doivent être retranchez, & il faut mettre à leur place ; Pour achever de se convaincre sur la verité des Regles contenuës dans ce Livre, il est à propos de voir les observations que nous faisons sur l’établissement des Regles au second Livre, Chap. XVIII. p. 25. & à l’égard du Chromatique, il est bon d’avertir qu’il peut se pratiquer dans les Tons majeurs sur la Tierce majeure d’une Dominante, qui devient ensuite Septiéme d’une autre Dominante en descendant d’un semi-Ton ; ou bien faisant monter d’un semi-Ton la quatriéme Notte sur la Notte sensible d’un nouveau Ton.", "english": "Page 290: remove the last three paragraphs and replace them with the following. To become fully convinced of the truth of this book’s rules, consult our observations on establishing the rules in Book II, Chapter XVIII, page 25. As for chromatic motion, note that it may be used in major keys on the major third of a dominant, which then descends a semitone to become the seventh of another dominant; or by raising the fourth degree a semitone to the leading note of a new key.", "sources": [ { "pdf_page": 479, "source_image": "source-pages/bnf-479.png", "printed_label": "Supplement p. 15", "bbox_pixels": [ 1490, 1425, 1120, 795 ], "crop_image": "assets/supplement-250.png" } ] }, { "id": "supplement-251", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3029, "original": "Pag. 293. l’Exemple doit être Ainsi.", "english": "Page 293: the example should read as follows.", "sources": [ { "pdf_page": 479, "source_image": "source-pages/bnf-479.png", "printed_label": "Supplement p. 15", "bbox_pixels": [ 1490, 2220, 1120, 55 ], "crop_image": "assets/supplement-251.png" } ] }, { "id": "supplement-479-p293", "type": "music", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3030, "original": "Exemple corrigé de p293 — accords A et B.", "english": "Corrected page 293 example: chords A and B.", "sources": [ { "pdf_page": 479, "source_image": "source-pages/bnf-479.png", "printed_label": "Supplement p. 15", "bbox_pixels": [ 1510, 2275, 1065, 350 ], "crop_image": "assets/supplement-252.png" } ], "original_title": "Exemple corrigé de p293 — accords A et B.", "english_title": "Corrected page 293 example: chords A and B.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "supplement-479-p293" ], "music_asset_refs": [ "supplement-479-p293" ] }, { "id": "supplement-253", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3031, "original": "Pag. 294. sixiéme Alinea, il y a, la Cinquiéme, lisez, la Quinte. Ibid. les mots suivans doivent être ajoûtez par un nouvel Alinea, immédiatement avant l’Article IV…", "english": "Page 294, sixth paragraph: replace “la Cinquiéme” with “la Quinte” (the interval “fifth”). Add the following as a new paragraph immediately before Article IV:", "sources": [ { "pdf_page": 479, "source_image": "source-pages/bnf-479.png", "printed_label": "Supplement p. 15", "bbox_pixels": [ 1490, 2625, 1120, 215 ], "crop_image": "assets/supplement-253.png" } ] }, { "id": "supplement-254", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3032, "original": "Quelquefois le Tri-Ton se trouve sur une autre Notte que sur la Quatriéme ; & la fausse-Quinte sur une autre que sur la Sensible. mais pour lors ces Intervales ne sont plus l’objet de l’Accord, ils ne servent que d’Accompagnement, & c’est la Modulation qui oblige de les alterer ; de même que dans la Progression des Septiémes que nous venons de voir, il s’en trouve d’alterées, c’est-à-dire, qui ne sont pas dans leur juste proportion. Il ne faut donc jamais se mettre en peine de cette alteration, dès que l’on sçait l’Accord qui doit être employé, & le Ton dans lequel on est. Car ce sont les degrez successifs de la voix naturelle contenus dans l’étenduë de l’Octave du Ton ou du Mode dans lequel on est, qui détermine la justesse ou l’alteration d’un Intervale qui fait partie d’un Accord.", "english": "Sometimes a tritone occurs on a note other than the fourth degree, and a diminished fifth on a note other than the leading note. These intervals then no longer define the chord: they serve only as accompaniment, and the modulation requires their alteration. Likewise, some sevenths in the progression just seen are altered, meaning that they do not have their ordinary proportion. Never worry about such alteration once you know the required chord and the current key. The successive degrees of the natural voice within the octave of that key or mode determine whether an interval belonging to a chord is ordinary or altered.", "sources": [ { "pdf_page": 479, "source_image": "source-pages/bnf-479.png", "printed_label": "Supplement p. 15", "bbox_pixels": [ 1490, 2840, 1120, 685 ], "crop_image": "assets/supplement-254.png" }, { "pdf_page": 480, "source_image": "source-pages/bnf-480.png", "printed_label": "Supplement p. 16", "bbox_pixels": [ 405, 350, 1085, 275 ], "crop_image": "assets/supplement-255.png" } ] }, { "id": "supplement-256", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3033, "original": "Pag. 296. ligne derniere avant l’Art. VII. il y a, & dans le second Livre les Chap. &c. lisez, & dans le second Livre tous les Chap. où il est parlé de la Mesure.", "english": "Page 296, last line before Article VII: replace “and in Book II, the chapters …” with “and in Book II, all the chapters discussing meter”.", "sources": [ { "pdf_page": 480, "source_image": "source-pages/bnf-480.png", "printed_label": "Supplement p. 16", "bbox_pixels": [ 405, 625, 1085, 210 ], "crop_image": "assets/supplement-256.png" } ] }, { "id": "supplement-257", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3034, "original": "Pag. 299. Chap. XXXVI. penultiéme Alinea, il y a, d’une Consonance parfaite une imparfaite, lisez, d’une Consonance parfaite à une imparfaite.", "english": "Page 299, Chapter XXXVI, next-to-last paragraph: replace “d’une Consonance parfaite une imparfaite” with “d’une Consonance parfaite à une imparfaite”, supplying the missing “à” (“from a perfect consonance to an imperfect one”).", "sources": [ { "pdf_page": 480, "source_image": "source-pages/bnf-480.png", "printed_label": "Supplement p. 16", "bbox_pixels": [ 405, 835, 1085, 210 ], "crop_image": "assets/supplement-257.png" } ] }, { "id": "supplement-258", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3035, "original": "Pag. 309. le chiffre 6. qui est au-dessus de la Notte Sol dans la seconde Mesure de la Basse figurée, doit être retranché ; & le chiffre 6. qui est au-dessous de la Notte La dans la penultiéme Mesure de la même Basse, doit être mis au-dessus. Ibid. dernier Alinea, il y a, les chiffres qui sont au-dessus, lisez, les chiffres qui sont au-dessous.", "english": "Page 309: remove the figure 6 above G in the second measure of the figured bass. Move the 6 below A in the next-to-last measure of the same bass above that note. In the last paragraph, replace “the figures above” with “the figures below”.", "sources": [ { "pdf_page": 480, "source_image": "source-pages/bnf-480.png", "printed_label": "Supplement p. 16", "bbox_pixels": [ 405, 1045, 1085, 325 ], "crop_image": "assets/supplement-258.png" }, { "pdf_page": 480, "source_image": "source-pages/bnf-480.png", "printed_label": "Supplement p. 16", "bbox_pixels": [ 1490, 350, 1120, 110 ], "crop_image": "assets/supplement-259.png" } ] }, { "id": "supplement-260", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3036, "original": "Pag. 310. ligne 7. il y a, même dans le premier, lisez, & sur tout dans le premier.", "english": "Page 310, line 7: replace “even in the first” with “and especially in the first”.", "sources": [ { "pdf_page": 480, "source_image": "source-pages/bnf-480.png", "printed_label": "Supplement p. 16", "bbox_pixels": [ 1490, 460, 1120, 110 ], "crop_image": "assets/supplement-260.png" } ] }, { "id": "supplement-261", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3037, "original": "Pag. 315. premier Alinea, ligne 6. en remontant, il y a, Chap. XXV. & XXVI. lisez, XXIV. & XXV.", "english": "Page 315, first paragraph, sixth line from the bottom: replace “Chapters XXV and XXVI” with “XXIV and XXV”.", "sources": [ { "pdf_page": 480, "source_image": "source-pages/bnf-480.png", "printed_label": "Supplement p. 16", "bbox_pixels": [ 1490, 570, 1120, 160 ], "crop_image": "assets/supplement-261.png" } ] }, { "id": "supplement-262", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3038, "original": "Pag. 316. ligne 2. il y a, Deuxiéme, lisez, Seconde. Ibid. second Alinea, ligne derniere, il y a, Ton, lisez, Temps.", "english": "Page 316, line 2: replace “Deuxiéme” with “Seconde”, the interval name for a second. In the second paragraph’s last line, replace “Ton” (“tone”) with “Temps” (“beat”).", "sources": [ { "pdf_page": 480, "source_image": "source-pages/bnf-480.png", "printed_label": "Supplement p. 16", "bbox_pixels": [ 1490, 730, 1120, 160 ], "crop_image": "assets/supplement-262.png" } ] }, { "id": "supplement-263", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3039, "original": "Pag. 317. ligne derniere, il y a, je ne puis, lisez, je puis.", "english": "Page 317, last line: replace “I cannot” with “I can”.", "sources": [ { "pdf_page": 480, "source_image": "source-pages/bnf-480.png", "printed_label": "Supplement p. 16", "bbox_pixels": [ 1490, 890, 1120, 110 ], "crop_image": "assets/supplement-263.png" } ] }, { "id": "supplement-264", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3040, "original": "Pag. 336. Alinea chiffré 40. ligne 10. il y a, & nous avons dit, lisez, & si nous avons dit.", "english": "Page 336, paragraph numbered 40, line 10: replace “and we have said” with “and if we have said”.", "sources": [ { "pdf_page": 480, "source_image": "source-pages/bnf-480.png", "printed_label": "Supplement p. 16", "bbox_pixels": [ 1490, 1000, 1120, 110 ], "crop_image": "assets/supplement-264.png" } ] }, { "id": "supplement-265", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3041, "original": "Pag. 357. ligne 1. il y a, nous guide, l’on peut, lisez, nous guide, & l’on peut. Ibid. ligne 4. il y a, parties, trouver, lisez, parties, & trouver. Ibid. ligne 7. en remontant, il y a, Tons, lisez, Temps.", "english": "Page 357, line 1: replace “guides us, one may” with “guides us, and one may”. Line 4: replace “parts, find” with “parts, and find”. Seventh line from the bottom: replace “Tons” (“tones”) with “Temps” (“beats”).", "sources": [ { "pdf_page": 480, "source_image": "source-pages/bnf-480.png", "printed_label": "Supplement p. 16", "bbox_pixels": [ 1490, 1110, 1120, 265 ], "crop_image": "assets/supplement-265.png" } ] }, { "id": "supplement-266", "type": "heading", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3042, "original": "LIVRE QUATRIÉME.", "english": "BOOK IV.", "sources": [ { "pdf_page": 480, "source_image": "source-pages/bnf-480.png", "printed_label": "Supplement p. 16", "bbox_pixels": [ 405, 1460, 2205, 95 ], "crop_image": "assets/supplement-266.png" } ] }, { "id": "supplement-267", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3043, "original": "Page 366. septiéme Alinea, il y a, il ne faut s’attacher à présent qu’à distinguer les Tierces des Sixtes, les Majeurs des Mineurs, &c., lisez, il ne faut s’attacher à présent qu’à distinguer les Tierces majeures des mineures, & les Sixtes majeures des mineures, &c. Ibid. ligne 5. du petit caractere en remontant, il y a, la Septiéme diminuée de 4. Tons & demi d’Ut à Si ♭, de Sol à Fa, lisez, la Septiéme diminuée de 4. Tons & demi, comme d’Ut ♯ à Si ♭, de Sol ♯ à Fa, &c.", "english": "Page 366, seventh paragraph: replace “for now, distinguish thirds from sixths, majors from minors …” with “for now, distinguish major thirds from minor thirds, and major sixths from minor sixths …”. Fifth line from the bottom in the small type: replace “the diminished seventh of 4½ tones, C to B♭, G to F” with “the diminished seventh of 4½ tones, as C♯ to B♭, G♯ to F, etc.”.", "sources": [ { "pdf_page": 480, "source_image": "source-pages/bnf-480.png", "printed_label": "Supplement p. 16", "bbox_pixels": [ 405, 1580, 1085, 580 ], "crop_image": "assets/supplement-267.png" } ] }, { "id": "supplement-268", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3044, "original": "Pag. 367. ces mots… Tierces mineures, doivent être mis au-dessus de la seconde Portée de l’Exemple.", "english": "Page 367: place the heading “Minor thirds” above the example’s second staff.", "sources": [ { "pdf_page": 480, "source_image": "source-pages/bnf-480.png", "printed_label": "Supplement p. 16", "bbox_pixels": [ 405, 2160, 1085, 160 ], "crop_image": "assets/supplement-268.png" } ] }, { "id": "supplement-269", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3045, "original": "Pag. 368. il faut retrancher le ♯ qui est à côté de la Notte Ré dans la quatriéme Mesure de l’Exemple des Sixtes majeures.", "english": "Page 368: remove the ♯ beside D in the fourth measure of the major-sixths example.", "sources": [ { "pdf_page": 480, "source_image": "source-pages/bnf-480.png", "printed_label": "Supplement p. 16", "bbox_pixels": [ 405, 2320, 1085, 160 ], "crop_image": "assets/supplement-269.png" } ] }, { "id": "supplement-270", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3046, "original": "Pag. 369. ligne 6. en remontant, il y a, Seconde dieze, & Tierce ♭ mol, lisez, Seconde superfluë & Tierce mineure.", "english": "Page 369, sixth line from the bottom: replace “sharp second and flat third” with “augmented second and minor third”.", "sources": [ { "pdf_page": 480, "source_image": "source-pages/bnf-480.png", "printed_label": "Supplement p. 16", "bbox_pixels": [ 405, 2480, 1085, 160 ], "crop_image": "assets/supplement-270.png" } ] }, { "id": "supplement-271", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3047, "original": "Pag. 382. quatriéme Portée en remontant, dans la cinquiéme Mesure, le chiffre 3. doit remplacer le chiffre 4. & dans la penultiéme Mesure de la même Portée, il faut ajoûter la Notte Fa, ainsi.", "english": "Page 382, fourth staff counting from the bottom: in measure 5 replace figure 4 with 3. In the next-to-last measure of that staff, add F as follows.", "sources": [ { "pdf_page": 480, "source_image": "source-pages/bnf-480.png", "printed_label": "Supplement p. 16", "bbox_pixels": [ 405, 2640, 1085, 270 ], "crop_image": "assets/supplement-271.png" } ] }, { "id": "supplement-480-p382", "type": "music", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3048, "original": "Accord de p382 avec Fa ajouté.", "english": "Page 382 chord with F added.", "sources": [ { "pdf_page": 480, "source_image": "source-pages/bnf-480.png", "printed_label": "Supplement p. 16", "bbox_pixels": [ 440, 2925, 1050, 225 ], "crop_image": "assets/supplement-272.png" } ], "original_title": "Accord de p382 avec Fa ajouté.", "english_title": "Page 382 chord with F added.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "supplement-480-p382" ], "music_asset_refs": [ "supplement-480-p382" ] }, { "id": "supplement-273", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3049, "original": "Pag. 383. dans la quatriéme Portée en remontant, l’Accord de la cinquiéme Mesure doit être disposé ainsi.", "english": "Page 383, fourth staff counting from the bottom: arrange the fifth measure’s chord as follows.", "sources": [ { "pdf_page": 480, "source_image": "source-pages/bnf-480.png", "printed_label": "Supplement p. 16", "bbox_pixels": [ 405, 3160, 1085, 160 ], "crop_image": "assets/supplement-273.png" } ] }, { "id": "supplement-480-p383", "type": "music", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3050, "original": "Cinquième mesure de p383 — accord corrigé.", "english": "Fifth measure on page 383: corrected chord.", "sources": [ { "pdf_page": 480, "source_image": "source-pages/bnf-480.png", "printed_label": "Supplement p. 16", "bbox_pixels": [ 440, 3320, 1050, 210 ], "crop_image": "assets/supplement-274.png" } ], "original_title": "Cinquième mesure de p383 — accord corrigé.", "english_title": "Fifth measure on page 383: corrected chord.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "supplement-480-p383" ], "music_asset_refs": [ "supplement-480-p383" ] }, { "id": "supplement-275", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3051, "original": "Ibid. Il manque quelques chiffres dans les Exemples, tant pour marquer les Accords, que pour l’arrangement des doigts : mais le Lecteur y pourra suppléer facilement, en se conformant sur le commencement, qui est correct : cependant il faut prendre garde que le chiffre 3. par où commence la seconde Portée de la page 387. doit être changé en celui de 5.", "english": "On the same page, some chord and fingering figures are missing from the examples. The reader can easily supply them by following the correct beginning. Notice, however, that the figure 3 at the start of the second staff on page 387 must be changed to 5.", "sources": [ { "pdf_page": 480, "source_image": "source-pages/bnf-480.png", "printed_label": "Supplement p. 16", "bbox_pixels": [ 1490, 1580, 1120, 475 ], "crop_image": "assets/supplement-275.png" } ] }, { "id": "supplement-276", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3052, "original": "Pag. 393. ligne 3. en remontant, il y a, donc il doit, lisez, dont celui-là doit ou du moins peut suivre l’autre, conformément, &c.", "english": "Page 393, third line from the bottom: replace “donc il doit” (“therefore it must”) with “dont celui-là doit ou du moins peut suivre l’autre, conformément …” (“of which that one must, or at least may, follow the other, in accordance …”).", "sources": [ { "pdf_page": 480, "source_image": "source-pages/bnf-480.png", "printed_label": "Supplement p. 16", "bbox_pixels": [ 1490, 2055, 1120, 160 ], "crop_image": "assets/supplement-276.png" } ] }, { "id": "supplement-277", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3053, "original": "Pag. 399. la Clef d’Ut doit être mise dans tout l’Exemple sur la premiere ligne, au lieu de celle de Sol ; & les trois premieres Mesures en doivent être disposées ainsi.", "english": "Page 399: throughout the example, replace the G clef with a C clef on the first line. Arrange the first three measures as follows.", "sources": [ { "pdf_page": 480, "source_image": "source-pages/bnf-480.png", "printed_label": "Supplement p. 16", "bbox_pixels": [ 1490, 2215, 1120, 215 ], "crop_image": "assets/supplement-277.png" } ] }, { "id": "supplement-480-p399", "type": "music", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3054, "original": "Trois premières mesures corrigées de p399, clef d’Ut première ligne.", "english": "Corrected first three measures of page 399, C clef on the first line.", "sources": [ { "pdf_page": 480, "source_image": "source-pages/bnf-480.png", "printed_label": "Supplement p. 16", "bbox_pixels": [ 1510, 2460, 1060, 605 ], "crop_image": "assets/supplement-278.png" } ], "original_title": "Trois premières mesures corrigées de p399, clef d’Ut première ligne.", "english_title": "Corrected first three measures of page 399, C clef on the first line.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "supplement-480-p399" ], "music_asset_refs": [ "supplement-480-p399" ] }, { "id": "supplement-279", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3055, "original": "Pag. 400. le cinquiéme Accord de l’Exemple doit être disposé ainsi.", "english": "Page 400: arrange the example’s fifth chord as follows.", "sources": [ { "pdf_page": 480, "source_image": "source-pages/bnf-480.png", "printed_label": "Supplement p. 16", "bbox_pixels": [ 1490, 3065, 1120, 110 ], "crop_image": "assets/supplement-279.png" } ] }, { "id": "supplement-480-p400", "type": "music", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3056, "original": "Cinquième accord corrigé de p400.", "english": "Corrected fifth chord on page 400.", "sources": [ { "pdf_page": 480, "source_image": "source-pages/bnf-480.png", "printed_label": "Supplement p. 16", "bbox_pixels": [ 1510, 3215, 1060, 235 ], "crop_image": "assets/supplement-280.png" } ], "original_title": "Cinquième accord corrigé de p400.", "english_title": "Corrected fifth chord on page 400.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "supplement-480-p400" ], "music_asset_refs": [ "supplement-480-p400" ] }, { "id": "supplement-281", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3057, "original": "Page 402. ligne 8. après ces mots… dans la Basse des Secondes, lisez, p. 396.", "english": "Page 402, line 8: after “in the bass of seconds”, add “page 396”.", "sources": [ { "pdf_page": 481, "source_image": "source-pages/bnf-481.png", "printed_label": "Supplement p. 17", "bbox_pixels": [ 405, 355, 1085, 110 ], "crop_image": "assets/supplement-281.png" } ] }, { "id": "supplement-282", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3058, "original": "Pag. 403. le second Accord de la quatriéme Mesure doit être Ainsi.", "english": "Page 403: the second chord of the fourth measure should read as follows.", "sources": [ { "pdf_page": 481, "source_image": "source-pages/bnf-481.png", "printed_label": "Supplement p. 17", "bbox_pixels": [ 405, 465, 1085, 110 ], "crop_image": "assets/supplement-282.png" } ] }, { "id": "supplement-481-p403", "type": "music", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3059, "original": "Deuxième accord de la quatrième mesure, p403.", "english": "Second chord of the fourth measure, page 403.", "sources": [ { "pdf_page": 481, "source_image": "source-pages/bnf-481.png", "printed_label": "Supplement p. 17", "bbox_pixels": [ 460, 600, 1040, 210 ], "crop_image": "assets/supplement-283.png" } ], "original_title": "Deuxième accord de la quatrième mesure, p403.", "english_title": "Second chord of the fourth measure, page 403.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "supplement-481-p403" ], "music_asset_refs": [ "supplement-481-p403" ] }, { "id": "supplement-284", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3060, "original": "Ibid. ligne 3. il y a, Sixte ; de la Médiante à celui, &c. lisez, Sixte de la Médiante ; à celui de la Sixte-Quarte de la Dominante, ou au Parfait de la Notte Tonique ; l’on ne trouvera, &c.", "english": "Same page, line 3: replace “sixth; of the mediant to that …” with “sixth of the mediant; to the sixth–fourth chord of the dominant, or to the perfect chord of the tonic; one will find …”.", "sources": [ { "pdf_page": 481, "source_image": "source-pages/bnf-481.png", "printed_label": "Supplement p. 17", "bbox_pixels": [ 405, 820, 1085, 265 ], "crop_image": "assets/supplement-284.png" } ] }, { "id": "supplement-285", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3061, "original": "Pag. 406. Art. I. ligne 1. il y a, Tierce, lisez, Seconde, Ibid. ligne 3. il y a, se chiffrent, lisez, se chiffre.", "english": "Page 406, Article I, line 1: replace “third” with “second”. Line 3: replace the plural French verb “se chiffrent” with singular “se chiffre” (“is figured”).", "sources": [ { "pdf_page": 481, "source_image": "source-pages/bnf-481.png", "printed_label": "Supplement p. 17", "bbox_pixels": [ 405, 1085, 1085, 160 ], "crop_image": "assets/supplement-285.png" } ] }, { "id": "supplement-286", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3062, "original": "Pag. 407. ligne derniere, il y a, précedent, lisez, précede.", "english": "Page 407, last line: replace plural “précedent” with singular “précede” (“precedes”).", "sources": [ { "pdf_page": 481, "source_image": "source-pages/bnf-481.png", "printed_label": "Supplement p. 17", "bbox_pixels": [ 405, 1245, 1085, 110 ], "crop_image": "assets/supplement-286.png" } ] }, { "id": "supplement-287", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3063, "original": "Pag. 408. ligne 2. il y a, devoit, lisez, pourroit.", "english": "Page 408, line 2: replace “devoit” (“should” or “was to”) with “pourroit” (“could”).", "sources": [ { "pdf_page": 481, "source_image": "source-pages/bnf-481.png", "printed_label": "Supplement p. 17", "bbox_pixels": [ 405, 1355, 1085, 55 ], "crop_image": "assets/supplement-287.png" } ] }, { "id": "supplement-288", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3064, "original": "Pag. 409. ligne 6. il y a, trouvent, lisez, trouve.", "english": "Page 409, line 6: replace plural “trouvent” with singular “trouve” (“finds”).", "sources": [ { "pdf_page": 481, "source_image": "source-pages/bnf-481.png", "printed_label": "Supplement p. 17", "bbox_pixels": [ 405, 1410, 1085, 55 ], "crop_image": "assets/supplement-288.png" } ] }, { "id": "supplement-289", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3065, "original": "Pag. 416. Chap. XVI. second Alinea, ligne 2. il y a, Chap. XI. lisez, Chap. IX.", "english": "Page 416, Chapter XVI, second paragraph, line 2: replace “Chapter XI” with “Chapter IX”.", "sources": [ { "pdf_page": 481, "source_image": "source-pages/bnf-481.png", "printed_label": "Supplement p. 17", "bbox_pixels": [ 405, 1465, 1085, 105 ], "crop_image": "assets/supplement-289.png" } ] }, { "id": "supplement-290", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3066, "original": "Pag. 419. il faut mettre un ♮ à la place du ♯ qui se trouve à côté de la Notte Fa, dans le second Accord de la sixiéme Mesure.", "english": "Page 419: replace the ♯ beside F in the second chord of measure 6 with a ♮.", "sources": [ { "pdf_page": 481, "source_image": "source-pages/bnf-481.png", "printed_label": "Supplement p. 17", "bbox_pixels": [ 405, 1570, 1085, 160 ], "crop_image": "assets/supplement-290.png" } ] }, { "id": "supplement-291", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3067, "original": "Ibid. l’Accord de petite-Sixte ne peut se distinguer ici par le chiffre, non plus que par-tout ailleurs : mais du moins on pourra le reconnoître ici dans la Partie superieure, qui contient tous les Accords.", "english": "On the same page, the figure cannot distinguish the small-sixth chord here, any more than elsewhere. At least it can be recognized in the upper part, which contains all the chords.", "sources": [ { "pdf_page": 481, "source_image": "source-pages/bnf-481.png", "printed_label": "Supplement p. 17", "bbox_pixels": [ 405, 1730, 1085, 265 ], "crop_image": "assets/supplement-291.png" } ] }, { "id": "supplement-292", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3068, "original": "Pag. 423. le cinquiéme Accord de l’Exemple doit être Ainsi.", "english": "Page 423: the fifth chord of the example should read as follows.", "sources": [ { "pdf_page": 481, "source_image": "source-pages/bnf-481.png", "printed_label": "Supplement p. 17", "bbox_pixels": [ 405, 1995, 1085, 110 ], "crop_image": "assets/supplement-292.png" } ] }, { "id": "supplement-481-p423", "type": "music", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3069, "original": "Cinquième accord corrigé de p423.", "english": "Corrected fifth chord on page 423.", "sources": [ { "pdf_page": 481, "source_image": "source-pages/bnf-481.png", "printed_label": "Supplement p. 17", "bbox_pixels": [ 460, 2115, 1040, 215 ], "crop_image": "assets/supplement-293.png" } ], "original_title": "Cinquième accord corrigé de p423.", "english_title": "Corrected fifth chord on page 423.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "supplement-481-p423" ], "music_asset_refs": [ "supplement-481-p423" ] }, { "id": "supplement-294", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3070, "original": "Pag. 424. la quatriéme Mesure des Accords de l’Exemple en retrogradant, doit être Ainsi.", "english": "Page 424: the fourth measure of the example’s chords, counting backward, should read as follows.", "sources": [ { "pdf_page": 481, "source_image": "source-pages/bnf-481.png", "printed_label": "Supplement p. 17", "bbox_pixels": [ 405, 2335, 1085, 165 ], "crop_image": "assets/supplement-294.png" } ] }, { "id": "supplement-481-p424", "type": "music", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3071, "original": "Quatrième mesure corrigée de p424, en rétrogradant.", "english": "Corrected fourth measure counting backward on page 424.", "sources": [ { "pdf_page": 481, "source_image": "source-pages/bnf-481.png", "printed_label": "Supplement p. 17", "bbox_pixels": [ 460, 2500, 1040, 215 ], "crop_image": "assets/supplement-295.png" } ], "original_title": "Quatrième mesure corrigée de p424, en rétrogradant.", "english_title": "Corrected fourth measure counting backward on page 424.", "continuesFromPreviousPage": false, "continuesOnNextPage": false, "asset_refs": [ "supplement-481-p424" ], "music_asset_refs": [ "supplement-481-p424" ] }, { "id": "supplement-296", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3072, "original": "Pag. 425. pénultiéme Alinea, il y a, Chap. XIX. lisez, Chap. XVII.", "english": "Page 425, next-to-last paragraph: replace “Chapter XIX” with “Chapter XVII”.", "sources": [ { "pdf_page": 481, "source_image": "source-pages/bnf-481.png", "printed_label": "Supplement p. 17", "bbox_pixels": [ 405, 2720, 1085, 110 ], "crop_image": "assets/supplement-296.png" } ] }, { "id": "supplement-297", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3073, "original": "Pag. 427. à la fin du premier Alinea, il y a, contenus, lisez, continus.", "english": "Page 427, end of the first paragraph: replace “contenus” (“contained”) with “continus” (“continuous”).", "sources": [ { "pdf_page": 481, "source_image": "source-pages/bnf-481.png", "printed_label": "Supplement p. 17", "bbox_pixels": [ 405, 2830, 1085, 110 ], "crop_image": "assets/supplement-297.png" } ] }, { "id": "supplement-298", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3074, "original": "Pag. 428. à la fin du second Alinea, il y a, naturel, lisez, nature. Ibid. il se trouve dans l’Exemple un 4. & un 6. dont l’un désigne le Tri-Ton, & l’autre la petite Sixte, qui devroient être traversez d’une ligne : Mais l’Auteur n’ayant pas été present durant l’impression de ce Livre ; & ces sortes de caracteres n’étant pas encore en usage dans l’Imprimerie, on ne les a pas crû d’assez grande consequence pour y faire attention. Cependant le 6 barré sert à distinguer l’Accord de la petite Sixte, & non pas la Sixte majeure, comme quelques-uns le pretendent ; Car l’on doit principalement s’attacher à renfermer un Accord complet dans un seul chiffres, pour éviter la multiplicité de ces chiffres, qui est certainement embarrassante. De plus, comme il y a quatre Accords differens de Sixte, il faut les faire distinguer, autant que cela se peut, par des caracteres affectez à chacun de ces Accords. C’est de quoi l’on s’est peu mis en peine jusqu’à présent, & l’on n’a eu en vûë que de désigner la Sixte majeure par ce 6 barré, d’autant qu’il s’en suit que cette Sixte doit être accompagnée de la Tierce & de la Quarte : mais cela n’est pas toûjours vrai, puisque dans la suite d’une Piece de Musique, l’on est souvent obligé de chiffrer une Sixte majeure, qui n’est pas pour lors celle dont il s’agit ici, & qui n’est chiffrée majeure que par rapport à une nouvelle Modulation transposée, dont les Diezes nécessaires ne se trouvent point à côté de la Clef ; & souvent même la petite Sixte se trouve mineure. D’ailleurs comme le seul usage autorise ces sortes de Caracteres, le 5 barré ainsi 5̸, qui désigne la Quinte diminuée ou fausse, détruit la raison pour laquelle on voudroit qu’un autre chiffre traversé d’une pareille ligne désignât un Intervale majeur ou superflu. Il vaudroit donc mieux donner la juste idée d’un Accord complet par ces nouveaux Caracteres, que de les faire servir à rendre un Intervale tantôt mineur, tantôt majeur ; & sur tout lorsqu’un pareil Intervale peut être accompagné de plusieurs façons differentes.", "english": "Page 428, end of the second paragraph: replace “naturel” (“natural”) with “nature” (“nature”). The example contains a 4 and a 6 indicating the tritone and small sixth respectively; each should have a line through it. The author was absent during printing, and these characters were not yet customary in the printing trade, so they were not thought important enough to attend to. Yet a barred 6 distinguishes the small-sixth chord, not the major sixth as some claim. Our principal aim should be to represent a complete chord with a single figure, avoiding a confusing multiplicity of figures. Since there are four different sixth chords, they should be distinguished as far as possible by characters assigned to each. Little attention has been paid to this. The barred 6 has merely been intended to indicate the major sixth, on the assumption that this sixth is accompanied by a third and fourth. But that is not always true: during a piece one often must figure a major sixth that is not the one in question, marked major only because of a new transposed modulation whose necessary sharps are not beside the clef. Even the small sixth is often minor. Moreover, since custom alone authorizes these characters, the barred 5, written 5̸, indicating the diminished or false fifth, undermines the reason for claiming that another figure crossed by the same kind of line should indicate a major or augmented interval. It would therefore be better for these new characters to convey a complete chord accurately than to make an interval sometimes minor and sometimes major—especially when that interval can be accompanied in several different ways.", "sources": [ { "pdf_page": 481, "source_image": "source-pages/bnf-481.png", "printed_label": "Supplement p. 17", "bbox_pixels": [ 405, 2940, 1085, 475 ], "crop_image": "assets/supplement-298.png" }, { "pdf_page": 481, "source_image": "source-pages/bnf-481.png", "printed_label": "Supplement p. 17", "bbox_pixels": [ 1490, 355, 1120, 2050 ], "crop_image": "assets/supplement-299.png" } ] }, { "id": "supplement-300", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3075, "original": "Ce que nous disons dans ce Chapitre servira plûtôt pour l’avenir que pour le passé ; mais en revanche nos Regles pourront servir aux défauts du passé.", "english": "What we say in this chapter will serve the future more than the past; in return, our rules can make up for past shortcomings.", "sources": [ { "pdf_page": 481, "source_image": "source-pages/bnf-481.png", "printed_label": "Supplement p. 17", "bbox_pixels": [ 1490, 2405, 1120, 210 ], "crop_image": "assets/supplement-300.png" } ] }, { "id": "supplement-301", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3076, "original": "Pag. 430, ligne 11, il faut retrancher la lettre &. Ibid. les Parties qui sont au-dessus de la Basse dans l’Exemple, doivent être réunies dans une seule Portée pour pouvoir les faire servir d’Accompagnement.", "english": "Page 430, line 11: delete “&”. In the example, combine the parts above the bass on a single staff so that they can serve as accompaniment.", "sources": [ { "pdf_page": 481, "source_image": "source-pages/bnf-481.png", "printed_label": "Supplement p. 17", "bbox_pixels": [ 1490, 2615, 1120, 265 ], "crop_image": "assets/supplement-301.png" } ] }, { "id": "supplement-302", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3077, "original": "Comme la plupart de nos Maîtres de Musique & de Clavecin ont de la peine à se défaire de leur préjugé, nous n’esperons pas d’avoir le suffrage de tous, c’est pourquoi nous prions ceux qui auront de la peine à souscrire à nos décisions, de vouloir bien en instruire le Public ; & de nous procurer par-là les moyens de donner à cet Ouvrage toute la perfection que nous souhaiterions qu’il pût avoir.", "english": "Since most of our music and harpsichord masters find it hard to relinquish their prejudices, we do not expect everyone’s approval. We therefore ask those who have difficulty accepting our conclusions to inform the public, thereby giving us the means to bring this work to the perfection we would wish it to attain.", "sources": [ { "pdf_page": 481, "source_image": "source-pages/bnf-481.png", "printed_label": "Supplement p. 17", "bbox_pixels": [ 1490, 2880, 1120, 535 ], "crop_image": "assets/supplement-302.png" } ] }, { "id": "supplement-303", "type": "paragraph", "section": "supplement", "lesson": 109, "exercise": 109, "reading_order": 3078, "original": "FIN DU SUPPLÉMENT.", "english": "END OF THE SUPPLEMENT.", "sources": [ { "pdf_page": 481, "source_image": "source-pages/bnf-481.png", "printed_label": "Supplement p. 17", "bbox_pixels": [ 405, 3450, 2205, 100 ], "crop_image": "assets/supplement-303.png" } ] }, { "id": "catalogue-title", "type": "heading", "section": "catalogue", "lesson": 110, "exercise": 110, "reading_order": 3079, "original": "CATALOGUE\nDes autres Livres de Musique Théorique, imprimez en France, dont on peut trouver des Exemplaires.", "english": "CATALOGUE\nOf other books on music theory printed in France, of which copies may be found.", "sources": [ { "pdf_page": 482, "source_image": "source-pages/bnf-482.png", "printed_label": "PDF 482", "bbox_pixels": [ 410, 530, 2130, 385 ], "crop_image": "assets/catalogue-001.png" } ] }, { "id": "catalogue-001", "type": "paragraph", "section": "catalogue", "lesson": 110, "exercise": 110, "reading_order": 3080, "original": "La Gamme du Si, par Mr Nivers.", "english": "La Gamme du Si (The Si Scale), by Monsieur Nivers.", "sources": [ { "pdf_page": 482, "source_image": "source-pages/bnf-482.png", "printed_label": "PDF 482", "bbox_pixels": [ 410, 970, 1050, 75 ], "crop_image": "assets/catalogue-002.png" } ] }, { "id": "catalogue-002", "type": "paragraph", "section": "catalogue", "lesson": 110, "exercise": 110, "reading_order": 3081, "original": "La Musique des Enfants.", "english": "Music for Children.", "sources": [ { "pdf_page": 482, "source_image": "source-pages/bnf-482.png", "printed_label": "PDF 482", "bbox_pixels": [ 410, 1040, 1050, 75 ], "crop_image": "assets/catalogue-003.png" } ] }, { "id": "catalogue-003", "type": "paragraph", "section": "catalogue", "lesson": 110, "exercise": 110, "reading_order": 3082, "original": "Les Leçons de Musique par le Sieur Berthet.", "english": "Music Lessons, by Sieur Berthet.", "sources": [ { "pdf_page": 482, "source_image": "source-pages/bnf-482.png", "printed_label": "PDF 482", "bbox_pixels": [ 410, 1110, 1050, 130 ], "crop_image": "assets/catalogue-004.png" } ] }, { "id": "catalogue-004", "type": "paragraph", "section": "catalogue", "lesson": 110, "exercise": 110, "reading_order": 3083, "original": "Les Principes de Musique, par Demandes & par Réponses.", "english": "The Principles of Music, in Questions and Answers.", "sources": [ { "pdf_page": 482, "source_image": "source-pages/bnf-482.png", "printed_label": "PDF 482", "bbox_pixels": [ 410, 1240, 1050, 130 ], "crop_image": "assets/catalogue-005.png" } ] }, { "id": "catalogue-005", "type": "paragraph", "section": "catalogue", "lesson": 110, "exercise": 110, "reading_order": 3084, "original": "Le Sieur Dupont en a fait graver une plus ample.", "english": "Sieur Dupont has had a more extensive version engraved.", "sources": [ { "pdf_page": 482, "source_image": "source-pages/bnf-482.png", "printed_label": "PDF 482", "bbox_pixels": [ 410, 1370, 1050, 130 ], "crop_image": "assets/catalogue-006.png" } ] }, { "id": "catalogue-006", "type": "paragraph", "section": "catalogue", "lesson": 110, "exercise": 110, "reading_order": 3085, "original": "Les Principes tres-faciles qui conduiront jusqu’au point de Chanter toute sorte de Musique à Livre ouvert, par le Sr L’Affillard, 5e. Edition, dédiée à Monseigneur le Duc de Bourgogne.", "english": "Very Easy Principles Leading to the Ability to Sing Every Kind of Music at Sight, by Sieur L’Affillard. 5th edition, dedicated to Monseigneur the Duke of Burgundy.", "sources": [ { "pdf_page": 482, "source_image": "source-pages/bnf-482.png", "printed_label": "PDF 482", "bbox_pixels": [ 410, 1500, 1050, 320 ], "crop_image": "assets/catalogue-007.png" } ] }, { "id": "catalogue-007", "type": "paragraph", "section": "catalogue", "lesson": 110, "exercise": 110, "reading_order": 3086, "original": "— Les mêmes, 6e. Edition, dédiée aux Dames Religieuses.", "english": "— The same, 6th edition, dedicated to women in religious orders.", "sources": [ { "pdf_page": 482, "source_image": "source-pages/bnf-482.png", "printed_label": "PDF 482", "bbox_pixels": [ 410, 1820, 1050, 135 ], "crop_image": "assets/catalogue-008.png" } ] }, { "id": "catalogue-008", "type": "paragraph", "section": "catalogue", "lesson": 110, "exercise": 110, "reading_order": 3087, "original": "Les Transpositions de Musique de toutes les manieres, pour servir de supplément à toutes les autres Methodes, par le Sr Frere.", "english": "Musical Transposition in Every Manner, to serve as a supplement to all other methods, by Sieur Frere.", "sources": [ { "pdf_page": 482, "source_image": "source-pages/bnf-482.png", "printed_label": "PDF 482", "bbox_pixels": [ 410, 1955, 1050, 265 ], "crop_image": "assets/catalogue-009.png" } ] }, { "id": "catalogue-009", "type": "paragraph", "section": "catalogue", "lesson": 110, "exercise": 110, "reading_order": 3088, "original": "Carte des Principes de Musique par Monsieur Fleury.", "english": "A Chart of the Principles of Music, by Monsieur Fleury.", "sources": [ { "pdf_page": 482, "source_image": "source-pages/bnf-482.png", "printed_label": "PDF 482", "bbox_pixels": [ 410, 2220, 1050, 130 ], "crop_image": "assets/catalogue-010.png" } ] }, { "id": "catalogue-010", "type": "paragraph", "section": "catalogue", "lesson": 110, "exercise": 110, "reading_order": 3089, "original": "Methode facile, dont les Principes sont fort détaillez, avec plusieurs Leçons, à une & à deux Voix, par Monsieur Monteclair.", "english": "An Easy Method, with very detailed principles and several lessons for one and two voices, by Monsieur Monteclair.", "sources": [ { "pdf_page": 482, "source_image": "source-pages/bnf-482.png", "printed_label": "PDF 482", "bbox_pixels": [ 410, 2350, 1050, 255 ], "crop_image": "assets/catalogue-011.png" } ] }, { "id": "catalogue-011", "type": "paragraph", "section": "catalogue", "lesson": 110, "exercise": 110, "reading_order": 3090, "original": "— Leçons de Musique, divisées en quatre classes, avec un Abregé des Principes.", "english": "— Music Lessons, divided into four classes, with a summary of the principles.", "sources": [ { "pdf_page": 482, "source_image": "source-pages/bnf-482.png", "printed_label": "PDF 482", "bbox_pixels": [ 410, 2610, 1050, 190 ], "crop_image": "assets/catalogue-012.png" } ] }, { "id": "catalogue-012", "type": "paragraph", "section": "catalogue", "lesson": 110, "exercise": 110, "reading_order": 3091, "original": "Traité de Composition par Mr Nivers.", "english": "Treatise on Composition, by Monsieur Nivers.", "sources": [ { "pdf_page": 482, "source_image": "source-pages/bnf-482.png", "printed_label": "PDF 482", "bbox_pixels": [ 410, 2840, 1050, 80 ], "crop_image": "assets/catalogue-013.png" } ] }, { "id": "catalogue-013", "type": "paragraph", "section": "catalogue", "lesson": 110, "exercise": 110, "reading_order": 3092, "original": "Nouveau Traité de Composition par Mr Masson.", "english": "New Treatise on Composition, by Monsieur Masson.", "sources": [ { "pdf_page": 482, "source_image": "source-pages/bnf-482.png", "printed_label": "PDF 482", "bbox_pixels": [ 410, 2915, 1050, 115 ], "crop_image": "assets/catalogue-014.png" } ] }, { "id": "catalogue-014", "type": "paragraph", "section": "catalogue", "lesson": 110, "exercise": 110, "reading_order": 3093, "original": "Traité par le Sr de la Voye-Mignot, in-quarto, rare.", "english": "A treatise by Sieur de la Voye-Mignot; quarto, rare.", "sources": [ { "pdf_page": 482, "source_image": "source-pages/bnf-482.png", "printed_label": "PDF 482", "bbox_pixels": [ 410, 3030, 1050, 130 ], "crop_image": "assets/catalogue-015.png" } ] }, { "id": "catalogue-015", "type": "paragraph", "section": "catalogue", "lesson": 110, "exercise": 110, "reading_order": 3094, "original": "Traité du Pere Parran, in-quarto, rare.", "english": "A treatise by Father Parran; quarto, rare.", "sources": [ { "pdf_page": 482, "source_image": "source-pages/bnf-482.png", "printed_label": "PDF 482", "bbox_pixels": [ 410, 3165, 1050, 85 ], "crop_image": "assets/catalogue-016.png" } ] }, { "id": "catalogue-016", "type": "paragraph", "section": "catalogue", "lesson": 110, "exercise": 110, "reading_order": 3095, "original": "Dictionnaire de Musique par Monsieur de Brossard, in fol. relié.", "english": "Dictionary of Music, by Monsieur de Brossard; folio, bound.", "sources": [ { "pdf_page": 482, "source_image": "source-pages/bnf-482.png", "printed_label": "PDF 482", "bbox_pixels": [ 410, 3260, 1050, 150 ], "crop_image": "assets/catalogue-017.png" } ] }, { "id": "catalogue-017", "type": "paragraph", "section": "catalogue", "lesson": 110, "exercise": 110, "reading_order": 3096, "original": "Principes pour le Clavecin, par Mr. de Saint-Lambert.", "english": "Principles for the Harpsichord, by Monsieur de Saint-Lambert.", "sources": [ { "pdf_page": 482, "source_image": "source-pages/bnf-482.png", "printed_label": "PDF 482", "bbox_pixels": [ 1490, 970, 1050, 140 ], "crop_image": "assets/catalogue-018.png" } ] }, { "id": "catalogue-018", "type": "paragraph", "section": "catalogue", "lesson": 110, "exercise": 110, "reading_order": 3097, "original": "— Traité d’Accompagnement pour cet Instrument, & pour tous les autres.", "english": "— A treatise on accompaniment for this instrument and for all others.", "sources": [ { "pdf_page": 482, "source_image": "source-pages/bnf-482.png", "printed_label": "PDF 482", "bbox_pixels": [ 1490, 1110, 1050, 140 ], "crop_image": "assets/catalogue-019.png" } ] }, { "id": "catalogue-019", "type": "paragraph", "section": "catalogue", "lesson": 110, "exercise": 110, "reading_order": 3098, "original": "Autre Traité d’Accompagnement, par Mr Boyvin.", "english": "Another treatise on accompaniment, by Monsieur Boyvin.", "sources": [ { "pdf_page": 482, "source_image": "source-pages/bnf-482.png", "printed_label": "PDF 482", "bbox_pixels": [ 1490, 1245, 1050, 130 ], "crop_image": "assets/catalogue-020.png" } ] }, { "id": "catalogue-020", "type": "paragraph", "section": "catalogue", "lesson": 110, "exercise": 110, "reading_order": 3099, "original": "Celui de Monsieur Couperin.", "english": "That by Monsieur Couperin.", "sources": [ { "pdf_page": 482, "source_image": "source-pages/bnf-482.png", "printed_label": "PDF 482", "bbox_pixels": [ 1490, 1375, 1050, 75 ], "crop_image": "assets/catalogue-021.png" } ] }, { "id": "catalogue-021", "type": "paragraph", "section": "catalogue", "lesson": 110, "exercise": 110, "reading_order": 3100, "original": "Celui de Monsieur Dandrieu.", "english": "That by Monsieur Dandrieu.", "sources": [ { "pdf_page": 482, "source_image": "source-pages/bnf-482.png", "printed_label": "PDF 482", "bbox_pixels": [ 1490, 1445, 1050, 75 ], "crop_image": "assets/catalogue-022.png" } ] }, { "id": "catalogue-022", "type": "paragraph", "section": "catalogue", "lesson": 110, "exercise": 110, "reading_order": 3101, "original": "Principes de Flûtes par Monsieur Hotteterre-le-Romain.", "english": "Principles for Flutes, by Monsieur Hotteterre-le-Romain.", "sources": [ { "pdf_page": 482, "source_image": "source-pages/bnf-482.png", "printed_label": "PDF 482", "bbox_pixels": [ 1490, 1530, 1050, 145 ], "crop_image": "assets/catalogue-023.png" } ] }, { "id": "catalogue-023", "type": "paragraph", "section": "catalogue", "lesson": 110, "exercise": 110, "reading_order": 3102, "original": "Methode pour le Theorbe, par Monsieur Michel-Ange.", "english": "A Method for the Theorbo, by Monsieur Michel-Ange.", "sources": [ { "pdf_page": 482, "source_image": "source-pages/bnf-482.png", "printed_label": "PDF 482", "bbox_pixels": [ 1490, 1690, 1050, 140 ], "crop_image": "assets/catalogue-024.png" } ] }, { "id": "catalogue-024", "type": "paragraph", "section": "catalogue", "lesson": 110, "exercise": 110, "reading_order": 3103, "original": "Autre pour le même Instrument, par Monsieur Fleury.", "english": "Another for the same instrument, by Monsieur Fleury.", "sources": [ { "pdf_page": 482, "source_image": "source-pages/bnf-482.png", "printed_label": "PDF 482", "bbox_pixels": [ 1490, 1825, 1050, 130 ], "crop_image": "assets/catalogue-025.png" } ] }, { "id": "catalogue-025", "type": "paragraph", "section": "catalogue", "lesson": 110, "exercise": 110, "reading_order": 3104, "original": "— Carte de tous les Accords de Musique, pour servir à l’Accompagnement.", "english": "— A Chart of All Musical Chords, for Use in Accompaniment.", "sources": [ { "pdf_page": 482, "source_image": "source-pages/bnf-482.png", "printed_label": "PDF 482", "bbox_pixels": [ 1490, 1955, 1050, 130 ], "crop_image": "assets/catalogue-026.png" } ] }, { "id": "catalogue-026", "type": "paragraph", "section": "catalogue", "lesson": 110, "exercise": 110, "reading_order": 3105, "original": "Traité d’Accompagnement pour le même Instrument, par Mr Campion.", "english": "A Treatise on Accompaniment for the same instrument, by Monsieur Campion.", "sources": [ { "pdf_page": 482, "source_image": "source-pages/bnf-482.png", "printed_label": "PDF 482", "bbox_pixels": [ 1490, 2085, 1050, 135 ], "crop_image": "assets/catalogue-027.png" } ] }, { "id": "catalogue-027", "type": "paragraph", "section": "catalogue", "lesson": 110, "exercise": 110, "reading_order": 3106, "original": "L’Art de Préluder, par Mr Hotteterre-le-Romain, in-quarto.", "english": "The Art of Preluding, by Monsieur Hotteterre-le-Romain; quarto.", "sources": [ { "pdf_page": 482, "source_image": "source-pages/bnf-482.png", "printed_label": "PDF 482", "bbox_pixels": [ 1490, 2240, 1050, 140 ], "crop_image": "assets/catalogue-028.png" } ] }, { "id": "catalogue-028", "type": "paragraph", "section": "catalogue", "lesson": 110, "exercise": 110, "reading_order": 3107, "original": "Methode de Guittarre, par Mr. Desrosiers.", "english": "A Guitar Method, by Monsieur Desrosiers.", "sources": [ { "pdf_page": 482, "source_image": "source-pages/bnf-482.png", "printed_label": "PDF 482", "bbox_pixels": [ 1490, 2400, 1050, 160 ], "crop_image": "assets/catalogue-029.png" } ] }, { "id": "catalogue-029", "type": "paragraph", "section": "catalogue", "lesson": 110, "exercise": 110, "reading_order": 3108, "original": "Methode pour apprendre à jouer du Violon ; par Monsieur Monteclair.", "english": "A Method for Learning to Play the Violin, by Monsieur Monteclair.", "sources": [ { "pdf_page": 482, "source_image": "source-pages/bnf-482.png", "printed_label": "PDF 482", "bbox_pixels": [ 1490, 2575, 1050, 140 ], "crop_image": "assets/catalogue-030.png" } ] }, { "id": "catalogue-030", "type": "paragraph", "section": "catalogue", "lesson": 110, "exercise": 110, "reading_order": 3109, "original": "Principes de Violon par Demandes & par Réponses du Sieur Dupont.", "english": "Violin Principles in Questions and Answers, by Sieur Dupont.", "sources": [ { "pdf_page": 482, "source_image": "source-pages/bnf-482.png", "printed_label": "PDF 482", "bbox_pixels": [ 1490, 2710, 1050, 130 ], "crop_image": "assets/catalogue-031.png" } ] }, { "id": "catalogue-031", "type": "paragraph", "section": "catalogue", "lesson": 110, "exercise": 110, "reading_order": 3110, "original": "Methode de Pl. Chant par Mr Nivers.", "english": "A Plainchant Method, by Monsieur Nivers.", "sources": [ { "pdf_page": 482, "source_image": "source-pages/bnf-482.png", "printed_label": "PDF 482", "bbox_pixels": [ 1490, 2870, 1050, 80 ], "crop_image": "assets/catalogue-032.png" } ] }, { "id": "catalogue-032", "type": "paragraph", "section": "catalogue", "lesson": 110, "exercise": 110, "reading_order": 3111, "original": "Autre Methode contenant les Exemples pour tous les Tons, avec des Recherches Particuliers concernant la Musique & le Plein-Chant.", "english": "Another method containing examples in every tone, with particular investigations concerning music and plainchant.", "sources": [ { "pdf_page": 482, "source_image": "source-pages/bnf-482.png", "printed_label": "PDF 482", "bbox_pixels": [ 1490, 2940, 1050, 255 ], "crop_image": "assets/catalogue-033.png" } ] }, { "id": "catalogue-033", "type": "paragraph", "section": "catalogue", "lesson": 110, "exercise": 110, "reading_order": 3112, "original": "Les Tons à l’usage de Rome & de Paris.", "english": "The Tones Used in Rome and Paris.", "sources": [ { "pdf_page": 482, "source_image": "source-pages/bnf-482.png", "printed_label": "PDF 482", "bbox_pixels": [ 1490, 3195, 1050, 75 ], "crop_image": "assets/catalogue-034.png" } ] }, { "id": "catalogue-034", "type": "paragraph", "section": "catalogue", "lesson": 110, "exercise": 110, "reading_order": 3113, "original": "Le Rituel du Chœur, ou le Plein-Chant Pratique.", "english": "The Choir Ritual, or Practical Plainchant.", "sources": [ { "pdf_page": 482, "source_image": "source-pages/bnf-482.png", "printed_label": "PDF 482", "bbox_pixels": [ 1490, 3260, 1050, 150 ], "crop_image": "assets/catalogue-035.png" } ] } ], "assets": [ { "id": "front-title-008", "path": "assets/front-title-008.png", "sha256": "658c95827fd4e21174b8b40d5ff81d79cb0c262955fa8e9cdb1adb938dba7d8e", "kind": "diagram", "description": "Title-page vignette.", "sources": [ { "pdf_page": 1, "source_image": "source-pages/bnf-001.png", "printed_label": "PDF 1", "bbox_pixels": [ 1150, 2490, 730, 525 ], "crop_image": "assets/front-title-008.png" } ], "pdf_page": 1, "source_image": "source-pages/bnf-001.png", "bbox_pixels": [ 1150, 2490, 730, 525 ], "music_transcription_status": "non-music", "printed_label": "PDF 1" }, { "id": "front-contents-009", "path": "assets/front-contents-002.png", "sha256": "9410c30516e7acff8a1873c4fe4215202b51511f29355980ce05f93c024d1d9d", "kind": "diagram", "description": "BOOK ONE. — Relationship of Harmonic Ratios and Proportions.\nChap. I. — Music and Sound. — 1\nChap. II. — Different Ways of Knowing the Relationships between Sounds. — 2\nChap. III. — Origin and Relationships of Consonances. — 3\nARTICLES.\nI. — Principle of Harmony, or the Fundamental Sound. — 5\nII. — Unison. — 6\nIII. — Octave. — ibid.\nIV. — Fifth and Fourth. — 10\nV. — Thirds and Sixths. — 12\nVI. — Summary of This Chapter, Containing the Properties of the Preceding Demonstration in a Single String. — 15\nChap. IV. — Properties of Harmonic and Arithmetic Proportions. — 17\nChap. V. — Origin and Relationships of Dissonances. — 22\nChap. VI. — Compound Intervals, Especially the Ninth and Eleventh. — 28\nChap. VII. — Harmonic Division, or the Origin of Chords. — 29", "sources": [ { "pdf_page": 9, "source_image": "source-pages/bnf-009.png", "printed_label": "PDF 9", "bbox_pixels": [ 400, 1280, 2210, 2250 ], "crop_image": "assets/front-contents-002.png" } ], "pdf_page": 9, "source_image": "source-pages/bnf-009.png", "bbox_pixels": [ 400, 1280, 2210, 2250 ], "music_transcription_status": "non-music", "printed_label": "PDF 9" }, { "id": "front-contents-010", "path": "assets/front-contents-003.png", "sha256": "2d7ed86e5f5c4f095a7e2da6664137834c2e45eee8d4626fb35a9df8070f5c02", "kind": "diagram", "description": "Chap. VIII. — Chord Inversion. — 34\nARTICLES.\nI. — Major Perfect Chord and Its Derivatives. — 34\nII. — Minor Perfect Chord and Its Derivatives. — 36\nIII. — Seventh Chord Formed by Adding a Minor Third to the Major Perfect Chord, and Its Derivatives. — 37\nIV. — Seventh Chord Formed by Adding a Minor Third to the Minor Perfect Chord, and Its Derivatives. — 39\nV. — Seventh Chord Formed by Adding a Major Third to the Major Perfect Chord, and Its Derivatives. — 40\nVI. — Seventh Chord Formed by Adding a Minor Third below the Minor Perfect Chord, and Its Derivatives. — 41\nVII. — Diminished-Seventh Chord Formed by Adding a Minor Third to the Harmonically Divided Diminished Fifth, and Its Derivatives. — ibid.\nChap. IX. — Observations on All the Preceding Chords. — 45\nChap. X. — Different Ratios That May Be Assigned to the Same Chord. — 46\nChap. XI. — Relating Ratios Derived from Divisions to Vibrations and Multiplications of Lengths. — 47\nBOOK TWO. — Nature and Properties of Chords, and Everything That Can Make Music Perfect.\nChap. I. — Fundamental Sound of Harmony and Its Progression. — 49\nChap. II. — Chords Assigned to Fundamental Sounds and Their Progression. — 52\nChap. III. — Nature and Properties of the Octave. — 54\nChap. IV. — Nature and Properties of the Fifth and Fourth. — ibid.", "sources": [ { "pdf_page": 10, "source_image": "source-pages/bnf-010.png", "printed_label": "PDF 10", "bbox_pixels": [ 400, 385, 2210, 3150 ], "crop_image": "assets/front-contents-003.png" } ], "pdf_page": 10, "source_image": "source-pages/bnf-010.png", "bbox_pixels": [ 400, 385, 2210, 3150 ], "music_transcription_status": "non-music", "printed_label": "PDF 10" }, { "id": "front-contents-011", "path": "assets/front-contents-004.png", "sha256": "903d2a75c0ea82598542761aa0a1d77a02bbf0b247aa1af43b0f8dc7a290d0e5", "kind": "diagram", "description": "Chap. V. — Perfect Cadence, Where the Nature and Properties of All Intervals Meet. — 54\nChap. VI. — Interrupted Cadence. — 61\nChap. VII. — Irregular Cadence. — 64\nChap. VIII. — Imitating Cadences through Inversion. — 67\nChap. IX. — Evading Cadences by Imitating Them. — 68\nChap. X. — Chords by Supposition, Also Used to Evade Cadences by Imitating Them. — 73\nChap. XI. — Fourth and Eleventh. — 77\nChap. XII. — Chords by Borrowing, Used to Evade Perfect Cadences by Imitating Them. — 79\nChap. XIII. — Rule for Dissonance Progression Derived from Fundamental-Chord Progression. — 81\nChap. XIV. — Observations on the Progression of Thirds and Sixths. — 87\nChap. XV. — When to Omit the Seventh from a Ninth Chord. — 93\nChap. XVI. — Dissonant Consonances: the Fourth and the False Idea Attached to It by Extraneous Rules. — 95\nARTICLES.\nI. — Principle of Dissonance: Which Sound of an Interval Is Dissonant, and Which Sound the Preparation and Resolution Rule Concerns. — 97\nII. — Original Chord of All Dissonant Chords: Number of Dissonances and Sounds It Contains, and Its Limits. — 100\nIII. — Treating the Fourth as Dissonant When the Bass Syncopates Destroys Music’s Finest and Most General Rule. — 104\nIV. — Authors’ Faults in Establishing Harmonic Rules: Their Different Principles and the Errors They Spread. — 105\nChap. XVII. — License. — 109\nARTICLES.\nI. — Origin of License. — ibid.\nII. — Licenses Derived from the Interrupted Cadence. — 112", "sources": [ { "pdf_page": 11, "source_image": "source-pages/bnf-011.png", "printed_label": "PDF 11", "bbox_pixels": [ 400, 355, 2210, 3160 ], "crop_image": "assets/front-contents-004.png" } ], "pdf_page": 11, "source_image": "source-pages/bnf-011.png", "bbox_pixels": [ 400, 355, 2210, 3160 ], "music_transcription_status": "non-music", "printed_label": "PDF 11" }, { "id": "front-contents-012", "path": "assets/front-contents-005.png", "sha256": "d9e86bedfbf697611b5f2aa80669373ca4253a8f517177ea343adb583117c12f", "kind": "diagram", "description": "III. — How One Dissonance Can Resolve through Another. — 113\nIV. — How the Seventh Can Also Resolve to the Octave. — 118\nV. — How the Sixth Can Accompany the Seventh. — 122\nVI. — Cases Where a Dissonance Appears to Be Prepared by Another Dissonance. — 123\nChap. XVIII. — Establishing the Rules, with Instruction in Composing a Fundamental Bass. — 125\nARTICLES.\nI. — Establishing the Rules. — ibid.\nII. — Composing a Fundamental Bass beneath Any Kind of Music. — 134\nChap. XIX. — Continuation of the Previous Chapter, Showing That Melody Comes from Harmony. — 138\nChap. XX. — Properties of Chords. — 141\nChap. XXI. — Modes. — 143\nChap. XXII. — Source of the Freedom to Move from One Mode or Key to Another. — 149\nChap. XXIII. — Meter. — 150\nChap. XXIV. — Properties of Modes and Keys. — 157\nChap. XXV. — Usefulness of This New Me-Method of Marking Different Meters. — 158\nChap. XXVI. — Number of Measures in Each Air and Its Particular Tempo. — 159\nChap. XXVII. — Suitable Verse Forms for Each Air and Rules for Setting Words to Music. — 161\nChap. XXVIII. — Design, Imitation, Fugue, and Their Properties. — 162\nChap. XXIX. — Intervals Distinguished as Major or Minor, Just or Perfect, Augmented or Diminished. — 163", "sources": [ { "pdf_page": 12, "source_image": "source-pages/bnf-012.png", "printed_label": "PDF 12", "bbox_pixels": [ 400, 390, 2210, 2850 ], "crop_image": "assets/front-contents-005.png" } ], "pdf_page": 12, "source_image": "source-pages/bnf-012.png", "bbox_pixels": [ 400, 390, 2210, 2850 ], "music_transcription_status": "non-music", "printed_label": "PDF 12" }, { "id": "front-contents-013", "path": "assets/front-contents-006.png", "sha256": "50ed863ba173020a2f1b6b97ebe8cddc939e2ec61c6c92c6b626fdc473970fd5", "kind": "diagram", "description": "BOOK THREE. — Principles of Composition.\nChap. I. — Introduction to Practical Music. — 169\nChap. II. — Fundamental Bass. — 185\nChap. III. — Perfect Chord, the Starting Point for Four-Part Composition. — 186\nChap. IV. — Chord Succession. — ibid.\nChap. V. — Some Rules to Observe. — 191\nChap. VI. — Seventh Chord. Articles I and II. — 192\nChap. VII. — Observations on Dissonance. — 197\nChap. VIII. — Key and Mode. — 198\nChap. IX. — Harmonic Modulation with a Diatonic Bass Progression. — 200\nChap. X. — Continuo Bass. — 206\nChap. XI. — Bass Progression, Which Also Determines Chord Progression; Relating a Derived Chord to Its Foundation. — ibid.\nChap. XII. — Further Rules Drawn from the Preceding Example. — 215\nChap. XIII. — Perfect Cadence. — 216\nChap. XIV. — Leading Note and the Resolution of All Dissonances. — 217\nChap. XV. — Eleventh, Called the Fourth. — 219\nChap. XVI. — Irregular Cadence. — 221\nChap. XVII. — Related Bass Progressions That Leave the Upper Parts’ Harmony Unchanged. — 225\nChap. XVIII. — Preparing Dissonances. — 229\nChap. XIX. — Cases Where Dissonances Cannot Be Prepared. — 233\nChap. XX. — Exact Enumeration of Bass Progressions According to the Dissonances Used. — 235\nChap. XXI. — Second Chord. — 241\nChap. XXII. — Keys and Modes in General. — 244\nARTICLES.\nI. — Major Keys. — ibid.\nII. — Minor Keys. — 245\nChap. XXIII. — Passing from One Key to Another, Also Called Modulation. — 248\nChap. XXIV. — Continuation of the Previous Chapter’s Rules. — 251", "sources": [ { "pdf_page": 13, "source_image": "source-pages/bnf-013.png", "printed_label": "PDF 13", "bbox_pixels": [ 400, 510, 2210, 3040 ], "crop_image": "assets/front-contents-006.png" } ], "pdf_page": 13, "source_image": "source-pages/bnf-013.png", "bbox_pixels": [ 400, 510, 2210, 3040 ], "music_transcription_status": "non-music", "printed_label": "PDF 13" }, { "id": "front-contents-014", "path": "assets/front-contents-007.png", "sha256": "71aefbaeafb224e498bddfc4c4cb857849ec472c7d8ff9d32d7bf7cb2422ebe8", "kind": "diagram", "description": "Chap. XXV. — Identifying the Chords Required by Bass Notes in Any Progression. — 254\nARTICLES.\nI. — Cadences and Everything Relating to a Melodic Conclusion. — ibid.\nII. — Imperfect Cadences. — 257\nIII. — Identifying the Key of Imperfect-Cadence Progressions. — 258\nIV. — Determining Whether a Diatonic Melody Will Rest on Tonic or Dominant. — 264\nChap. XXVI. — Using the Seventh on All Notes of a Key in Diatonic Progression. — 266\nChap. XXVII. — One Dissonance in Successive Chords on Different Notes, and Its Resolution on Seemingly Foreign Notes. — 267\nChap. XXVIII. — All Licenses, Beginning with the Interrupted Cadence. — 270\nChap. XXIX. — Augmented-Fifth Chord. — 273\nChap. XXX. — Ninth Chord. — 275\nChap. XXXI. — Eleventh Chord, Called the Fourth. — 278\nChap. XXXII. — Augmented-Seventh Chord. — 281\nChap. XXXIII. — Augmented-Second Chord and Its Derivatives. — 282\nChap. XXXIV. — Chromatic Movement. — 286\nARTICLES.\nI. — Descending Chromatic Movement. — ibid.\nII. — Ascending Chromatic Movement. — 288\nChap. XXXV. — Practicing Everything Explained So Far. — 291\nARTICLES.\nI. — Bass Progression. — ibid.\nII. — Using Consonant and Dissonant Chords. — 292\nIII. — Major Dissonances Caused by the Leading Note, and Their Bass Notes. — 294", "sources": [ { "pdf_page": 14, "source_image": "source-pages/bnf-014.png", "printed_label": "PDF 14", "bbox_pixels": [ 400, 380, 2210, 3170 ], "crop_image": "assets/front-contents-007.png" } ], "pdf_page": 14, "source_image": "source-pages/bnf-014.png", "bbox_pixels": [ 400, 380, 2210, 3170 ], "music_transcription_status": "non-music", "printed_label": "PDF 14" }, { "id": "front-contents-015", "path": "assets/front-contents-008.png", "sha256": "02e53dee429f5c1004ef8826f266aa8410b51967839ace9a2c37276351bbe264", "kind": "diagram", "description": "IV. — Minor Dissonances. — 294\nV. — Consonances Preferred for Doubling. — 295\nVI. — Meter and Beat. — ibid.\nVII. — Syncopation. — 296\nChap. XXXVI. — Two-Part Composition. — 299\nChap. XXXVII. — False Relations. — 302\nChap. XXXVIII. — Making a Melody above a Bass. — 303\nChap. XXXIX. — Figured Melody, or Supposition. — 308\nARTICLES.\nI. — Figured Melody through Consonant Intervals. — ibid.\nII. — Figured Melody through Diatonic Intervals. — 311\nChap. XL. — Making a Fundamental Bass beneath an Upper Part. — 313\nChap. XLI. — Composing a Continuo Bass beneath an Upper Part. — 323\nChap. XLII. — Useful Observations on the Previous Chapter. — 327\nChap. XLIII. — Rules for Composition in Two, Three, and Four Parts. — 329\nChap. XLIV. — Design, Imitation, and Fugue. — 331\nAfter these chapters come several examples, including a quintet and different canons.\nBOOK FOUR. — Principles of Accompaniment.\nChap. I. — Distinguishing Intervals through Keyboard Layout. — 363\nChap. II. — Differences between Major and Minor Intervals, and between Perfect, Augmented, and Diminished Intervals. — 366\nChap. III. — Hand Position and Finger Arrangement. — 371\nChap. IV. — Finding Chords on the Keyboard. — 372\nChap. V. — Useful Observations on All Chords. — 377\nChap. VI. — Keys and Modes. — 381", "sources": [ { "pdf_page": 15, "source_image": "source-pages/bnf-015.png", "printed_label": "PDF 15", "bbox_pixels": [ 400, 380, 2210, 3170 ], "crop_image": "assets/front-contents-008.png" } ], "pdf_page": 15, "source_image": "source-pages/bnf-015.png", "bbox_pixels": [ 400, 380, 2210, 3170 ], "music_transcription_status": "non-music", "printed_label": "PDF 15" }, { "id": "front-contents-016", "path": "assets/front-contents-009.png", "sha256": "5a6567bfe5d832865110a8a1695b6d77b277a09ca9c98f76ff7bacde4c719665", "kind": "diagram", "description": "Chap. VII. — Order of Chord Succession within Each Key’s Octave. — 388\nChap. VIII. — General Rules. — 392\nChap. IX. — Different Chords Following the Seventh Chord on a Stationary Note. Articles I and II. — 397\nChap. X. — Second Chord. — 401\nChap. XI. — Sixth Chords. — 402\nChap. XII. — Augmented-Second Chord and Its Derivatives. — 404\nChap. XIII. — Chords by Supposition. — 406\nARTICLES.\nI. — Ninth. — ibid.\nII. — Augmented-Fifth Chord. — 407\nIII. — Augmented-Seventh Chord. — ibid.\nIV. — Eleventh Chord, Called the Fourth. — ibid.\nChap. XIV. — Relationships among All the Preceding Chords. — 408\nChap. XV. — Preparing and Resolving All Dissonances to Identify the Current Key and the Chords Belonging to Each of Its Notes. — 411\nARTICLES.\nI. — Major Dissonance. — ibid.\nII. — Minor Dissonance. — 414\nChap. XVI. — Chromatic Movement. — 416\nChap. XVII. — Recapitulation of Different Chord Successions. — 418\nChap. XVIII. — Rules Needed for Good Accompaniment. — 426\nChap. XIX. — Figuring a Continuo Bass and Identifying the Chord Denoted by Each Figure. — 428\nChap. XX. — Distinguishing the Bass Notes That Must Bear a Chord. — 429", "sources": [ { "pdf_page": 16, "source_image": "source-pages/bnf-016.png", "printed_label": "PDF 16", "bbox_pixels": [ 400, 340, 2210, 2800 ], "crop_image": "assets/front-contents-009.png" } ], "pdf_page": 16, "source_image": "source-pages/bnf-016.png", "bbox_pixels": [ 400, 340, 2210, 2800 ], "music_transcription_status": "non-music", "printed_label": "PDF 16" }, { "id": "I.03-004", "path": "assets/I.03-004.png", "sha256": "4d5dec66ca8910aada81c19a4beb5d59e8eb737dccca95d934a48675c39c7732", "kind": "diagram", "description": "A — D — C — E — B", "sources": [ { "pdf_page": 35, "source_image": "source-pages/bnf-035.png", "printed_page": 3, "bbox_pixels": [ 363, 2733, 643, 131 ], "crop_image": "assets/I.03-004.png" } ], "pdf_page": 35, "source_image": "source-pages/bnf-035.png", "bbox_pixels": [ 363, 2733, 643, 131 ], "music_transcription_status": "non-music", "printed_page": 3 }, { "id": "I.03-010", "path": "assets/I.03-010.png", "sha256": "0a287e996997fe23a024bb47662184648a89018352a6be1bcd40fc47d58f7604", "kind": "diagram", "description": "Sounds and divisions (top to bottom):\nC 8\nG 6\nE 5\nC 4\nG 3\nC 2\nC 1\nAdjacent intervals:\n6–8 Fourth; 5–6 Minor third; 4–5 Major third;\n3–4 Fourth; 2–3 Fifth; 1–2 Octave.\nOther relations:\n5–8 Minor sixth; 3–5 Major sixth;\n1–3 Twelfth; 1–4 Double octave; 1–8 Triple octave.", "sources": [ { "pdf_page": 36, "source_image": "source-pages/bnf-036.png", "printed_page": 4, "bbox_pixels": [ 275, 1782, 2457, 1569 ], "crop_image": "assets/I.03-010.png" } ], "pdf_page": 36, "source_image": "source-pages/bnf-036.png", "bbox_pixels": [ 275, 1782, 2457, 1569 ], "music_transcription_status": "non-music", "printed_page": 4 }, { "id": "I.03-049", "path": "assets/I.03-049.png", "sha256": "681fa73698cae429d81ce5ba36025f05e9c23d4c01b54f5d588e0b2d752d518a", "kind": "diagram", "description": "1. & 1. 1/5", "sources": [ { "pdf_page": 45, "source_image": "source-pages/bnf-045.png", "printed_page": 13, "bbox_pixels": [ 1737, 3034, 359, 140 ], "crop_image": "assets/I.03-049.png" } ], "pdf_page": 45, "source_image": "source-pages/bnf-045.png", "bbox_pixels": [ 1737, 3034, 359, 140 ], "music_transcription_status": "non-music", "printed_page": 13 }, { "id": "I.03-060", "path": "assets/I.03-060.png", "sha256": "2f12b98e8206bff2c1f3bc6ceed4e08184243b9e2f3fbf63cfd7a7ffc9181b24", "kind": "diagram", "description": "Points on the string, left to right:\n1 2 3 4 5 6 8 10\nAbove:\n2–3 Fifth; 3–4 Fourth; 2–4 Octave.\n5–8 Minor sixth; 6–10 Major sixth; 5–10 Octave.\nBelow:\n1–2 Octave; 1–4 Double octave; 1–8 Triple octave.\n4–5 Major third; 5–6 Minor third; 4–6 Fifth; 4–8 Octave.", "sources": [ { "pdf_page": 47, "source_image": "source-pages/bnf-047.png", "printed_page": 15, "bbox_pixels": [ 396, 1256, 2163, 716 ], "crop_image": "assets/I.03-060.png" } ], "pdf_page": 47, "source_image": "source-pages/bnf-047.png", "bbox_pixels": [ 396, 1256, 2163, 716 ], "music_transcription_status": "non-music", "printed_page": 15 }, { "id": "I.03-066", "path": "assets/I.03-066.png", "sha256": "7b694703d597cb5102c9ac8ca42209d07d56a6519c1da25ea149d4e9951a3535", "kind": "diagram", "description": "Points on the string, left to right:\n2 3 4 5 6 1\nAbove:\n3–1 Fifth; 5–1 Major third; 6–1 Minor third.\nBelow:\n2–3 Fourth; 2–5 Minor sixth; 2–6 Major sixth.", "sources": [ { "pdf_page": 48, "source_image": "source-pages/bnf-048.png", "printed_page": 16, "bbox_pixels": [ 428, 1305, 2163, 578 ], "crop_image": "assets/I.03-066.png" } ], "pdf_page": 48, "source_image": "source-pages/bnf-048.png", "bbox_pixels": [ 428, 1305, 2163, 578 ], "music_transcription_status": "non-music", "printed_page": 16 }, { "id": "I.05-004", "path": "assets/I.05-004.png", "sha256": "a87d9a41dc19cd926645a585e45c108b40491cac5ebba1f0d442395d8abc0f8c", "kind": "diagram", "description": "Whole tone; major semitone; minor semitone. Divided string, marks from left to right: 2. 3. 4. 5. 6. 1.", "sources": [ { "pdf_page": 54, "source_image": "source-pages/bnf-054.png", "printed_page": 22, "bbox_pixels": [ 419, 2784, 2171, 550 ], "crop_image": "assets/I.05-004.png" } ], "pdf_page": 54, "source_image": "source-pages/bnf-054.png", "bbox_pixels": [ 419, 2784, 2171, 550 ], "music_transcription_status": "non-music", "printed_page": 22 }, { "id": "I.05-006", "path": "assets/I.05-006.png", "sha256": "6cd1d96e9b3fec78969f8a35ad328ec87fe1e0b1b84efec819f2667fc9d56cdb", "kind": "diagram", "description": "Whole tone; major semitone; minor semitone. Marks: 2. 3. 4. 5. 6. 1.", "sources": [ { "pdf_page": 54, "source_image": "source-pages/bnf-054.png", "printed_page": 22, "bbox_pixels": [ 419, 3326, 2171, 348 ], "crop_image": "assets/I.05-006.png" } ], "pdf_page": 54, "source_image": "source-pages/bnf-054.png", "bbox_pixels": [ 419, 3326, 2171, 348 ], "music_transcription_status": "non-music", "printed_page": 22 }, { "id": "I.05-009", "path": "assets/I.05-009.png", "sha256": "cc3eb71494dd4374388a96e60654a793f8a5f419eb25f22b8fda2f288315086e", "kind": "diagram", "description": "Ratio of the fifth: 2. 3. And of the fourth: 3. 4. Product: 8. 9. [Cross-multiplication.]", "sources": [ { "pdf_page": 55, "source_image": "source-pages/bnf-055.png", "printed_page": 23, "bbox_pixels": [ 1131, 1521, 972, 410 ], "crop_image": "assets/I.05-009.png" } ], "pdf_page": 55, "source_image": "source-pages/bnf-055.png", "bbox_pixels": [ 1131, 1521, 972, 410 ], "music_transcription_status": "non-music", "printed_page": 23 }, { "id": "I.05-013", "path": "assets/I.05-013.png", "sha256": "86a50f832c80f85730343c9ff8aa49514469e9f1326a7553d6fc48dac1336c4e", "kind": "diagram", "description": "There is:\nFrom C to D... a minor whole tone, as 9 to 10.\nFrom D to E... a major whole tone, as 8 to 9.\nFrom E to F... a major semitone, as 15 to 16.\nFrom F to G... a major whole tone, as 8 to 9.\nFrom G to A... a minor whole tone, as 9 to 10.\nFrom A to B... a major whole tone, as 8 to 9.\nFrom B to C... a major semitone, as 15 to 16.", "sources": [ { "pdf_page": 55, "source_image": "source-pages/bnf-055.png", "printed_page": 23, "bbox_pixels": [ 419, 2900, 2171, 655 ], "crop_image": "assets/I.05-013.png" } ], "pdf_page": 55, "source_image": "source-pages/bnf-055.png", "bbox_pixels": [ 419, 2900, 2171, 655 ], "music_transcription_status": "non-music", "printed_page": 23 }, { "id": "I.05-016", "path": "assets/I.05-016.png", "sha256": "81b19ca38b9d5cc91a4f8e9375de996f857c8b999d7532f9227b2c04bb4e3c2e", "kind": "diagram", "description": "Addition of the minor-third ratio 5. 6. to the fifth ratio 2. 3. Product giving the seventh ratio: 10. 18.\nSquare of the fourth ratio: 3. 4. / 3. 4. Product giving the same seventh ratio: 9. 16.\nAddition of the major-third ratio 4. 5. to the fifth ratio 2. 3. Product giving the augmented-seventh ratio: 8. 15.\nSquare of the minor-third ratio: 5. 6. / 5. 6. Product giving the diminished-fifth ratio: 25. 36.\nSquare of the major-third ratio: 4. 5. / 4. 5. Product giving the augmented-fifth ratio: 16. 25.\nSquare of the fifth: 2. 3. / 2. 3. Product giving the ninth ratio: 4. 9.\nAddition of the minor-sixth ratio 5. 8. to the major-sixth ratio 3. 5. Product giving the eleventh ratio: 15. 40.\nCubes of the minor-third ratio give the diminished seventh between 125 and 218.", "sources": [ { "pdf_page": 56, "source_image": "source-pages/bnf-056.png", "printed_page": 24, "bbox_pixels": [ 419, 956, 2171, 1338 ], "crop_image": "assets/I.05-016.png" } ], "pdf_page": 56, "source_image": "source-pages/bnf-056.png", "bbox_pixels": [ 419, 956, 2171, 1338 ], "music_transcription_status": "non-music", "printed_page": 24 }, { "id": "I.05-020", "path": "assets/I.05-020.png", "sha256": "48ec599901304744ca53b21b8ca22277534d9387649db4ef407f9f5b6f70bdc2", "kind": "diagram", "description": "Fourth from C to F.\nC to D. Minor whole tone 9. 10.\nD to E. Major whole tone 8. 9.\nProduct 72. 90.\nE to F. Major semitone 15. 16.\nProduct 1080. 1440.\nLowest terms of the product 3. 4.\n\nFourth from D to G.\nD to E... Major whole tone 8. 9.\nE to F... Major semitone 15. 16.\nProduct 120. 144.\nF to G... Major whole tone 8. 9.\nProduct 960. 1296.\nLowest terms of the product 20. 27.", "sources": [ { "pdf_page": 57, "source_image": "source-pages/bnf-057.png", "printed_page": 25, "bbox_pixels": [ 419, 2024, 2171, 668 ], "crop_image": "assets/I.05-020.png" } ], "pdf_page": 57, "source_image": "source-pages/bnf-057.png", "bbox_pixels": [ 419, 2024, 2171, 668 ], "music_transcription_status": "non-music", "printed_page": 25 }, { "id": "I.05-023", "path": "assets/I.05-023.png", "sha256": "dfb1633406c8e9c9c572f223c7625d03d2b85965f89a625f2568afd21625031c", "kind": "diagram", "description": "Names of the intervals generated first. | Natural ratios according to the divisions. | Ratios altered by a comma. | Names of intervals inverted from the first. | Natural ratios of inverted intervals. | Ratios of inverted intervals altered by a comma.\nDiminished comma. | 2025. 2048. | | | | \nComma. | 80. 81. | | | | \nMinor or enharmonic diesis. | 125. 128. | | | | \nMajor diesis. | 243. 250. | | | | \nLesser semitone. | 625. 648. | | | | \nMinor semitone in theory, or augmented unison in practice. | 24. 25. | Medium semitone, exceeding the minor semitone by a comma. 128. 135. | Diminished octave. | 25. 48. | 135. 256. diminished by a comma.\nMajor semitone in theory, or minor second in practice. | 15. 16. | Maximum semitone, exceeding the major semitone by a comma. 25. 27. | Augmented or major seventh. | 8. 15. | \nMajor whole tone in theory, or second in practice. | 8. 9. | Minor whole tone, one comma smaller than the major whole tone. 9. 10. | Seventh. | 9. 16. | 5. 9. exceeding by a comma.\nAugmented whole tone, or diminished third. | 225. 256. | 125. 144. exceeding. | Augmented sixth. | 128. 225. | 72. 125. diminished.\nAugmented second. | 64. 75. | 108. 125. diminished. | Diminished seventh. | 75. 128. | 125. 216. exceeding.\nMinor third. | 5. 6. | 27. 32. diminished. | Major sixth. | 3. 5. | 16. 27. exceeding.\nMajor third. | 4. 5. | 81. 100. diminished. | Minor sixth. | 5. 8. | 50. 81. exceeding.\nFifth. | 2. 3. | 27. 40. diminished. | Fourth. | 3. 4. | 20. 27. exceeding.\nAugmented fifth. | 16. 25. | 81. 125. diminished. | Diminished fourth. | 25. 32. | 125. 162. exceeding.\nDiminished fifth. | 25. 36. | 45. 64. exceeding. | Tritone or augmented fourth. | 18. 25. | 32. 64. diminished.\nThese first five intervals have only one ratio and cannot be inverted; the others are composed by adding them.", "sources": [ { "pdf_page": 58, "source_image": "source-pages/bnf-058.png", "printed_page": 26, "bbox_pixels": [ 258, 735, 2479, 2879 ], "crop_image": "assets/I.05-023.png" } ], "pdf_page": 58, "source_image": "source-pages/bnf-058.png", "bbox_pixels": [ 258, 735, 2479, 2879 ], "music_transcription_status": "non-music", "printed_page": 26 }, { "id": "I.05-032", "path": "assets/I.05-032.png", "sha256": "dac98f51b936692a3a6824007849e4723a9a149a4d5604ccaca5a13a0fc0779b", "kind": "diagram", "description": "Major third 4. 5. / Minor third 5. 6. → Minor semitone 24. 25.\nFifth 2. 3. / Diminished fifth 25. 36. → Minor semitone 72. 75.\nFifth 2. 3. / Augmented fifth 16. 25. → Minor semitone 48. 50.\nSeventh 9. 16. / Diminished seventh 75. 128. → Minor semitone 1152. 1200.\nSeventh 5. 9. / Augmented seventh 8. 15. → Minor semitone 72. 75.", "sources": [ { "pdf_page": 59, "source_image": "source-pages/bnf-059.png", "printed_page": 27, "bbox_pixels": [ 312, 2329, 2122, 696 ], "crop_image": "assets/I.05-032.png" } ], "pdf_page": 59, "source_image": "source-pages/bnf-059.png", "bbox_pixels": [ 312, 2329, 2122, 696 ], "music_transcription_status": "non-music", "printed_page": 27 }, { "id": "I.05-037", "path": "assets/I.05-037.png", "sha256": "2d4b699de09109f21bdc3ebe24e8fae8fc20d966f1ff3f1f8427224bb86932eb", "kind": "diagram", "description": "There is:\nC to C♯ | a minor semitone. | 24 to 25.\nC♯ to D | a major semitone. | 15 to 16.\nD to E♭ | a maximum semitone. | 25 to 27.\nE♭ to E | a minor semitone. | 24 to 25.\nE to F | a major semitone. | 15 to 16.\nF to F♯ | a minor semitone. | 24 to 25.\nF♯ to G | a maximum semitone. | 25 to 27.\nG to G♯ | a minor semitone. | 24 to 25.\nG♯ to A | a major semitone. | 15 to 16.\nA to B♭ | a maximum semitone. | 25 to 27.\nB♭ to B | a minor semitone. | 24 to 25.\nB to C | a major semitone. | 15 to 16.\nAs.", "sources": [ { "pdf_page": 60, "source_image": "source-pages/bnf-060.png", "printed_page": 28, "bbox_pixels": [ 572, 580, 2030, 1010 ], "crop_image": "assets/I.05-037.png" } ], "pdf_page": 60, "source_image": "source-pages/bnf-060.png", "bbox_pixels": [ 572, 580, 2030, 1010 ], "music_transcription_status": "non-music", "printed_page": 28 }, { "id": "I.07-005", "path": "assets/I.07-005.png", "sha256": "477d010dac3cc58f6c03b7db6708dd9a218bcb5ed2548412242575c2d52d0d7f", "kind": "diagram", "description": "Major third 4. 5.\nMinor third 5. 6.\nProduct of multiplication 20. 30.\nResult of subtraction 24. / 25.\nPerfect chords 20. 25. 30. or 20. 24. 30.", "sources": [ { "pdf_page": 62, "source_image": "source-pages/bnf-062.png", "printed_page": 30, "bbox_pixels": [ 907, 804, 1236, 763 ], "crop_image": "assets/I.07-005.png" } ], "pdf_page": 62, "source_image": "source-pages/bnf-062.png", "bbox_pixels": [ 907, 804, 1236, 763 ], "music_transcription_status": "non-music", "printed_page": 30 }, { "id": "I.07-008", "path": "assets/I.07-008.png", "sha256": "19e2a7d331f63491850e3e52a4ba31927434a21ecf11939727f8c86ac9c83ff7", "kind": "diagram", "description": "Major third 4. 5. / 4. 5.\nProduct of multiplication 16. 25.\nResult of subtraction 20.\n\nMinor third 5. 6. / 5. 6.\nProduct of multiplication 25. 36.\nResult of subtraction 30.", "sources": [ { "pdf_page": 62, "source_image": "source-pages/bnf-062.png", "printed_page": 30, "bbox_pixels": [ 613, 2454, 1763, 595 ], "crop_image": "assets/I.07-008.png" } ], "pdf_page": 62, "source_image": "source-pages/bnf-062.png", "bbox_pixels": [ 613, 2454, 1763, 595 ], "music_transcription_status": "non-music", "printed_page": 30 }, { "id": "I.07-012", "path": "assets/I.07-012.png", "sha256": "2b6db7a81f103a79959e156a2c774eb5a64491e260f57856a1c8d6dd32c81bac", "kind": "diagram", "description": "Minor third 5. 6.\nFifth 2. 3.\nProduct of multiplication 10. 18.\nResult of subtraction 12. 15.\nSeventh chord 10. 12. 15. 18.\n\nMajor third 4. 5.\nFifth 2. 3.\nProduct of multiplication 8. 15.\nResult of subtraction 10. 12.\nSeventh chord 8. 10. 12. 15.", "sources": [ { "pdf_page": 63, "source_image": "source-pages/bnf-063.png", "printed_page": 31, "bbox_pixels": [ 419, 1149, 2171, 584 ], "crop_image": "assets/I.07-012.png" } ], "pdf_page": 63, "source_image": "source-pages/bnf-063.png", "bbox_pixels": [ 419, 1149, 2171, 584 ], "music_transcription_status": "non-music", "printed_page": 31 }, { "id": "I.07-014", "path": "assets/I.07-014.png", "sha256": "e28925bd82139790d11d9acddfe44d346f2d1a75baaaecb022b524965cd854e7", "kind": "diagram", "description": "Major perfect chord 4. 5. 6.\nMinor third 5. 6.\nProduct of multiplying the two vertical ratios 20. 30.\nProduct of multiplying the lower ratio by the last two numbers of the upper ratio 25. 36.\nSeventh chord 20. 25. 30. 36.\n\nMinor perfect chord 10. 12. 15.\nMinor third 5. 6.\nProduct of multiplying the two vertical ratios 50. 72.\nProduct of multiplying the lower ratio by the last two numbers of the upper ratio 60. 90.\nSeventh chord 25. 30. 36. 45.", "sources": [ { "pdf_page": 63, "source_image": "source-pages/bnf-063.png", "printed_page": 31, "bbox_pixels": [ 419, 1955, 2171, 834 ], "crop_image": "assets/I.07-014.png" } ], "pdf_page": 63, "source_image": "source-pages/bnf-063.png", "bbox_pixels": [ 419, 1955, 2171, 834 ], "music_transcription_status": "non-music", "printed_page": 31 }, { "id": "I.07-018", "path": "assets/I.07-018.png", "sha256": "f4a049391de8bd966c1c9f2532d0c3c281e74b40e37f967d28fc32dfb521e809", "kind": "diagram", "description": "Fifth 2. 3. / 2. 3.\nProduct of multiplication 4. 9.\nResult of subtraction 6.\n4. 6. 9.", "sources": [ { "pdf_page": 64, "source_image": "source-pages/bnf-064.png", "printed_page": 32, "bbox_pixels": [ 1000, 1046, 1112, 531 ], "crop_image": "assets/I.07-018.png" } ], "pdf_page": 64, "source_image": "source-pages/bnf-064.png", "bbox_pixels": [ 1000, 1046, 1112, 531 ], "music_transcription_status": "non-music", "printed_page": 32 }, { "id": "I.08-013", "path": "assets/I.08-013.png", "sha256": "6e11beaa27e997b5ef1b901edab235a3a05c43b189fb15107959cafc130cb05b", "kind": "diagram", "description": "Perfect chord. C 4. E 5. G 6.\nSixth chord. E 5. G 6. C 8.\nSixth–fourth chord. G 6. C 8. E 10.", "sources": [ { "pdf_page": 68, "source_image": "source-pages/bnf-068.png", "printed_page": 36, "bbox_pixels": [ 645, 698, 1763, 1231 ], "crop_image": "assets/I.08-013.png" } ], "pdf_page": 68, "source_image": "source-pages/bnf-068.png", "bbox_pixels": [ 645, 698, 1763, 1231 ], "music_transcription_status": "non-music", "printed_page": 36 }, { "id": "I.08-018", "path": "assets/I.08-018.png", "sha256": "54fa228ea917e61c2fc241cea03f63830322ac791de45ff10c1fb217bc732d39", "kind": "diagram", "description": "10. 12. 15. | A, C, E. | Fundamental perfect chord.\n12. 15. 20. | C, E, A. | Sixth chord, inverted from the perfect chord.\n15. 20. 24. | E, A, C. | Sixth–fourth chord, inverted from the perfect chord.\nAll other perfect chords and their derivatives taken on other notes differ in no respect from these first two;", "sources": [ { "pdf_page": 68, "source_image": "source-pages/bnf-068.png", "printed_page": 36, "bbox_pixels": [ 419, 3229, 2171, 335 ], "crop_image": "assets/I.08-018.png" } ], "pdf_page": 68, "source_image": "source-pages/bnf-068.png", "bbox_pixels": [ 419, 3229, 2171, 335 ], "music_transcription_status": "non-music", "printed_page": 36 }, { "id": "I.08-024", "path": "assets/I.08-024.png", "sha256": "41af5974f6cbbc01655d45cd672f8b2b395b7e5d933b1fd7acae5334f587bb00", "kind": "diagram", "description": "Fundamental seventh chord: A 20. C♯ 25. E 30. G 36.\nDiminished-fifth chord: C♯ 25. E 30. G 36. A 40.\nSmall-sixth chord: E 30. G 36. A 40. C♯ 50.\nTritone chord: G 36. A 40. C♯ 50. E 60.\nF 16. Lowest sound of the augmented-fifth chord.\nTo find the ratios of the augmented-seventh chord, triple these numbers; 40 will supply the lowest sound of that chord, thus:\n40. 60. 75. 90. 108.\nD, A, C♯, E, G.", "sources": [ { "pdf_page": 70, "source_image": "source-pages/bnf-070.png", "printed_page": 38, "bbox_pixels": [ 451, 720, 2171, 2438 ], "crop_image": "assets/I.08-024.png" } ], "pdf_page": 70, "source_image": "source-pages/bnf-070.png", "bbox_pixels": [ 451, 720, 2171, 2438 ], "music_transcription_status": "non-music", "printed_page": 38 }, { "id": "I.08-030", "path": "assets/I.08-030.png", "sha256": "1509123600bfb3237a43bf47d6e7239f5eadee7a6a4ccbbcf6774f8a2764a42c", "kind": "diagram", "description": "10. 12. 15. 18. | A, C, E, G. | Fundamental seventh chord.\n12. 15. 18. 20. | C, E, G, A. | Great-sixth chord, inverted from the seventh chord.\n15. 18. 20. 24. | E, G, A, C. | Small-sixth chord, inverted from the seventh chord.\n18. 20. 24. 30. | G, A, C, E. | Second chord, inverted from the seventh chord.\n8. F. Lowest sound of the ninth chord.", "sources": [ { "pdf_page": 71, "source_image": "source-pages/bnf-071.png", "printed_page": 39, "bbox_pixels": [ 419, 1800, 2171, 492 ], "crop_image": "assets/I.08-030.png" } ], "pdf_page": 71, "source_image": "source-pages/bnf-071.png", "bbox_pixels": [ 419, 1800, 2171, 492 ], "music_transcription_status": "non-music", "printed_page": 39 }, { "id": "I.08-032", "path": "assets/I.08-032.png", "sha256": "36abd7e5b7faa9e751a4440280a6cefe41bdb93a4a25a4f96ac2e0c86326984d", "kind": "diagram", "description": "20. 30. 36. 45. 54.\nD, A, C, E, G.", "sources": [ { "pdf_page": 71, "source_image": "source-pages/bnf-071.png", "printed_page": 39, "bbox_pixels": [ 918, 2499, 838, 163 ], "crop_image": "assets/I.08-032.png" } ], "pdf_page": 71, "source_image": "source-pages/bnf-071.png", "bbox_pixels": [ 918, 2499, 838, 163 ], "music_transcription_status": "non-music", "printed_page": 39 }, { "id": "I.08-039", "path": "assets/I.08-039.png", "sha256": "ab5cbdd5888ce9f32d5acb92e2088f6d5a771d3de6df6468858821059402a4ab", "kind": "diagram", "description": "18. D. Highest sound of the ninth chord.\n8. 10. 12. 15. | C, E, G, B. | Fundamental seventh chord.\n10. 12. 15. 16. | E, G, B, C. | Great-sixth chord.\n12. 15. 16. 20. | G, B, C, E. | Small-sixth chord.\n15. 16. 20. 24. | B, C, E, G. | Second chord.", "sources": [ { "pdf_page": 72, "source_image": "source-pages/bnf-072.png", "printed_page": 40, "bbox_pixels": [ 419, 2252, 2171, 458 ], "crop_image": "assets/I.08-039.png" } ], "pdf_page": 72, "source_image": "source-pages/bnf-072.png", "bbox_pixels": [ 419, 2252, 2171, 458 ], "music_transcription_status": "non-music", "printed_page": 40 }, { "id": "I.08-041", "path": "assets/I.08-041.png", "sha256": "b1989798e698463cc3fa3a7fd5efd6482e3155b161cc9e313c9954dc89fb6645", "kind": "diagram", "description": "20. 24. 30. 36. 45.\nA, C, E, G, B.", "sources": [ { "pdf_page": 72, "source_image": "source-pages/bnf-072.png", "printed_page": 40, "bbox_pixels": [ 1333, 2853, 869, 153 ], "crop_image": "assets/I.08-041.png" } ], "pdf_page": 72, "source_image": "source-pages/bnf-072.png", "bbox_pixels": [ 1333, 2853, 869, 153 ], "music_transcription_status": "non-music", "printed_page": 40 }, { "id": "I.08-044", "path": "assets/I.08-044.png", "sha256": "ad230e235a52323bb1a40bf31721517f79fdeeff94b2f1c96d8bc21e38743a86", "kind": "diagram", "description": "8. 10. 12. 15. 18.\nC, E, G, B, D,", "sources": [ { "pdf_page": 73, "source_image": "source-pages/bnf-073.png", "printed_page": 41, "bbox_pixels": [ 456, 533, 707, 127 ], "crop_image": "assets/I.08-044.png" } ], "pdf_page": 73, "source_image": "source-pages/bnf-073.png", "bbox_pixels": [ 456, 533, 707, 127 ], "music_transcription_status": "non-music", "printed_page": 41 }, { "id": "I.08-046", "path": "assets/I.08-046.png", "sha256": "179b126fbdf9b9f362d7b323c18794872fbbe6340fdfb26279178b2df360c1b7", "kind": "diagram", "description": "8. 10. 12. 15. 18. | 8. 10. 12. 15. 18.\nC, E, G, B, D; or F, A, C, E, G,", "sources": [ { "pdf_page": 73, "source_image": "source-pages/bnf-073.png", "printed_page": 41, "bbox_pixels": [ 1204, 651, 1387, 142 ], "crop_image": "assets/I.08-046.png" } ], "pdf_page": 73, "source_image": "source-pages/bnf-073.png", "bbox_pixels": [ 1204, 651, 1387, 142 ], "music_transcription_status": "non-music", "printed_page": 41 }, { "id": "I.08-048", "path": "assets/I.08-048.png", "sha256": "48b828762f1ea5dab065b58b7d375a07b60c12f7cb56e892362788602807a0d5", "kind": "diagram", "description": "45. 64. 80. 96. 120.\nB, F, A, C, E.", "sources": [ { "pdf_page": 73, "source_image": "source-pages/bnf-073.png", "printed_page": 41, "bbox_pixels": [ 617, 1014, 697, 118 ], "crop_image": "assets/I.08-048.png" } ], "pdf_page": 73, "source_image": "source-pages/bnf-073.png", "bbox_pixels": [ 617, 1014, 697, 118 ], "music_transcription_status": "non-music", "printed_page": 41 }, { "id": "I.08-053", "path": "assets/I.08-053.png", "sha256": "4cb9d82de73df8e9c348e78f4c16ccf5d2e6475ce6e20a2cc940cb46425e411b", "kind": "diagram", "description": "25. 30. 36. 45. | E, G, B♭, D. | Fundamental seventh chord.\n30. 36. 45. 50. | G, B♭, D, E. | Great-sixth chord.\n36. 45. 50. 60. | B♭, D, E, G. | Small-sixth chord.\n45. 50. 60. 72. | D, E, G, B♭. | Second chord.\n20. C. Lowest sound of the ninth chord.\nWe find the lowest sound of the eleventh at 50 by tripling these ratios, thus:\n50. 75. 90. 108. 135.\nA, E, G, B♭, D.", "sources": [ { "pdf_page": 73, "source_image": "source-pages/bnf-073.png", "printed_page": 41, "bbox_pixels": [ 419, 2133, 2171, 541 ], "crop_image": "assets/I.08-053.png" } ], "pdf_page": 73, "source_image": "source-pages/bnf-073.png", "bbox_pixels": [ 419, 2133, 2171, 541 ], "music_transcription_status": "non-music", "printed_page": 41 }, { "id": "I.08-066", "path": "assets/I.08-066.png", "sha256": "ab7a7eed77b803e006977d4a062aaf96ce970a6a17c2ae498f53e17d6b7e5f8c", "kind": "diagram", "description": "108. 125. 150. 180. | B♭, C♯, E, G. | Augmented-second chord.\n125. 150. 180. 216. | C♯, E, G, B♭. | Diminished-seventh chord.\n75. 90. 108. 125. or 150. 180. 216. 250. | E, G, B♭, C♯. | Small-sixth chord with diminished fifth.\n90. 108. 125. 150. or 180. 216. 250. 300. | G, B♭, C♯, E. | Tritone chord with minor third.\n80. F. Lowest sound of the augmented-fifth chord with fourth.\nThe lowest sound of the augmented-seventh chord with minor sixth is found at 200 by tripling the ratios of the augmented-second chord, thus:\n200. 324. 375. 450. 540.\nD, B♭, C♯, E, G.", "sources": [ { "pdf_page": 75, "source_image": "source-pages/bnf-075.png", "printed_page": 43, "bbox_pixels": [ 312, 2561, 2376, 769 ], "crop_image": "assets/I.08-066.png" } ], "pdf_page": 75, "source_image": "source-pages/bnf-075.png", "bbox_pixels": [ 312, 2561, 2376, 769 ], "music_transcription_status": "non-music", "printed_page": 43 }, { "id": "II.05-014", "path": "assets/II.05-014.png", "sha256": "3efcf1acc9b04e8bf1a79e62f7c5f3678bdcae7be992a0acec6b8b7a6f0cf664", "kind": "music", "description": "Perfect Cadence in the Major Mode.", "sources": [ { "pdf_page": 89, "source_image": "source-pages/bnf-089.png", "printed_page": 57, "bbox_pixels": [ 385, 587, 1176, 1574 ], "crop_image": "assets/II.05-014.png" } ], "pdf_page": 89, "source_image": "source-pages/bnf-089.png", "bbox_pixels": [ 385, 587, 1176, 1574 ], "music_transcription_status": "needs-review", "printed_page": 57, "musicxml": [ { "path": "musicxml/II.05-014.musicxml", "sha256": "caae621d3d2a679dada374bc6da8b686e9097e1f610ffe9f430574bbe4a30ced", "playbackAvailable": true, "transcriptionStatus": "needs-review" } ], "playback_status": "ready", "variants": [] }, { "id": "II.05-015", "path": "assets/II.05-015.png", "sha256": "7b16e159d0879a66b88cf7bc5c417372266d5a8adceabc8f8417d1824952738d", "kind": "music", "description": "Perfect Cadence in the Minor Mode.", "sources": [ { "pdf_page": 89, "source_image": "source-pages/bnf-089.png", "printed_page": 57, "bbox_pixels": [ 1569, 587, 1041, 1574 ], "crop_image": "assets/II.05-015.png" } ], "pdf_page": 89, "source_image": "source-pages/bnf-089.png", "bbox_pixels": [ 1569, 587, 1041, 1574 ], "music_transcription_status": "needs-review", "printed_page": 57, "musicxml": [ { "path": "musicxml/II.05-015.musicxml", "sha256": "35b9319a170e365bcfad817d0e285dd4b1bd31c18d90058e4248e75b04387332", "playbackAvailable": true, "transcriptionStatus": "needs-review" } ], "playback_status": "ready", "variants": [] }, { "id": "II.05-019", "path": "assets/II.05-019.png", "sha256": "bdafc31fd8de18c288c9100ff34f4aaed4e74151931217cfc0e9c1594e37d09a", "kind": "music", "description": "Zarlino's Example with an Added Fundamental Bass.", "sources": [ { "pdf_page": 90, "source_image": "source-pages/bnf-090.png", "printed_page": 58, "bbox_pixels": [ 411, 602, 2137, 1569 ], "crop_image": "assets/II.05-019.png" } ], "pdf_page": 90, "source_image": "source-pages/bnf-090.png", "bbox_pixels": [ 411, 602, 2137, 1569 ], "music_transcription_status": "needs-review", "printed_page": 58, "musicxml": [ { "path": "musicxml/II.05-019.musicxml", "sha256": "e3d2646b3075fb2191a5bf53943e0cc69f2571ae5e09eee385a8620d33ed023b", "playbackAvailable": true, "transcriptionStatus": "needs-review" } ], "playback_status": "ready", "variants": [] }, { "id": "II.05-025", "path": "assets/II.05-025.png", "sha256": "3afb7b973dd86d05ea518b6e45ba4b42878355eb1b48f6666834c30bdc5e47f5", "kind": "music", "description": "Added Parts. 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Rise by 4. 6. 4. 4. 3. 6. 6. 4. 4. 2. 4. 4. 4. 4.", "sources": [ { "pdf_page": 227, "source_image": "source-pages/bnf-227.png", "printed_page": 195, "bbox_pixels": [ 385, 1471, 2135, 1808 ], "crop_image": "assets/III.06-020.png" } ], "pdf_page": 227, "source_image": "source-pages/bnf-227.png", "bbox_pixels": [ 385, 1471, 2135, 1808 ], "music_transcription_status": "needs-review", "printed_page": 195, "musicxml": [ { "path": "musicxml/III.06-020.musicxml", "sha256": "e94b8fe8599e087c1dff2f0ac93a534eae32021db30ae68355ea70d4c9b247a9", "playbackAvailable": true, "transcriptionStatus": "needs-review" } ], "playback_status": "ready", "variants": [ { "id": "III.06-020-rameau-p195-p196-complet", "label": "Exemple complet — pages195–196", "musicxml": [ { "path": "musicxml/III.06-020-rameau-p195-p196-complet.musicxml", "sha256": "d3261dedce1590bd4257d6044744e9347c4d49d4405a8638ff76f0c2b7ae8214", "playbackAvailable": true, "transcriptionStatus": "needs-review" } ] } ] }, { "id": "III.06-023", "path": "assets/III.06-023.png", "sha256": "a1711b2f89dabafa1861f68af19cfa647b720cae68ea484ca2c655f51e4d2eb4", "kind": "music", "description": "Rise by 3. 3. 5. 6. 4. 4. 4. 2. 4. 4. 5. 4.", "sources": [ { "pdf_page": 228, "source_image": "source-pages/bnf-228.png", "printed_page": 196, "bbox_pixels": [ 434, 615, 2118, 1522 ], "crop_image": "assets/III.06-023.png" } ], "pdf_page": 228, "source_image": "source-pages/bnf-228.png", "bbox_pixels": [ 434, 615, 2118, 1522 ], "music_transcription_status": "needs-review", "printed_page": 196, "musicxml": [ { "path": "musicxml/III.06-023.musicxml", "sha256": "b97fee3a699af8905af2a35d76a5854d7015df3d98f39327a30c30ec99f4402f", "playbackAvailable": true, "transcriptionStatus": "needs-review" } ], "playback_status": "ready", "variants": [] }, { "id": "III.07-005", "path": "assets/III.07-005.png", "sha256": "1550cbb7bfd8d0a25a674f3a280774c3530caf2d058fed8a212d889ee49e186a", "kind": "music", "description": "A. B. C. D.", "sources": [ { "pdf_page": 229, "source_image": "source-pages/bnf-229.png", "printed_page": 197, "bbox_pixels": [ 952, 2638, 881, 286 ], "crop_image": "assets/III.07-005.png" } ], "pdf_page": 229, "source_image": "source-pages/bnf-229.png", "bbox_pixels": [ 952, 2638, 881, 286 ], "music_transcription_status": "needs-review", "printed_page": 197, "musicxml": [ { "path": "musicxml/III.07-005.musicxml", "sha256": "ac52afce34b45085dfdab25169f5193465af9fcd804303835e344f5974ebe7a5", "playbackAvailable": true, "transcriptionStatus": "needs-review" } ], "playback_status": "ready", "variants": [ { "id": "III.07-005-alternative-D", "label": "Remplacer la Notte C par la Notte D", "musicxml": [ { "path": "musicxml/III.07-005-alternative-D.musicxml", "sha256": "ce812a020fc4a8c0460daf1fd5dbb13a80754b3addce9ba4af0bd73248238873", "playbackAvailable": true, "transcriptionStatus": "needs-review" } ] } ] }, { "id": "III.08-009", "path": "assets/III.08-009.png", "sha256": "099b6791dd044fb292c04745b5461174909d5d485fd476dd10253e28127c4c86", "kind": "diagram", "description": "C. Octave.\nB. Leading note.\nA. Sixth note.\nG. Tonic dominant.\nF. Fourth note.\nE. Mediant.\nD. Second note.\nC. Tonic note.", "sources": [ { "pdf_page": 231, "source_image": "source-pages/bnf-231.png", "printed_page": 199, "bbox_pixels": [ 389, 1342, 2126, 630 ], "crop_image": "assets/III.08-009.png" } ], "pdf_page": 231, "source_image": "source-pages/bnf-231.png", "bbox_pixels": [ 389, 1342, 2126, 630 ], "music_transcription_status": "non-music", "printed_page": 199 }, { "id": "III.09-011", "path": "assets/III.09-011.png", "sha256": "5a61cc6b29973f7a9c1d79243168da3f9cbb90263e7a005fa1aad701d5c88a06", "kind": "diagram", "description": "Figures placed above or below bass notes to indicate every sound in a chord.\n\nThe perfect chord consists of:\n C. E. G.\n 1. 3. 5.\nThis chord always occurs on the tonic and sometimes on its dominant.", "sources": [ { "pdf_page": 233, "source_image": "source-pages/bnf-233.png", "printed_page": 201, "bbox_pixels": [ 350, 1926, 2141, 271 ], "crop_image": "assets/III.09-011.png" } ], "pdf_page": 233, "source_image": "source-pages/bnf-233.png", "bbox_pixels": [ 350, 1926, 2141, 271 ], "music_transcription_status": "non-music", "printed_page": 201 }, { "id": "III.09-013", "path": "assets/III.09-013.png", "sha256": "6f03d0fdfbe99637a3ea06ec41f29a8df1a8effe5ea22952f4bf3251a4d7129e", "kind": "diagram", "description": "6. The sixth chord consists of:\n E, G, C, inverted from C, E, G,\n 1. 3. 6. 6. 8. 10.\n 1. 3. 5.\nThis chord always occurs on the mediant.\n\n6.\n4. The sixth–fourth chord consists of:\n G, C, E, inverted from C, E, G,\n 1. 4. 6. 4. 6. 8.\n 1. 3. 5.\nThis chord occurs only on the dominant, but more rarely than the perfect or seventh chord.", "sources": [ { "pdf_page": 233, "source_image": "source-pages/bnf-233.png", "printed_page": 201, "bbox_pixels": [ 348, 2322, 2143, 572 ], "crop_image": "assets/III.09-013.png" } ], "pdf_page": 233, "source_image": "source-pages/bnf-233.png", "bbox_pixels": [ 348, 2322, 2143, 572 ], "music_transcription_status": "non-music", "printed_page": 201 }, { "id": "III.09-015", "path": "assets/III.09-015.png", "sha256": "4b676a63898d53d9f7e0d94f2df0e4847e730fe449599288b265a0db1773b0fa", "kind": "diagram", "description": "7. The tonic dominant’s seventh chord consists of:\n G, B, D, F.\n 1. 3. 5. 7.", "sources": [ { "pdf_page": 234, "source_image": "source-pages/bnf-234.png", "printed_page": 202, "bbox_pixels": [ 484, 722, 2062, 138 ], "crop_image": "assets/III.09-015.png" } ], "pdf_page": 234, "source_image": "source-pages/bnf-234.png", "bbox_pixels": [ 484, 722, 2062, 138 ], "music_transcription_status": "non-music", "printed_page": 202 }, { "id": "III.09-017", "path": "assets/III.09-017.png", "sha256": "bc2af9f3c1de07db2126d8a6d14e2f5eb2147d97dac8c98f612a3d6d71822913", "kind": "diagram", "description": "Slashed 5. The diminished-fifth chord consists of:\n B, D, F, G. inverted from G, B, D, F.\n 1. 3. 5♭. 6. 6. 8. 10. 12.\n 1. 3. 5. 7.\nThis chord occurs only on the leading note.\n\n6♯. The small-sixth chord consists of:\n D, F, G, B. inverted from G, B, D, F.\n 1. 3. 4. 6. 4. 6. 8. 10.\n 1. 3. 5. [7 illegible]\nThis chord ordinarily occurs on the key’s second note.\n\n4♯. The tritone chord consists of:\n F, G, B, D. inverted from G, B, D, F.\n 1. 2. 4♯. 6. 2. 4. 6. 8.\n 1. 3. 5. 7.\nThis chord occurs only on the fourth note.", "sources": [ { "pdf_page": 234, "source_image": "source-pages/bnf-234.png", "printed_page": 202, "bbox_pixels": [ 445, 967, 2122, 1232 ], "crop_image": "assets/III.09-017.png" } ], "pdf_page": 234, "source_image": "source-pages/bnf-234.png", "bbox_pixels": [ 445, 967, 2122, 1232 ], "music_transcription_status": "non-music", "printed_page": 202 }, { "id": "III.11-012", "path": "assets/III.11-012.png", "sha256": "6949269367578f3a41d4e0c86526e357fa1f9e857d5565d69ece8408c374dfc8", "kind": "music", "description": "Great-sixth and diminished-fifth chords before the perfect chord.", "sources": [ { "pdf_page": 240, "source_image": "source-pages/bnf-240.png", "printed_page": 208, "bbox_pixels": [ 841, 1399, 1234, 917 ], "crop_image": "assets/III.11-012.png" } ], "pdf_page": 240, "source_image": "source-pages/bnf-240.png", "bbox_pixels": [ 841, 1399, 1234, 917 ], "music_transcription_status": "needs-review", "printed_page": 208, "musicxml": [ { "path": "musicxml/III.11-012.musicxml", "sha256": "517e56ee3d3a7374a663a192ec34c060d11620eba5d2ebcbe781afdfc7aec08b", "playbackAvailable": true, "transcriptionStatus": "needs-review" } ], "playback_status": "ready", "variants": [] }, { "id": "III.11-017", "path": "assets/III.11-017.png", "sha256": "23d547ea141c67b970d939817538d6fc5013ee60394b5cea9a9ed1db2c108721", "kind": "music", "description": "Small-sixth chord; mediant guide notes.", "sources": [ { "pdf_page": 241, "source_image": "source-pages/bnf-241.png", "printed_page": 209, "bbox_pixels": [ 690, 780, 1174, 746 ], "crop_image": "assets/III.11-017.png" } ], "pdf_page": 241, "source_image": "source-pages/bnf-241.png", "bbox_pixels": [ 690, 780, 1174, 746 ], "music_transcription_status": "needs-review", "printed_page": 209, "musicxml": [ { "path": "musicxml/III.11-017.musicxml", "sha256": "590ece9d7fb1e3556eb8b430a94495198da9dafb38103769c66d118100081724", "playbackAvailable": true, "transcriptionStatus": "needs-review" } ], "playback_status": "ready", "variants": [] }, { "id": "III.11-021", "path": "assets/III.11-021.png", "sha256": "00272712bd07245dc4627a525beb5ffea06999fc6ac92e9f9a8af0858c186cba", "kind": "music", "description": "Bass progressions, references A, B, C, D, F, G.", "sources": [ { "pdf_page": 241, "source_image": "source-pages/bnf-241.png", "printed_page": 209, "bbox_pixels": [ 273, 2976, 1451, 322 ], "crop_image": "assets/III.11-021.png" } ], "pdf_page": 241, "source_image": "source-pages/bnf-241.png", "bbox_pixels": [ 273, 2976, 1451, 322 ], "music_transcription_status": "needs-review", "printed_page": 209, "musicxml": [ { "path": "musicxml/III.11-021.musicxml", "sha256": "764cd940e7120dd96c89d58c9c1ece20b7ac18c61123239c2c973d7ecc2f3a5b", "playbackAvailable": true, "transcriptionStatus": "needs-review" } ], "playback_status": "ready", "variants": [] }, { "id": "III.11-027", "path": "assets/III.11-027.png", "sha256": "c5d56f81bc6e3a38784b14067af76acc5a6892e3c0ac9b06d3bb2498c800ee69", "kind": "music", "description": "Sixth chords leading to tonic or dominant.", "sources": [ { "pdf_page": 242, "source_image": "source-pages/bnf-242.png", "printed_page": 210, "bbox_pixels": [ 415, 1955, 2055, 698 ], "crop_image": "assets/III.11-027.png" } ], "pdf_page": 242, "source_image": "source-pages/bnf-242.png", "bbox_pixels": [ 415, 1955, 2055, 698 ], "music_transcription_status": "needs-review", "printed_page": 210, "musicxml": [ { "path": "musicxml/III.11-027.musicxml", "sha256": "d86417000110097844510be0b039fce75455a07615dc8b7474d6a180fd783544", "playbackAvailable": true, "transcriptionStatus": "needs-review" } ], "playback_status": "ready", "variants": [] }, { "id": "III.11-031", "path": "assets/III.11-031.png", "sha256": "210f17e4ddb2795c1f772e38594c0331fd9e59fe39803e919531f7648421fe3d", "kind": "music", "description": "Tritone on the fourth note descending to the mediant.", "sources": [ { "pdf_page": 243, "source_image": "source-pages/bnf-243.png", "printed_page": 211, "bbox_pixels": [ 946, 559, 1086, 705 ], "crop_image": "assets/III.11-031.png" } ], "pdf_page": 243, "source_image": "source-pages/bnf-243.png", "bbox_pixels": [ 946, 559, 1086, 705 ], "music_transcription_status": "needs-review", "printed_page": 211, "musicxml": [ { "path": "musicxml/III.11-031.musicxml", "sha256": "51152e72de10d0481c29da0d0f5b70f88266dd3e9c28c3d5f0758a52093577f7", "playbackAvailable": true, "transcriptionStatus": "needs-review" } ], "playback_status": "ready", "variants": [] }, { "id": "III.11-034", "path": "assets/III.11-034.png", "sha256": "77253e85a2941188922d81fb4fdd43a1c88166a6af36526375e5c56e1e180c52", "kind": "music", "description": "General octave example—five parts.", "sources": [ { "pdf_page": 244, "source_image": "source-pages/bnf-244.png", "printed_page": 212, "bbox_pixels": [ 421, 599, 2141, 1736 ], "crop_image": "assets/III.11-034.png" } ], "pdf_page": 244, "source_image": "source-pages/bnf-244.png", "bbox_pixels": [ 421, 599, 2141, 1736 ], "music_transcription_status": "needs-review", "printed_page": 212, "musicxml": [ { "path": "musicxml/III.11-034.musicxml", "sha256": "33890b870bad8b3ea3f8093a7e82cc5e927564867e6a4253387ae53f3c0b47db", "playbackAvailable": true, "transcriptionStatus": "needs-review" } ], "playback_status": "ready", "variants": [] }, { "id": "III.12-006", "path": "assets/III.12-006.png", "sha256": "1fd12305a810da068299093c7c42f8d7f0a7b1182850d40ffabc57fe4f73ea83", "kind": "music", "description": "Chords equivalent through inversion; the same.", "sources": [ { "pdf_page": 247, "source_image": "source-pages/bnf-247.png", "printed_page": 215, "bbox_pixels": [ 415, 2363, 2204, 636 ], "crop_image": "assets/III.12-006.png" } ], "pdf_page": 247, "source_image": "source-pages/bnf-247.png", "bbox_pixels": [ 415, 2363, 2204, 636 ], "music_transcription_status": "needs-review", "printed_page": 215, "musicxml": [ { "path": "musicxml/III.12-006.musicxml", "sha256": "7b461713cb08c77f37bfa8615e701b6d100ed719fc1aec70b4629413591c83fa", "playbackAvailable": true, "transcriptionStatus": "needs-review" } ], "playback_status": "ready", "variants": [] }, { "id": "III.13-004", "path": "assets/III.13-004.png", "sha256": "8815f322e96960a845af8a4757a8bf00fe65f55f776e9d494a8bca5885b644a7", "kind": "music", "description": "Perfect cadence—dispositions and fundamental bass.", "sources": [ { "pdf_page": 248, "source_image": "source-pages/bnf-248.png", "printed_page": 216, "bbox_pixels": [ 381, 1665, 1494, 1835 ], "crop_image": "assets/III.13-004.png" } ], "pdf_page": 248, "source_image": "source-pages/bnf-248.png", "bbox_pixels": [ 381, 1665, 1494, 1835 ], "music_transcription_status": "needs-review", "printed_page": 216, "musicxml": [ { "path": "musicxml/III.13-004.musicxml", "sha256": "1c65179774008a7bc0c57393ee2007a81a489f04792f49134b9483678ae2c1df", "playbackAvailable": true, "transcriptionStatus": "needs-review" } ], "playback_status": "ready", "variants": [] }, { "id": "III.14-007", "path": "assets/III.14-007.png", "sha256": "722f437781be54c5ff3fbad3a0d126bb361716047746e2ef9a59bb6d4bc1c627", "kind": "music", "description": "Tritone, diminished fifth, leading notes, and resolution guides.", "sources": [ { "pdf_page": 250, "source_image": "source-pages/bnf-250.png", "printed_page": 218, "bbox_pixels": [ 1008, 565, 1030, 447 ], "crop_image": "assets/III.14-007.png" } ], "pdf_page": 250, "source_image": "source-pages/bnf-250.png", "bbox_pixels": [ 1008, 565, 1030, 447 ], "music_transcription_status": "needs-review", "printed_page": 218, "musicxml": [ { "path": "musicxml/III.14-007.musicxml", "sha256": "33d97493aad49c41b4d175b797e74a05aeef7b8b5c5c85866fd1e8665b94c5d1", "playbackAvailable": true, "transcriptionStatus": "needs-review" } ], "playback_status": "ready", "variants": [] }, { "id": "III.15-006", "path": "assets/III.15-006.png", "sha256": "ac4923b31c5033fbd1bc037d95c3bbf5a54e7d88f4345c6ae33559bb91e43e06", "kind": "music", "description": "The eleventh or fourth prepared by the 3rd, 4th, 5th, diminished fifth, 6th, 7th, and 8th.", "sources": [ { "pdf_page": 252, "source_image": "source-pages/bnf-252.png", "printed_page": 220, "bbox_pixels": [ 297, 513, 2395, 2247 ], "crop_image": "assets/III.15-006.png" } ], "pdf_page": 252, "source_image": "source-pages/bnf-252.png", "bbox_pixels": [ 297, 513, 2395, 2247 ], "music_transcription_status": "needs-review", "printed_page": 220, "musicxml": [ { "path": "musicxml/III.15-006.musicxml", "sha256": "0aba2f052dfb09380b61706e01260ff703e97900e21d7c3c3a16532dbfc41384", "playbackAvailable": true, "transcriptionStatus": "needs-review" } ], "playback_status": "ready", "variants": [] }, { "id": "III.16-007", "path": "assets/III.16-007.png", "sha256": "958d2c5d5a30abe03275631b221db92157f636342dfe65bd99318748c804829d", "kind": "music", "description": "Irregular cadences A and B.", "sources": [ { "pdf_page": 253, "source_image": "source-pages/bnf-253.png", "printed_page": 221, "bbox_pixels": [ 415, 2546, 1694, 778 ], "crop_image": "assets/III.16-007.png" } ], "pdf_page": 253, "source_image": "source-pages/bnf-253.png", "bbox_pixels": [ 415, 2546, 1694, 778 ], "music_transcription_status": "needs-review", "printed_page": 221, "musicxml": [ { "path": "musicxml/III.16-007.musicxml", "sha256": "5e623770536244b9e5f056de6c0bae66e6f125eb20d487e1498faac1e35c76fa", "playbackAvailable": true, "transcriptionStatus": "needs-review" } ], "playback_status": "ready", "variants": [] }, { "id": "III.16-013", "path": "assets/III.16-013.png", "sha256": "80c91525b5a9d80d0a8ef2b239ff0375fe4bbd89819cd18a06dc1105f6fa4f20", "kind": "music", "description": "Part always making the sixth; continuo bass and fundamental bass.", "sources": [ { "pdf_page": 254, "source_image": "source-pages/bnf-254.png", "printed_page": 222, "bbox_pixels": [ 593, 1235, 2165, 2237 ], "crop_image": "assets/III.16-013.png" 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Ah!… A.", "sources": [ { "pdf_page": 393, "source_image": "source-pages/bnf-393.png", "printed_page": 361, "bbox_pixels": [ 430, 421, 2150, 1580 ], "crop_image": "assets/III.44-084.png" } ], "pdf_page": 393, "source_image": "source-pages/bnf-393.png", "bbox_pixels": [ 430, 421, 2150, 1580 ], "music_transcription_status": "needs-review", "printed_page": 361, "musicxml": [ { "path": "musicxml/III.44-084.musicxml", "sha256": "f92315e22a3413465925e460b64f165f61da1bb1b216211c360f4ce97cd879e3", "playbackAvailable": true, "transcriptionStatus": "needs-review" } ], "playback_status": "ready", "variants": [ { "id": "III.44-084-cancellation", "label": "B-mol après dièse : lecture de cancellation", "musicxml": [ { "path": "musicxml/III.44-084-cancellation.musicxml", "sha256": "548c4ecddd535d188806d6b897aae0ad3a58d021bd77af64735a0079ac258db9", "playbackAvailable": true, "transcriptionStatus": "needs-review" } ] }, { "id": "III.44-084-unison", "label": "A : Unissons au lieu des Octaves", "musicxml": [ { "path": "musicxml/III.44-084-unison.musicxml", "sha256": "d887854497787238643a36c23c527b2b978f5ee2c7aca15d33551bb5e981d71e", "playbackAvailable": true, "transcriptionStatus": "needs-review" } ] } ] }, { "id": "III.44-088", "path": "assets/III.44-088.png", "sha256": "8bcaadbf9c2e601391e2994235b8310c8d4bd121638893233fc9ae346f18b84d", "kind": "diagram", "description": "Cue sign indicating the pitch at which to restart.", "sources": [ { "pdf_page": 393, "source_image": "source-pages/bnf-393.png", "printed_page": 361, "bbox_pixels": [ 2184, 2718, 97, 88 ], "crop_image": "assets/III.44-088.png" } ], "pdf_page": 393, "source_image": "source-pages/bnf-393.png", "bbox_pixels": [ 2184, 2718, 97, 88 ], "music_transcription_status": "non-music", "printed_page": 361 }, { "id": "III.44-089", "path": "assets/III.44-089.png", "sha256": "26f2228e9a1e23e7ddfe1a42489d3c13c1bb4ba250f9db9dbb878e99916cce03", "kind": "diagram", "description": "Repeat sign for the canon at the fifth.", "sources": [ { "pdf_page": 393, "source_image": "source-pages/bnf-393.png", "printed_page": 361, "bbox_pixels": [ 1615, 2853, 82, 95 ], "crop_image": "assets/III.44-089.png" } ], "pdf_page": 393, "source_image": "source-pages/bnf-393.png", "bbox_pixels": [ 1615, 2853, 82, 95 ], "music_transcription_status": "non-music", "printed_page": 361 }, { "id": "III.44-090", "path": "assets/III.44-090.png", "sha256": "18b25cfd22d60be8b464133ad6627b9e1a668e55f4d927550de7bc3faa1d117a", "kind": "music", "description": "CANON AT THE FOURTH. With wine, let us fall asleep, let us fall asleep…", "sources": [ { "pdf_page": 394, "source_image": "source-pages/bnf-394.png", "printed_page": 362, "bbox_pixels": [ 458, 361, 2131, 2337 ], "crop_image": "assets/III.44-090.png" } ], "pdf_page": 394, "source_image": "source-pages/bnf-394.png", "bbox_pixels": [ 458, 361, 2131, 2337 ], "music_transcription_status": "needs-review", "printed_page": 362, "musicxml": [ { "path": "musicxml/III.44-090.musicxml", "sha256": "ab2e4eb647da4f3fb514cd8f50fcfec1bf500f320a704f7da07f41d7607dc2b6", "playbackAvailable": true, "transcriptionStatus": "needs-review" } ], "playback_status": "ready", "variants": [] }, { "id": "IV.01-010", "path": "assets/IV.01-010.png", "sha256": "68d30a368c73ed91df06b242844ccdd815723b91da451d8cfae0150c2dbc3a62", "kind": "diagram", "description": "SEMITONE.\nC to C♯.\nC♯ to D.\nD to E♭.\nE♭ to E.\nE to F.\nF to F♯.\nF♯ to G.\nG to G♯.\nG♯ to A.\nA to B♭.\nB♭ to B.\nB to C.\n\nWHOLE TONE.\nC to D.\nD to E.\nE to F♯.\nF to G.\nG to A.\nA to B.\nB♭ to C.\nC♯ to D♯.\nE♭ to F.\nF♯ to G♯.\nG♯ to A♯.\nB to C♯.\n\nC to E♭: one and a half whole tones.\nC to E: two whole tones.\nC to F: two and a half whole tones.\nC to F♯: three whole tones.\nC to G: three and a half whole tones.\nC to A♭: four whole tones.\nC to A: four and a half whole tones.\nC to B♭: five whole tones.\nC to B: five and a half whole tones.\nC to its octave: six whole tones.", "sources": [ { "pdf_page": 396, "source_image": "source-pages/bnf-396.png", "printed_page": 364, "bbox_pixels": [ 419, 578, 2171, 675 ], "crop_image": "assets/IV.01-010.png" } ], "pdf_page": 396, "source_image": "source-pages/bnf-396.png", "bbox_pixels": [ 419, 578, 2171, 675 ], "music_transcription_status": "non-music", "printed_page": 364 }, { "id": "IV.01-018", "path": "assets/IV.01-018.png", "sha256": "9d65816353efd4b5f55abf1ec3fade1439784d7bbd6830f010bc54b4bd87d4f7", "kind": "diagram", "description": "Figures. Names of intervals.\n2. Second: C to D, D to E, E to F, etc.\n3. Third: C to E, D to F, E to G, etc.\n4. Fourth: C to F, D to G, E to A, etc.\n5. Fifth: C to G, D to A, E to B, etc.\n6. Sixth: C to A, D to B, E to C, etc.\n7. Seventh: C to B, D to C, E to D, etc.\n8. 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Second: one whole tone or one semitone; C to D, E to F, etc.\n2♯. Augmented second: one and a half tones; B♭ to C♯, E♭ to F♯, etc.\n3♭. Minor third: one and a half tones; C to E♭, D to F, E to G, etc.\n3♯. Major third: two tones; C to E, G to B, D to F♯, etc.\n4. Fourth: two and a half tones; C to F, D to G, F to B♭, etc.\n4♯. Augmented fourth, called tritone: three tones; F to B, C to F♯, etc.\n5/. Diminished fifth, called false fifth: three tones; B to F, E to B♭, etc.\n5. Fifth: three and a half tones; C to G, B to F♯, etc.\n5♯. Augmented fifth: four tones; C to G♯, D to A♯, etc.\n6♭. Minor sixth: four tones; C to A♭, D to B♭, etc.\n6♯. Major sixth: four and a half tones; D to B, E to C♯, etc.\n7♭. Diminished seventh: four and a half tones; C to B♭, G to F, etc.\n7. Seventh: five tones; C to B♭, D to C, etc.\n7♯. Augmented seventh: five and a half tones; C to B, D to C♯, etc.\n9. 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Distinguishing the bass notes that must bear a chord.", "start": { "block": "IV.20-001", "pdf_page": 461, "source_image": "source-pages/bnf-461.png", "printed_page": 429, "bbox_pixels": [ 350, 2240, 2250, 325 ] }, "last_block": "IV.20-016", "status": "draft" }, { "id": "supplement", "number": 109, "exercise": 109, "original_title": "SUPPLÉMENT Qui contient des changemens de deux Chapitres, & quelques Corrections necessaires.", "english_title": "SUPPLEMENT: changes to two chapters and necessary corrections.", "start": { "block": "supplement-001", "pdf_page": 465, "source_image": "source-pages/bnf-465.png", "printed_label": "Supplement p. 1", "bbox_pixels": [ 405, 500, 2205, 320 ] }, "last_block": "supplement-303", "status": "draft" }, { "id": "catalogue", "number": 110, "exercise": 110, "original_title": "CATALOGUE Des autres Livres de Musique Théorique, imprimez en France, dont on peut trouver des Exemplaires.", "english_title": "CATALOGUE Of other books on music theory printed in France, of which copies may be found.", "start": { "block": "catalogue-title", "pdf_page": 482, "source_image": "source-pages/bnf-482.png", "printed_label": "PDF 482", "bbox_pixels": [ 410, 530, 2130, 385 ] }, "last_block": "catalogue-034", "status": "draft" } ], "contents": [ { "blockId": "front-title-001", "title": "TREATISE ON HARMONY\nReduced to Its Natural Principles", "group": "Front matter", "page": "PDF 1", "chapterId": "front-title" }, { "blockId": "front-preface-001", "title": "PREFACE.", "group": "Front matter", "page": "PDF 3", "chapterId": "front-preface" }, { "blockId": "front-contents-title", "title": "CONTENTS of This Treatise, Divided into Four Books.", "group": "Front matter", "page": "PDF 9", "chapterId": "front-contents" }, { "blockId": "front-terms-001", "title": "Table Explaining Essential Terms.", "group": "Front matter", "page": "PDF 17", "chapterId": "front-terms" }, { "blockId": "I-title-001", "title": "TREATISE ON HARMONY\nReduced to Its Natural Principles", "group": "Book I", "page": 1, "chapterId": "I-title" }, { "blockId": "I01-1", "title": "CHAPTER ONE. On Music and Sound.", "group": "Book I", "page": 1, "chapterId": "I01" }, { "blockId": "I02-1", "title": "CHAPTER TWO. On the Different Ways in Which the Relations of Sounds May Be Known.", "group": "Book I", "page": 2, "chapterId": "I02" }, { "blockId": "I.03-001", "title": "CHAPTER THREE.", "group": "Book I", "page": 3, "chapterId": "I.03" }, { "blockId": "I.04-001", "title": "CHAPTER FOUR.", "group": "Book I", "page": 17, "chapterId": "I.04" }, { "blockId": "I.05-001", "title": "CHAPTER FIVE.", "group": "Book I", "page": 22, "chapterId": "I.05" }, { "blockId": "I.06-001", "title": "CHAPTER SIX.", "group": "Book I", "page": 28, "chapterId": "I.06" }, { "blockId": "I.07-001", "title": "CHAPTER SEVEN.", "group": "Book I", "page": 29, "chapterId": "I.07" }, { "blockId": "I.08-001", "title": "CHAPTER EIGHT.", "group": "Book I", "page": 34, "chapterId": "I.08" }, { "blockId": "I.09-001", "title": "CHAPTER NINE.", "group": "Book I", "page": 45, "chapterId": "I.09" }, { "blockId": "I.10-001", "title": "CHAPTER TEN.", "group": "Book I", "page": 46, "chapterId": "I.10" }, { "blockId": "I.11-001", "title": "CHAPTER ELEVEN.", "group": "Book I", "page": 47, "chapterId": "I.11" }, { "blockId": "II.01-001", "title": "BOOK TWO. On the Nature and Properties of Chords, and Everything That Can Serve to Make Music Perfect.", "group": "Book II", "page": 49, "chapterId": "II.01" }, { "blockId": "II.02-001", "title": "CHAPTER TWO. On the Chords Assigned to Fundamental Sounds and Their Progression.", "group": "Book II", "page": 52, "chapterId": "II.02" }, { "blockId": "II.03-001", "title": "CHAPTER THREE. On the Nature and Properties of the Octave.", "group": "Book II", "page": 54, "chapterId": "II.03" }, { "blockId": "II.04-001", "title": "CHAPTER FOUR. On the Nature and Properties of the Fifth and Fourth.", "group": "Book II", "page": 54, "chapterId": "II.04" }, { "blockId": "II.05-001", "title": "CHAPTER FIVE.", "group": "Book II", "page": 54, "chapterId": "II.05" }, { "blockId": "II.06-001", "title": "CHAPTER SIX.", "group": "Book II", "page": 61, "chapterId": "II.06" }, { "blockId": "II.07-001", "title": "CHAPTER SEVEN.", "group": "Book II", "page": 64, "chapterId": "II.07" }, { "blockId": "II.08-001", "title": "CHAPTER EIGHT. On Imitating Cadences by Inversion.", "group": "Book II", "page": 67, "chapterId": "II.08" }, { "blockId": "II.09-001", "title": "CHAPTER NINE. On Avoiding Cadences while Imitating Them.", "group": "Book II", "page": 68, "chapterId": "II.09" }, { "blockId": "II.10-001", "title": "CHAPTER TEN. On Chords by Supposition, with Which Cadences Can Also Be Avoided while Being Imitated.", "group": "Book II", "page": 73, "chapterId": "II.10" }, { "blockId": "II.11-001", "title": "CHAPTER ELEVEN. On the Fourth and Eleventh.", "group": "Book II", "page": 77, "chapterId": "II.11" }, { "blockId": "II.12-001", "title": "CHAPTER TWELVE. On Borrowed Chords, with Which Perfect Cadences Can Be Avoided while Being Imitated.", "group": "Book II", "page": 79, "chapterId": "II.12" }, { "blockId": "II.13-001", "title": "CHAPTER THIRTEEN.", "group": "Book II", "page": 81, "chapterId": "II.13" }, { "blockId": "II.14-001", "title": "CHAPTER FOURTEEN. 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TWENTY-EIGHT.", "group": "Book III", "page": 270, "chapterId": "III.28" }, { "blockId": "III.29-001", "title": "CHAPTER TWENTY-NINE.", "group": "Book III", "page": 273, "chapterId": "III.29" }, { "blockId": "III.30-001", "title": "CHAPTER THIRTY.", "group": "Book III", "page": 275, "chapterId": "III.30" }, { "blockId": "III.31-001", "title": "CHAPTER THIRTY-ONE.", "group": "Book III", "page": 278, "chapterId": "III.31" }, { "blockId": "III.32-001", "title": "CHAPTER THIRTY-TWO.", "group": "Book III", "page": 281, "chapterId": "III.32" }, { "blockId": "III.33-001", "title": "CHAPTER THIRTY-THREE.", "group": "Book III", "page": 282, "chapterId": "III.33" }, { "blockId": "III.34-001", "title": "CHAPTER THIRTY-FOUR.", "group": "Book III", "page": 286, "chapterId": "III.34" }, { "blockId": "III.35-001", "title": "CHAPTER THIRTY-FIVE.", "group": "Book III", "page": 291, "chapterId": "III.35" }, { "blockId": "III.36-001", "title": "CHAPTER THIRTY-SIX.", "group": "Book III", "page": 299, 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"title": "BOOK FOUR.", "group": "Book IV", "page": 363, "chapterId": "IV.01" }, { "blockId": "IV.02-001", "title": "CHAPTER TWO.", "group": "Book IV", "page": 366, "chapterId": "IV.02" }, { "blockId": "IV.03-001", "title": "CHAPTER III. 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Sixth chords.", "group": "Book IV", "page": 402, "chapterId": "IV.11" }, { "blockId": "IV.12-001", "title": "CHAPTER XII. The augmented-second chord and its derivatives.", "group": "Book IV", "page": 404, "chapterId": "IV.12" }, { "blockId": "IV.13-001", "title": "CHAPTER XIII. Chords by supposition.", "group": "Book IV", "page": 406, "chapterId": "IV.13" }, { "blockId": "IV.14-001", "title": "CHAPTER XIV. Observations on the relationships of all the preceding chords.", "group": "Book IV", "page": 408, "chapterId": "IV.14" }, { "blockId": "IV.15-001", "title": "CHAPTER XV. How to prepare and resolve all dissonances, and thereby recognize the current key and the chords belonging to each of its notes.", "group": "Book IV", "page": 411, "chapterId": "IV.15" }, { "blockId": "IV.16-001", "title": "CHAPTER XVI. Chromaticism.", "group": "Book IV", "page": 416, "chapterId": "IV.16" }, { "blockId": "IV.17-001", "title": "CHAPTER XVII. Recapitulation of the different chord successions.", "group": "Book IV", "page": 418, "chapterId": "IV.17" }, { "blockId": "IV.18-001", "title": "CHAPTER XVIII. Rules necessary for good accompaniment.", "group": "Book IV", "page": 426, "chapterId": "IV.18" }, { "blockId": "IV.19-001", "title": "CHAPTER XIX. Figuring a continuo bass and recognizing the chord indicated by each figure.", "group": "Book IV", "page": 428, "chapterId": "IV.19" }, { "blockId": "IV.20-001", "title": "CHAPTER XX. Distinguishing the bass notes that must bear a chord.", "group": "Book IV", "page": 429, "chapterId": "IV.20" }, { "blockId": "supplement-001", "title": "SUPPLEMENT: changes to two chapters and necessary corrections.", "group": "Supplement", "page": "Supplement p. 1", "chapterId": "supplement" }, { "blockId": "catalogue-title", "title": "CATALOGUE Of other books on music theory printed in France, of which copies may be found.", "group": "Catalogue", "page": "PDF 482", "chapterId": "catalogue" } ], "uncertain_readings": [ { "id": "front-contents-012-note-1", "blocks": [ "front-contents-012" ], "status": "needs-review", "reason": "The printed “ma-maniere” repeats “ma” across a line break. The translation retains this as “me-method.”", "originalReason": "ma-maniere — The printed table repeats ma across its line break; retained as printed." }, { "id": "front-terms-012-note-1", "blocks": [ "front-terms-012" ], "status": "needs-review", "reason": "The French source prints “Conso-sonant”, repeating a syllable across the line break. That original spelling is quoted beside the English term.", "originalReason": "Conso-sonant — The printed word repeats a syllable across its line break; retained." }, { "id": "I01-3-note-1", "blocks": [ "I01-3" ], "status": "needs-review", "reason": "“instruit” (“instructed”): the beginning of the line is damaged; the reading was restored from visual evidence and context.", "originalReason": "instruit — Début de la ligne endommagé; lecture restituée visuellement et contextuellement." }, { "id": "I01-3-note-2", "blocks": [ "I01-3" ], "status": "needs-review", "reason": "“prouvé” (“demonstrated”): the end of the word on the following line is partly erased.", "originalReason": "prouvé — Fin du mot à la ligne suivante partiellement effacée." }, { "id": "I.03-010-note-1", "blocks": [ "I.03-010" ], "status": "needs-review", "reason": "Preserved as a source diagram: isolated note symbols and clefs form part of the string-division demonstration. No meter or inferred registers have been added.", "originalReason": "Preserved as source diagram: isolated note symbols and clefs are integrated with the string-division demonstration; no meter or inferred registers added." }, { "id": "I.03-047-note-1", "blocks": [ "I.03-047" ], "status": "needs-review", "reason": "The printed mixed fraction after “between 1 and 1” is damaged or overprinted; 1/5 is the probable reading. The accompanying diagram retains the exact native crop.", "originalReason": "The printed mixed fraction after « entre 1. & 1. » is damaged/overprinted; 1/5 is the probable reading. Exact native crop retained in accompanying diagram block." }, { "id": "I.03-049-note-1", "blocks": [ "I.03-049" ], "status": "needs-review", "reason": "1/5 is probable; the denominator and adjacent ink are damaged.", "originalReason": "1/5 probable; denominator and adjacent ink are damaged." }, { "id": "I.03-055-note-1", "blocks": [ "I.03-055" ], "status": "needs-review", "reason": "The last folio digit after “19” is indistinct; provisionally read as 193.", "originalReason": "Final folio digit after « 19 » indistinct; read provisionally as 193." }, { "id": "I.03-056-note-1", "blocks": [ "I.03-056" ], "status": "needs-review", "reason": "The tens digit of the page number is damaged; 71 is probable.", "originalReason": "Page-number tens digit damaged; probable 71." }, { "id": "I.04-005-note-1", "blocks": [ "I.04-005" ], "status": "needs-review", "reason": "The printed word “aussi” (“as”) is crossed out, with a handwritten addition apparently reading “plus” (“more”) above it. The printed reading is retained.", "originalReason": "aussi — Printed aussi is crossed through, with a handwritten addition appearing to read plus above; retained printed reading." }, { "id": "I.04-016-note-1", "blocks": [ "I.04-016" ], "status": "needs-review", "reason": "A handwritten insertion above “If we find chords” appears to read “in what follows”; it has not been incorporated into the printed text.", "originalReason": "Si nous trouvons des accords — Handwritten insertion above this phrase appears to read dans la suite; not incorporated into printed text." }, { "id": "I.04-020-note-1", "blocks": [ "I.04-020" ], "status": "needs-review", "reason": "Handwritten marginal reference. The final chapter number is uncertain; it appears to be 6.", "originalReason": "Handwritten marginal reference; reading of final chapter numeral uncertain (appears 6)." }, { "id": "I.04-022-note-1", "blocks": [ "I.04-022" ], "status": "needs-review", "reason": "The chapter number has a handwritten stroke or correction. The printed forms are read as VII.", "originalReason": "Chap. VII. — Chapter numeral has a handwritten stroke/correction; read as VII from the printed forms." }, { "id": "I.05-006-note-1", "blocks": [ "I.05-006" ], "status": "needs-review", "reason": "Handwritten diagram, included as a source facsimile. Overlapping labels and values are partly indistinct.", "originalReason": "Handwritten diagram, included as source facsimile; overlapping labels and values partly indistinct." }, { "id": "I.05-014-note-1", "blocks": [ "I.05-014" ], "status": "needs-review", "reason": "The printed “se” before “puiser” is crossed out, and “s’é” is inserted by hand. The printed wording is retained.", "originalReason": "se puiser — Printed se before puiser is crossed through and s’é inserted by hand; printed reading retained." }, { "id": "I.05-016-note-1", "blocks": [ "I.05-016" ], "status": "needs-review", "reason": "The source image confirms the printed number 218, although 216 is the cube of 6 and appears in the later catalogue. The misprint is retained.", "originalReason": "125. & 218. — Native crop confirms printed 218, although 216 is the cube of 6 and appears in the later catalogue; source misprint retained." }, { "id": "I.05-017-note-1", "blocks": [ "I.05-017" ], "status": "needs-review", "reason": "The source omits “ces” after the line-end fragment “Dissonan-”. The French transcription retains this typographical defect.", "originalReason": "Dissonan- qui — Source omits the continuation ces after line-end Dissonan-; typographical defect retained." }, { "id": "I.05-023-note-1", "blocks": [ "I.05-023" ], "status": "needs-review", "reason": "The final altered tritone ratio reads 32. 64. in the source, although mathematically 32. 45. would be expected. The printed value is retained.", "originalReason": "32. 64. diminuée. — Final altered Triton ratio reads 32. 64. in the source, though mathematically 32. 45. would be expected; printed value retained." }, { "id": "I.05-033-note-1", "blocks": [ "I.05-033" ], "status": "needs-review", "reason": "A handwritten “se” is inserted above “sert”; the French transcription retains the printed omission.", "originalReason": "dont on sert — Handwritten insertion se above sert; printed omission retained." }, { "id": "I.05-034-note-1", "blocks": [ "I.05-034" ], "status": "needs-review", "reason": "The handwritten continuation “chromatique suivant” (“following chromatic”) is added after “Systême”; the corresponding printed continuation on PDF page 60 is crossed out.", "originalReason": "Handwritten continuation chromatique suivant added after Systême; corresponding printed continuation on PDF60 struck through." }, { "id": "I.05-034-note-2", "blocks": [ "I.05-034" ], "status": "needs-review", "reason": "The printed continuation is crossed out. The bracketed alternative heading “Systême chromatique” (“Chromatic system”) appears to its left.", "originalReason": "Printed continuation struck through. Bracketed alternative heading Systême chromatique appears to its left." }, { "id": "I.05-036-note-1", "blocks": [ "I.05-036" ], "status": "needs-review", "reason": "An alternative bracketed title appears to the left of the crossed-out continuation. It is uncertain whether it is printed or a later addition.", "originalReason": "Alternative bracketed title appears at left of the struck-through continuation. Attribution as print or later addition is uncertain." }, { "id": "I.05-037-note-1", "blocks": [ "I.05-037" ], "status": "needs-review", "reason": "The original sharp and flat signs are normalized as ♯ and ♭. These are written note names in a table, not staff notation.", "originalReason": "Original sharp and flat glyphs normalized to ♯ and ♭; these are written note names in a table, not staff notation." }, { "id": "I.05-038-note-1", "blocks": [ "I.05-038" ], "status": "needs-review", "reason": "The printed “le” (“the”) is crossed out, with handwritten “ce” (“this”) above it. The printed reading is retained.", "originalReason": "le Systême — Printed le crossed through, handwritten ce above; printed reading retained." }, { "id": "I.08-003-note-1", "blocks": [ "I.08-003" ], "status": "needs-review", "reason": "The printed “avoit” (“had/there were”) is crossed out, with handwritten “a” (“has/there are”) inserted. The printed reading is retained.", "originalReason": "avoit — Printed avoit crossed through, handwritten a inserted; printed reading retained." }, { "id": "I.08-016-note-1", "blocks": [ "I.08-016" ], "status": "needs-review", "reason": "A handwritten “le” is inserted before “majeur”; the printed wording is retained.", "originalReason": "comme majeur — Handwritten le inserted before majeur; printed wording retained." }, { "id": "I.08-033-note-1", "blocks": [ "I.08-033" ], "status": "needs-review", "reason": "The first number in “10 and 27” is overwritten. The handwritten correction reads 10; the underlying printed number cannot be read securely.", "originalReason": "10. & 27. — First numeral overwritten; handwritten correction reads 10. Printed underlying numeral not securely legible." }, { "id": "I.08-044-note-1", "blocks": [ "I.08-044" ], "status": "needs-review", "reason": "A small handwritten mark appears above B. No definite accidental has been incorporated.", "originalReason": "Si — Small handwritten mark above Si; no definite accidental incorporated." }, { "id": "I.08-047-note-1", "blocks": [ "I.08-047" ], "status": "needs-review", "reason": "A handwritten correction appears above “octuplant” (“multiplying by eight”); that reading is retained.", "originalReason": "octuplant — Word has a handwritten correction above it; reading octuplant retained." }, { "id": "I.08-053-note-1", "blocks": [ "I.08-053" ], "status": "needs-review", "reason": "The rightmost column is poorly inked. Its final number, last note, and chord name are partly faint and have been read from surviving forms and the row's context.", "originalReason": "72. Ré, Mi, Sol, Si ♭. Accord de Seconde. — Rightmost column poorly inked; final number, last note and chord name partly faint, read from surviving forms and the row context." }, { "id": "I.08-066-note-1", "blocks": [ "I.08-066" ], "status": "needs-review", "reason": "Several accidentals are overwritten in ink. They are read as flats on B and sharps on C from surviving signs and the accompanying prose. Alternative ratios in the third and fourth columns are printed across two rows.", "originalReason": "Several accidentals overwritten in ink; read as flats on Si and sharps on Ut from surviving glyphs and associated prose. Alternative ratios in the third and fourth columns printed across two rows." }, { "id": "I.11-004-note-1", "blocks": [ "I.11-004" ], "status": "needs-review", "reason": "The source prints 120. 60. 30. 24. 20. 15.—six numbers—against seven division numbers. This is preserved exactly, without supplying the mathematically expected 40.", "originalReason": "Source prints 120. 60. 30. 24. 20. 15. (six numbers) against seven division numbers; preserved exactly without supplying the mathematically expected 40." }, { "id": "I.11-006-note-1", "blocks": [ "I.11-006" ], "status": "needs-review", "reason": "The printed text is retained. Manuscript corrections strike out “elle” before “contiendra 4.” and replace “les” with handwritten “ces” before “longueurs prises à gauche”.", "originalReason": "Printed text retained. Manuscript corrections strike out « elle » before « contiendra 4. » and replace « les » with handwritten « ces » before « longueurs prises à gauche »." }, { "id": "II.06-007-note-1", "blocks": [ "II.06-007" ], "status": "needs-review", "reason": "Engraving candidate awaiting source review. Figured-bass notation may appear below the staff although the source prints it above; labels use modern placement.", "originalReason": "Engraving candidate awaiting source review. Semantic figured bass may render below the staff although the source prints it above; labels use modern placement." }, { "id": "II.06-008-note-1", "blocks": [ "II.06-008" ], "status": "needs-review", "reason": "Engraving candidate awaiting source review. Figured-bass notation may appear below the staff although the source prints it above; labels use modern placement.", "originalReason": "Engraving candidate awaiting source review. Semantic figured bass may render below the staff although the source prints it above; labels use modern placement." }, { "id": "II.07-009-note-1", "blocks": [ "II.07-009" ], "status": "needs-review", "reason": "Engraving candidate awaiting source review. Figured-bass notation may appear below the staff although the source prints it above; labels use modern placement.", "originalReason": "Engraving candidate awaiting source review. Semantic figured bass may render below the staff although the source prints it above; labels use modern placement." }, { "id": "II.07-010-note-1", "blocks": [ "II.07-010" ], "status": "needs-review", "reason": "Engraving candidate awaiting source review. Figured-bass notation may appear below the staff although the source prints it above; labels use modern placement.", "originalReason": "Engraving candidate awaiting source review. Semantic figured bass may render below the staff although the source prints it above; labels use modern placement." }, { "id": "II.07-015-note-1", "blocks": [ "II.07-015" ], "status": "needs-review", "reason": "Engraving candidate awaiting source review. Figured-bass notation may appear below the staff although the source prints it above; labels use modern placement.", "originalReason": "Engraving candidate awaiting source review. Semantic figured bass may render below the staff although the source prints it above; labels use modern placement." }, { "id": "II.07-015-note-2", "blocks": [ "II.07-015" ], "status": "needs-review", "reason": "The accidental on the final lower-voice B3 is disputed. This candidate reads B-flat from the single-stem loop in the source scan, compared with the symbol legend on PDF page 213. Heavy ink leaves B-natural an unresolved alternative; the earlier MusicXML natural reading is not treated as evidence.", "originalReason": "Disputed final lower-voice B3 accidental: this candidate reads B-flat from the single-stem loop in the native scan and PDF213 symbol legend. Heavy ink leaves B-natural as an unresolved alternative; earlier MusicXML natural reading is not treated as evidence." }, { "id": "II.09-008-note-1", "blocks": [ "II.09-008" ], "status": "needs-review", "reason": "Original p. 69: three staves, two voices on each upper staff, round whole-note heads, and references A, B, and C are retained. Direct source comparison agrees with the reused transcription. Modern spacing omits trailing blank staves; figured bass may appear below its source position. No source meter or tempo is asserted.", "originalReason": "Original p69: three staves, two voices on each upper staff, round whole heads and A/B/C references retained. — Direct native reading agrees with the reused seed after comparison. Modern spacing omits trailing blank staves; figures are semantic and may render below the source position. No source meter or tempo is asserted." }, { "id": "II.09-015-note-1", "blocks": [ "II.09-015" ], "status": "needs-review", "reason": "Original p. 71 candidate: all five staves and figures are retained; later supplement corrections are not silently applied. Open diamond heads and the two half-note values tied from D5 half to D5 whole are preserved. Historical cross-shaped sharps become modern sharp signs; barred fifths appear as 5/. Figures, the source's marginal sentence, and reference letters use modern placement.", "originalReason": "Original p71 candidate: all five source staves and figures retained; later supplement corrections are not silently applied. — Open diamonds and the two half-note values tied from D5 half to D5 whole are preserved. Historical cross sharps become modern sharp signs; barred fifths render as 5/. Figure positions, source marginal sentence and letters use modern layout." }, { "id": "II.09-015-note-2", "blocks": [ "II.09-015" ], "status": "needs-review", "reason": "Disputed written-flat readings: first staff, measure 6, second note C-flat 5; measure 10, second note B-flat 5. The looped source signs match the printed flat family, compared with measure 7 B-flat 4 and the symbol legend on PDF page 213. The earlier transcription reads C-natural 5 and B-natural 5; these remain alternatives, including possible historical cancellation usage. Harmonic plausibility has not been used to repair the source silently. Comparison images are accidental-m6.png, accidental-m7.png, and accidental-m10.png in agents/astra-medium-II 09/. An independent sign comparison also favors written flats.", "originalReason": "Disputed written-flat candidates: first staff, measure 6 second note C-flat5; measure 10 second note B-flat5. — Native looped glyphs match the printed B-mol family (compare measure 7 B-flat4 and PDF213 symbol legend). Earlier seed reads C-natural5 and B-natural5; those remain alternative interpretations, including possible historical cancellation usage. Harmonic plausibility was not used to silently repair source. Exact comparison crops: accidental-m6.png, accidental-m7.png, accidental-m10.png in agents/astra-medium-II09/. Independent glyph audit also favors written flats." }, { "id": "II.09-015-note-3", "blocks": [ "II.09-015" ], "status": "needs-review", "reason": "Cue sign Z remains unresolved; no sounding pitch has been invented. Reference Z is retained in continuo measure 6. PDF page 104 says that when part Y becomes the bass, the lower part should use Z instead of the simultaneous ordinary note. This is a conditional alternative, not an extra regular voice. The source detail preserves the ambiguous sign cluster near the bottom line; its exact pitch, accidental, and horizontal association remain unresolved.", "originalReason": "Guidon Z remains unresolved and has no invented sounding pitch in this candidate; its reference Z is retained at continuo measure 6. — PDF104 states that when part Y becomes the bass, the part below should use guidon Z rather than the simultaneous ordinary note. This is a conditional alternate, not a normal extra voice. Native guidon-Z-detail.png preserves the ambiguous cue/sign cluster near the bottom line; precise pitch, accidental and horizontal association remain unresolved." }, { "id": "II.09-015-note-4", "blocks": [ "II.09-015" ], "status": "needs-review", "reason": "Fundamental-bass N is read as D2; the earlier transcription reads C2. In the source, part 5, measure 8, second note lies below the first ledger line E2, with no ledger crossing its center. The detail image preserves this evidence. This reading is not a silent tonal correction.", "originalReason": "Fundamental-bass N is read D2 in this candidate; earlier seed reads C2. — Native P5 measure 8 second note lies below the first ledger line E2, with no ledger passing through its center. Fundamental-N-detail.png preserves the evidence. Candidate is not a silent tonal correction." }, { "id": "II.09-015-note-5", "blocks": [ "II.09-015" ], "status": "needs-review", "reason": "Continuo part 4, measure 7, second note is E3; measure 10, first note is B2 without a newly printed accidental. Staff geometry corrects the initial rough F3 reading to E3. The previous measure prints B-flat 2, but the new bar repeats no flat; modern accidental scope gives B2. Historical carry-through remains an alternative for source review.", "originalReason": "Continuo P4 measure 7 second note is E3; measure 10 first note is B2 with no newly printed accidental. — Native staff geometry corrects the initial rough F3 reading to E3. The prior measure prints B-flat2, but no flat is repeated at the new bar; modern accidental scope yields B2. Historical carry-through interpretation remains available for source review." }, { "id": "II.09-019-note-1", "blocks": [ "II.09-019" ], "status": "needs-review", "reason": "The printing of “chord” and “added to the chord” is partly erased. The reading is reconstructed from the surviving letters and context.", "originalReason": "accord ; ajoûtée à l’Accord — L’impression est effacée en partie ; lecture reconstituée à partir des lettres visibles et du contexte." }, { "id": "II.10-007-note-1", "blocks": [ "II.10-007" ], "status": "needs-review", "reason": "The two historical signs before B3 are read as flats according to their shape, without theoretical correction. Their single left stem and pointed right loop match the original flat examples; a natural would have a separate descending right stem.", "originalReason": "Les deux signes historiques devant Si³ sont lus comme des bémols, selon leur dessin dans la source, sans correction théorique. — Glyph comparison: single left stem and pointed right loop match original B-mol examples; natural would have a separate descending right stem." }, { "id": "II.10-007-note-2", "blocks": [ "II.10-007" ], "status": "needs-review", "reason": "The curves beneath the fundamental bass mark cadences B, C, and D; they do not prolong sounds. The isolated small curve above A3 in measure four is identified by the text “arc (source)”. Its exact shape remains visible in the source. The lower curves are analytical cadence marks; the isolated upper curve has no clear second endpoint. The engraving uses a readable reference to the source rather than adding a tie, fermata, or invented span.", "originalReason": "Les courbes sous la Basse fondamentale indiquent les cadences B, C et D ; elles ne prolongent pas les sons. La petite courbe isolée au-dessus du La³ de la quatrième mesure est signalée par « arc (source) » ; son dessin exact reste visible dans la source, sans liaison sonore ajoutée. — Source lower arcs are analytical cadence marks. Isolated upper arc has no clear second endpoint. Renderer cannot reproduce a standalone arc, so readable editorial text references the retained native crop; no tie, fermata, or invented span." }, { "id": "II.10-007-note-3", "blocks": [ "II.10-007" ], "status": "needs-review", "reason": "The example retains all seven original staves and their 77 notes. The original top part remains; no part has been suppressed or harmonically reconstructed.", "originalReason": "L’exemple conserve les sept portées originales et leurs 77 notes. — Top original part retained; no suppression or harmonic reconstruction." }, { "id": "II.10-014-note-1", "blocks": [ "II.10-014" ], "status": "needs-review", "reason": "The single-number time signature 3 is retained. The initial and final measures each contain only one half note, as in the source. The meter is encoded as single-number 3/2, with a half-note pickup and half-note ending and no artificial rests.", "originalReason": "Le chiffre de mesure 3 est conservé sous sa forme simple ; les mesures initiale et finale ne contiennent qu’une blanche, comme dans la source. — Single-number 3/2, one-half-note pickup and one-half-note ending retained without artificial rests." }, { "id": "II.12-005-note-1", "blocks": [ "II.12-005" ], "status": "needs-review", "reason": "Direct transcription of the source: two chord columns; diamond whole-note heads and all figures retained. No source meter or tempo is asserted. Historical clefs, accidentals, and label positions use modern engraving.", "originalReason": "Direct native transcription: two chord columns; source diamond whole heads and all figures retained. — No source meter or tempo asserted. Historic clefs/accidentals and label placement use modern engraving." }, { "id": "II.12-005-note-2", "blocks": [ "II.12-005" ], "status": "needs-review", "reason": "The cue sign is silent: C5 is the left-hand alternative to the sounding A4. PDF pages 112–113 explicitly distinguish the printed note from the optional movement indicated by the cue. It is engraved as a small diamond cue note, with cue/chord encoding verified as silent in playback.", "originalReason": "Guidon is silent; C5 is the left alternative to sounded A4. — PDF112–113 explicitly distinguishes the printed note from the optional progression indicated by the guidon. It is a small diamond cue note with MusicXML cue/chord tags; verified silent in the app parser." }, { "id": "II.12-005-note-3", "blocks": [ "II.12-005" ], "status": "needs-review", "reason": "Four original upper parts plus the printed fundamental bass. PDF page 113 says each bass by supposition can combine separately with the four upper parts. Alternative basses do not sound together. The primary left version includes its printed analytical fundamental bass; supposition variants replace that bass with exactly one source alternative.", "originalReason": "Four source upper parts plus the printed fundamental bass. — PDF113 says each supposition bass can combine separately with the four upper parts. Alternative basses are not sounded together. Primary left audibly includes its printed analytical fundamental bass; supposition variants replace that analytical bass with exactly one source alternative." }, { "id": "II.12-006-note-1", "blocks": [ "II.12-006" ], "status": "needs-review", "reason": "Direct transcription of the source: two chord columns; diamond whole-note heads and all figures retained. No source meter or tempo is asserted. Historical clefs, accidentals, and label positions use modern engraving.", "originalReason": "Direct native transcription: two chord columns; source diamond whole heads and all figures retained. — No source meter or tempo asserted. Historic clefs/accidentals and label placement use modern engraving." }, { "id": "II.12-006-note-2", "blocks": [ "II.12-006" ], "status": "needs-review", "reason": "The cue sign is silent: A4 is the right-hand alternative to the sounding C5. PDF pages 112–113 explicitly distinguish the printed note from the optional movement indicated by the cue. It is engraved as a small diamond cue note, with cue/chord encoding verified as silent in playback.", "originalReason": "Guidon is silent; A4 is the right alternative to sounded C5. — PDF112–113 explicitly distinguishes the printed note from the optional progression indicated by the guidon. It is a small diamond cue note with MusicXML cue/chord tags; verified silent in the app parser." }, { "id": "II.12-006-note-3", "blocks": [ "II.12-006" ], "status": "needs-review", "reason": "Only the four original upper parts are present; the corresponding fundamental-bass staff is blank. PDF page 113 says each bass by supposition can combine separately with the four upper parts. Alternative basses do not sound together. The primary left version includes its printed analytical fundamental bass; supposition variants replace that bass with exactly one source alternative.", "originalReason": "Four source upper parts only; corresponding fundamental staff blank. — PDF113 says each supposition bass can combine separately with the four upper parts. Alternative basses are not sounded together. Primary left audibly includes its printed analytical fundamental bass; supposition variants replace that analytical bass with exactly one source alternative." }, { "id": "II.13-009-note-1", "blocks": [ "II.13-009" ], "status": "needs-review", "reason": "Zarlino's example retains C clefs on lines 1 and 4, diamond whole-note heads, the barred fifth, and the tie between repeated B3 notes. The source tie lies below the lower staff; modern engraving may place it above. The barred fifth is encoded as figured bass and appears as 5/. No meter or numerical source tempo has been added.", "originalReason": "Zarlin example: C clefs on lines 1 and 4, diamond wholes, barred fifth and repeated-B3 tie retained. — Source tie appears below the lower staff; modern engraving may place its arc above. Barred fifth is encoded semantically and renders as 5/. No meter or numerical source tempo is added." }, { "id": "II.13-015-note-1", "blocks": [ "II.13-015" ], "status": "needs-review", "reason": "The three source groups A, B, and C retain half/whole-note proportions, the tied lower G2 half notes, and all C reference letters. Labels use modern spacing; double rules separate the analytical groups. No new time signature is inferred.", "originalReason": "Three source groups A, B, C retain half/whole proportions, the tied lower G2 halves, and all C reference letters. — Source labels are repositioned for modern spacing; double rules separate analytical groups. No new time signature is inferred." }, { "id": "II.13-019-note-1", "blocks": [ "II.13-019" ], "status": "needs-review", "reason": "The four examples retain G-sharp 3, F-sharp 2, and B-flat 4 accidentals and the source's C reference letters. Pitches follow the source note positions and printed signs, without harmonic correction. The adjacent Zarlino citation remains in the chapter text.", "originalReason": "Four examples retain source accidentals G-sharp3, F-sharp2 and B-flat4, with source C reference letters. — Pitches follow native note positions and printed signs; no harmonic correction is applied. The adjacent Zarlin citation remains in chapter text." }, { "id": "II.13-022-note-1", "blocks": [ "II.13-022" ], "status": "needs-review", "reason": "Both combined examples retain their three staves, half/whole-note values, and upper-bass and fundamental-bass figures. Figures 5, barred 5, 3, 8, 7, and 6 remain; figured bass may appear below its source position.", "originalReason": "Both reunion examples retain three source staves, half/whole values and upper-bass/fundamental figures. — Figures 5, barred 5, 3, 8, 7 and 6 are retained; semantic figured bass may appear below its source position." }, { "id": "II.13-025-note-1", "blocks": [ "II.13-025" ], "status": "needs-review", "reason": "All eight original staves remain, including Masson's two basses, the bass with a natural ending, and the explanatory fundamental bass. This is a teaching comparison. The following prose excludes the parallel-octave combinations D–F and G–H from acceptable simultaneous use. Preserving all comparative parts does not recommend sounding every combination together. The source tie, labels, figures, and half/whole-note proportions remain.", "originalReason": "All eight source staves are retained, including the two Basses de Masson, the bass with a natural ending and the explanatory fundamental bass. — This is a didactic comparison. The following prose explicitly excludes the parallel-octave combinations D–F and G–H from acceptable simultaneous use; the full-source score preserves these comparative parts rather than treating every combination as a recommended ensemble. Source tie, labels, figures and half/whole proportions remain." }, { "id": "II.13-028-note-1", "blocks": [ "II.13-028" ], "status": "needs-review", "reason": "Source ties remain across the barline: F5 continues through three half notes, and C5 through two. Labels A, B, and C identify the dissonances discussed below. The source groups contain 2, 4, and 4 quarter-note units; no meter or extra padding has been invented.", "originalReason": "Source ties are retained across the barline: F5 continues through three half notes, and C5 through two half notes. — A, B and C labels identify the dissonances discussed below. Source groups contain 2, 4 and 4 quarter-note units; no meter or extra padding is invented." }, { "id": "II.13-032-note-1", "blocks": [ "II.13-032" ], "status": "needs-review", "reason": "Seven cue pitches at six source locations appear as small, silent diamond alternatives: part 2, first note, E5; part 3, first note, G5 and E5 with figures 6/4; part 4, first note, F4, and eighth/ninth notes, G3; part 5, eighth note, G3. Source details establish these positions. Cue/chord encoding attaches alternatives to existing durations without adding time. Playback validation confirms that only the 45 ordinary notes sound. Historical cue shapes are normalized as small diamonds.", "originalReason": "Seven guidon pitches at six source locations are engraved as small, silent diamond cue alternatives. — P2 first note: E5; P3 first note: G5 and E5 (figures 6/4); P4 first note: F4, eighth/ninth notes: G3; P5 eighth note: G3. Native detail crops establish positions. MusicXML cue/chord tags attach these alternatives to existing source durations without extra time; app-parser validation confirms only the 45 ordinary notes sound. Historical guidon shapes are normalized to small diamonds." }, { "id": "II.13-032-note-2", "blocks": [ "II.13-032" ], "status": "needs-review", "reason": "The five original clefs G2/G2/G2/C3/F4, nine diamond whole-note columns, figures, and J/L labels are retained. J and L are analytical references, not sounding notes. Historical sharps use modern signs, barred fifths appear as 5/, and figures may appear below their original positions. Trailing blank staff segments are omitted.", "originalReason": "Five original clefs G2/G2/G2/C3/F4, nine diamond whole-note columns, all figures and J/L labels retained. — J and L are source analytical references, not sounding notes. Source sharps normalize to modern sharps, barred fifths to 5/, and figures may render below their source positions. Trailing blank staff segments are omitted." }, { "id": "II.14-121-note-1", "blocks": [ "II.14-121" ], "status": "needs-review", "reason": "The bass figure under B2 in section two appears to be 6 but is very small. The upper 7 over F5 in section three and lower slashed-5 sign beneath 7 are worn. Provisional readings remain with the source image; no theoretical correction is supplied.", "originalReason": "Bass figure under second-section B2 appears 6 but is very small. Upper 7 over third-section F5 and lower slashed-5 sign under 7 are worn; provisional figure readings retained with source crop. — Native-source uncertainty; no theoretical correction supplied." }, { "id": "II.14-121-note-2", "blocks": [ "II.14-121" ], "status": "needs-review", "reason": "Source analytical lines: D4 → C4 (staff 1, positions 1–2); D4 → C4 (staff 1, positions 3–4); F5 → E5 (staff 1, positions 5–6); F5 → E5 (staff 1, positions 7–8). The engraving system attaches slurs to whole chords rather than the intended inner note. The exact connections are recorded here, in the notation metadata, and in the source image rather than shown as misleading spans. They are not ties.", "originalReason": "Traits analytiques de la source : D4 → C4 (portée 1, positions 1–2) ; D4 → C4 (portée 1, positions 3–4) ; F5 → E5 (portée 1, positions 5–6) ; F5 → E5 (portée 1, positions 7–8). — Renderer anchors slurs to the whole chord, not the intended interior note. Exact connections retained here and in XML metadata/native crop instead of misleading visual spans. These are not ties." }, { "id": "II.14-122a-note-1", "blocks": [ "II.14-122a" ], "status": "needs-review", "reason": "A small oblique mark between the final two upper chords may continue the analytical connection. Its exact extent remains visible in the source image. No theoretical correction is supplied.", "originalReason": "Small oblique mark between final two upper chords may continue the analytical connection; exact stroke extent retained in native crop. — Native-source uncertainty; no theoretical correction supplied." }, { "id": "II.14-122a-note-2", "blocks": [ "II.14-122a" ], "status": "needs-review", "reason": "Source analytical lines: E5 → F5, C5 → D5, and C5 → B♭4 (staff 1, positions 1–2). The engraving system attaches slurs to whole chords rather than the intended inner note. The exact connections are recorded here, in the notation metadata, and in the source image rather than shown as misleading spans. They are not ties.", "originalReason": "Traits analytiques de la source : E5 → F5 (portée 1, positions 1–2) ; C5 → D5 (portée 1, positions 1–2) ; C5 → Bb4 (portée 1, positions 1–2). — Renderer anchors slurs to the whole chord, not the intended interior note. Exact connections retained here and in XML metadata/native crop instead of misleading visual spans. These are not ties." }, { "id": "II.14-122a-note-3", "blocks": [ "II.14-122a" ], "status": "needs-review", "reason": "1. Irregular cadence avoided by adding a seventh to the second note's perfect chord, in which the major third ascends to the seventh. This exact source caption is placed below the score in the reading notes to avoid collisions with figures.", "originalReason": "1. Cadence irreguliere évitée par la Septiéme ajoûtée à l’Accord parfait de la seconde Notte, où la Tierce majeure monte sur la Septiéme. — Exact source caption moved below score in reading notes to avoid renderer collision with figured bass." }, { "id": "II.14-122a-note-4", "blocks": [ "II.14-122a" ], "status": "needs-review", "reason": "2. Inversion of the avoided cadence, in which the major third ascends to the fifth. This exact source caption is placed below the score in the reading notes to avoid collisions with figures.", "originalReason": "2. Renversement de la Cadence évitée, où la Tierce majeure monte sur la Quinte. — Exact source caption moved below score in reading notes to avoid renderer collision with figured bass." }, { "id": "II.14-122b-note-1", "blocks": [ "II.14-122b" ], "status": "needs-review", "reason": "Source analytical lines: A4 → B4 and E4 → D4 (staff 1, positions 1–2). The engraving system attaches slurs to whole chords rather than the intended inner note. The exact connections are recorded here, in the notation metadata, and in the source image rather than shown as misleading spans. They are not ties.", "originalReason": "Traits analytiques de la source : A4 → B4 (portée 1, positions 1–2) ; E4 → D4 (portée 1, positions 1–2). — Renderer anchors slurs to the whole chord, not the intended interior note. Exact connections retained here and in XML metadata/native crop instead of misleading visual spans. These are not ties." }, { "id": "II.14-123b-note-1", "blocks": [ "II.14-123b" ], "status": "needs-review", "reason": "Source analytical line: F3 → G3 (staff 1, positions 1–2). The engraving system attaches slurs to whole chords rather than the intended inner note. The exact connections are recorded here, in the notation metadata, and in the source image rather than shown as misleading spans. They are not ties.", "originalReason": "Traits analytiques de la source : F3 → G3 (portée 1, positions 1–2). — Renderer anchors slurs to the whole chord, not the intended interior note. Exact connections retained here and in XML metadata/native crop instead of misleading visual spans. These are not ties." }, { "id": "II.14-123c-note-1", "blocks": [ "II.14-123c" ], "status": "needs-review", "reason": "The small hooked sign between columns, before the full-sized B3 head, is read as a historical flat, giving B♭3. It is not treated as a separate note or cue. The exact source image is retained for review; no theoretical correction is supplied.", "originalReason": "Small inter-column hooked sign before full-sized B3 notehead is read as historical B-mol, hence Bb3; not treated as a separate note or guidon. Exact source crop retained for review. — Native-source uncertainty; no theoretical correction supplied." }, { "id": "II.14-123c-note-2", "blocks": [ "II.14-123c" ], "status": "needs-review", "reason": "Source analytical line: C4 → D4 (staff 1, positions 1–2). The engraving system attaches slurs to whole chords rather than the intended inner note. The exact connections are recorded here, in the notation metadata, and in the source image rather than shown as misleading spans. They are not ties.", "originalReason": "Traits analytiques de la source : C4 → D4 (portée 1, positions 1–2). — Renderer anchors slurs to the whole chord, not the intended interior note. Exact connections retained here and in XML metadata/native crop instead of misleading visual spans. These are not ties." }, { "id": "II.14-124a-note-1", "blocks": [ "II.14-124a" ], "status": "needs-review", "reason": "The upper F3 clef differs from the lower F4 clef. The small hooked sign before the full-sized B3-position head is read as a flat. All full-sized outer noteheads remain sounding. Stems are read as half notes; short upper stems are retained without invented ties. Source uncertainty remains; no theoretical correction is supplied.", "originalReason": "Upper F3 clef differs from lower F4 clef. Small hooked sign before B3-position full head read B-mol; all full-sized outer noteheads remain sounding. Stems read as half notes; short upper stems are preserved without inventing ties. — Native-source uncertainty; no theoretical correction supplied." }, { "id": "II.14-124a-note-2", "blocks": [ "II.14-124a" ], "status": "needs-review", "reason": "Source analytical line: C4 → D4 (staff 1, positions 1–2). The engraving system attaches slurs to whole chords rather than the intended inner note. The exact connections are recorded here, in the notation metadata, and in the source image rather than shown as misleading spans. They are not ties.", "originalReason": "Traits analytiques de la source : C4 → D4 (portée 1, positions 1–2). — Renderer anchors slurs to the whole chord, not the intended interior note. Exact connections retained here and in XML metadata/native crop instead of misleading visual spans. These are not ties." }, { "id": "II.14-124b-note-1", "blocks": [ "II.14-124b" ], "status": "needs-review", "reason": "Source analytical line: C4 → D4 (staff 1, positions 1–2). The engraving system attaches slurs to whole chords rather than the intended inner note. The exact connections are recorded here, in the notation metadata, and in the source image rather than shown as misleading spans. They are not ties.", "originalReason": "Traits analytiques de la source : C4 → D4 (portée 1, positions 1–2). — Renderer anchors slurs to the whole chord, not the intended interior note. Exact connections retained here and in XML metadata/native crop instead of misleading visual spans. These are not ties." }, { "id": "II.14-125-note-1", "blocks": [ "II.14-125" ], "status": "needs-review", "reason": "The small cue beside section B's second bass note is approximately C2, but sits low relative to its ledger. C2/B1 remains ambiguous. It is encoded only as a silent C2 cue, never an extra sounding note. No theoretical correction is supplied.", "originalReason": "Small guidon beside second bass note of section B is approximately C2, but sits low relative to its ledger; C2/B1 ambiguity remains. Encoded as a silent C2 cue only, never an extra sounding note. — Native-source uncertainty; no theoretical correction supplied." }, { "id": "II.14-125-note-2", "blocks": [ "II.14-125" ], "status": "needs-review", "reason": "Source analytical lines: B♭2 → C3 (staff 1, positions 1–2); B♭2 → C3 (staff 1, positions 3–4); B♭3 → A3 (staff 1, positions 4–5). The engraving system attaches slurs to whole chords rather than the intended inner note. The exact connections are recorded here, in the notation metadata, and in the source image rather than shown as misleading spans. They are not ties.", "originalReason": "Traits analytiques de la source : Bb2 → C3 (portée 1, positions 1–2) ; Bb2 → C3 (portée 1, positions 3–4) ; Bb3 → A3 (portée 1, positions 4–5). — Renderer anchors slurs to the whole chord, not the intended interior note. Exact connections retained here and in XML metadata/native crop instead of misleading visual spans. These are not ties." }, { "id": "II.15-009-note-1", "blocks": [ "II.15-009" ], "status": "needs-review", "reason": "Open round heads remain ordinary whole notes; open diamonds remain in the small Masson and Zarlino examples. Masson's first two upper notes have stems and are half notes. Historical sharps, flats, and barred fifths are normalized. Only curved connections between equal pitches are encoded as ties. Straight descending resolution lines remain in the source image and prose, without sounding as glissandi. These examples contain no cue signs. Read directly from the source, without theory-based repair.", "originalReason": "Open round heads retained as ordinary whole notes; open diamonds retained for tiny Masson and Zarlin examples. Masson first two upper notes have stems and are half notes. Historical sharps/flats and barred fifths normalized. Only curved links between equal pitches encoded as ties; straight descending resolution strokes remain in source crop and prose, not sounded as glissandi. No guidons occur in these examples. — Direct visual native-source reading; no theory-based repair." }, { "id": "II.16-007-note-1", "blocks": [ "II.16-007" ], "status": "needs-review", "reason": "Open round heads remain ordinary whole notes; open diamonds remain in the small Masson and Zarlino examples. Masson's first two upper notes have stems and are half notes. Historical sharps, flats, and barred fifths are normalized. Only curved connections between equal pitches are encoded as ties. Straight descending resolution lines remain in the source image and prose, without sounding as glissandi. These examples contain no cue signs. Read directly from the source, without theory-based repair.", "originalReason": "Open round heads retained as ordinary whole notes; open diamonds retained for tiny Masson and Zarlin examples. Masson first two upper notes have stems and are half notes. Historical sharps/flats and barred fifths normalized. Only curved links between equal pitches encoded as ties; straight descending resolution strokes remain in source crop and prose, not sounded as glissandi. No guidons occur in these examples. — Direct visual native-source reading; no theory-based repair." }, { "id": "II.16-021-note-1", "blocks": [ "II.16-021" ], "status": "needs-review", "reason": "Open round heads remain ordinary whole notes; open diamonds remain in the small Masson and Zarlino examples. Masson's first two upper notes have stems and are half notes. Historical sharps, flats, and barred fifths are normalized. Only curved connections between equal pitches are encoded as ties. Straight descending resolution lines remain in the source image and prose, without sounding as glissandi. These examples contain no cue signs. Read directly from the source, without theory-based repair.", "originalReason": "Open round heads retained as ordinary whole notes; open diamonds retained for tiny Masson and Zarlin examples. Masson first two upper notes have stems and are half notes. Historical sharps/flats and barred fifths normalized. Only curved links between equal pitches encoded as ties; straight descending resolution strokes remain in source crop and prose, not sounded as glissandi. No guidons occur in these examples. — Direct visual native-source reading; no theory-based repair." }, { "id": "II.16-021-note-2", "blocks": [ "II.16-021" ], "status": "needs-review", "reason": "Example C, second bass note: provisional F3. The head is largely erased; surviving fragments lie near the second bass-staff line. F3 is explicitly uncertain, not presented as fully legible. The exact source detail is retained in p099-Cbass.png.", "originalReason": "Example C, second bass note: F3 — Notehead largely erased; surviving fragments sit near the second bass staff line. F3 retained as an explicitly uncertain candidate, not asserted as fully legible. p099-Cbass.png provides exact crop." }, { "id": "II.16-021-note-3", "blocks": [ "II.16-021" ], "status": "needs-review", "reason": "The fifth example keeps its printed label E, while the following prose calls it F. This source inconsistency is preserved.", "originalReason": "Fifth example retains printed label E; following prose calls it F. — Source inconsistency preserved." }, { "id": "II.16-022-note-1", "blocks": [ "II.16-022" ], "status": "needs-review", "reason": "The prose refers to F, while the preceding printed music labels the fifth example E. Both readings are retained.", "originalReason": "(F) — Prose refers to F, while the preceding printed music labels the fifth example E; both source readings retained." }, { "id": "II.16-039-note-1", "blocks": [ "II.16-039" ], "status": "needs-review", "reason": "Open round heads remain ordinary whole notes; open diamonds remain in the small Masson and Zarlino examples. Masson's first two upper notes have stems and are half notes. Historical sharps, flats, and barred fifths are normalized. Only curved connections between equal pitches are encoded as ties. Straight descending resolution lines remain in the source image and prose, without sounding as glissandi. These examples contain no cue signs. Read directly from the source, without theory-based repair.", "originalReason": "Open round heads retained as ordinary whole notes; open diamonds retained for tiny Masson and Zarlin examples. Masson first two upper notes have stems and are half notes. Historical sharps/flats and barred fifths normalized. Only curved links between equal pitches encoded as ties; straight descending resolution strokes remain in source crop and prose, not sounded as glissandi. No guidons occur in these examples. — Direct visual native-source reading; no theory-based repair." }, { "id": "II.16-039-note-2", "blocks": [ "II.16-039" ], "status": "needs-review", "reason": "The printed time indication is a single 3; no denominator is asserted. The three written measures group one, three, and one whole-note columns. The original sign remains as text, without an invented time-signature denominator.", "originalReason": "time indication: Printed single 3; denominator not asserted — Source groups one, three, one whole-note columns in its three written measures. Kept as textual original sign, without invented MusicXML denominator." }, { "id": "II.16-039-note-3", "blocks": [ "II.16-039" ], "status": "needs-review", "reason": "One selected bass sounds beneath the shared upper chords. The other bass rows are alternatives, not simultaneous parts. PDF page 135 labels the chords as common to each bass. Page 136 instructs performers to omit octave doublings in dissonant chords as necessary to avoid consecutive octaves. The printed chord notes remain; that conditional instruction is explicit rather than silently applied to the source.", "originalReason": "One selected bass sounds beneath the shared upper chords. Other source bass rows are alternatives, not simultaneous parts. — PDF135 labels common chords for each bass. PDF136 prescribes omitting octave doublings in dissonant chords where needed to avoid consecutive octaves. Printed chord notes are retained here; this conditional performance instruction remains explicit rather than silently changing the source." }, { "id": "II.16-042-note-1", "blocks": [ "II.16-042" ], "status": "needs-review", "reason": "The inline curved and descending-line signs are normalized as ⌢ and ╲. A source excerpt preserves their original shapes.", "originalReason": "Inline curved and descending-line graphical signs normalized to ⌢ and ╲; native excerpt retained in symbol crop." }, { "id": "II.16-048-note-1", "blocks": [ "II.16-048" ], "status": "needs-review", "reason": "Open round heads remain ordinary whole notes; open diamonds remain in the small Masson and Zarlino examples. Masson's first two upper notes have stems and are half notes. Historical sharps, flats, and barred fifths are normalized. Only curved connections between equal pitches are encoded as ties. Straight descending resolution lines remain in the source image and prose, without sounding as glissandi. These examples contain no cue signs. Read directly from the source, without theory-based repair.", "originalReason": "Open round heads retained as ordinary whole notes; open diamonds retained for tiny Masson and Zarlin examples. Masson first two upper notes have stems and are half notes. Historical sharps/flats and barred fifths normalized. Only curved links between equal pitches encoded as ties; straight descending resolution strokes remain in source crop and prose, not sounded as glissandi. No guidons occur in these examples. — Direct visual native-source reading; no theory-based repair." }, { "id": "II.16-048-note-2", "blocks": [ "II.16-048" ], "status": "needs-review", "reason": "Measure 3, upper chord: G4 D5. Both upper heads are faint or partly erased, but surviving ink lies on the fourth and second treble-staff lines. The evidence is retained in p105-faint.png.", "originalReason": "Measure3, upper chord: G4 D5 — Two upper heads faint/partly erased, but surviving ink lies on fourth and second treble staff lines. p105-faint.png records evidence." }, { "id": "II.16-058-note-1", "blocks": [ "II.16-058" ], "status": "needs-review", "reason": "Open round heads remain ordinary whole notes; open diamonds remain in the small Masson and Zarlino examples. Masson's first two upper notes have stems and are half notes. Historical sharps, flats, and barred fifths are normalized. Only curved connections between equal pitches are encoded as ties. Straight descending resolution lines remain in the source image and prose, without sounding as glissandi. These examples contain no cue signs. Read directly from the source, without theory-based repair.", "originalReason": "Open round heads retained as ordinary whole notes; open diamonds retained for tiny Masson and Zarlin examples. Masson first two upper notes have stems and are half notes. Historical sharps/flats and barred fifths normalized. Only curved links between equal pitches encoded as ties; straight descending resolution strokes remain in source crop and prose, not sounded as glissandi. No guidons occur in these examples. — Direct visual native-source reading; no theory-based repair." }, { "id": "II.16-058-note-2", "blocks": [ "II.16-058" ], "status": "needs-review", "reason": "Masson's first two upper diamonds are half notes E5–F5, followed by whole note D5; the bass has G2–G2 whole notes. Stems determine the durations. Figure 7 appears halfway through the first bass whole note and is retained at that offset. No unsupported tie has been added between the bass notes.", "originalReason": "Masson: first two upper diamonds are half notes E5–F5, followed by whole D5; bass G2–G2 whole notes. — Stems establish durations. Figure7 occurs halfway through first bass whole and is retained as an offset direction; no unsupported tie added between source bass notes." }, { "id": "II.16-063-note-1", "blocks": [ "II.16-063" ], "status": "needs-review", "reason": "Open round heads remain ordinary whole notes; open diamonds remain in the small Masson and Zarlino examples. Masson's first two upper notes have stems and are half notes. Historical sharps, flats, and barred fifths are normalized. Only curved connections between equal pitches are encoded as ties. Straight descending resolution lines remain in the source image and prose, without sounding as glissandi. These examples contain no cue signs. Read directly from the source, without theory-based repair.", "originalReason": "Open round heads retained as ordinary whole notes; open diamonds retained for tiny Masson and Zarlin examples. Masson first two upper notes have stems and are half notes. Historical sharps/flats and barred fifths normalized. Only curved links between equal pitches encoded as ties; straight descending resolution strokes remain in source crop and prose, not sounded as glissandi. No guidons occur in these examples. — Direct visual native-source reading; no theory-based repair." }, { "id": "II.16-063-note-2", "blocks": [ "II.16-063" ], "status": "needs-review", "reason": "Zarlino's example uses source C1 and C4 clefs, G4–F4 over tied B3, and figures 6 and barred 5. Historical C-clef centers are read directly; staff positions and figured intervals agree.", "originalReason": "Zarlin: source C1 and C4 clefs, G4–F4 over tied B3, with figures6 and barred5. — Historical C-clef centers read directly; round staff positions and figure intervals agree." }, { "id": "II.17-015-note-1", "blocks": [ "II.17-015" ], "status": "needs-review", "reason": "Round source heads, three staves, all figures and A/B references retained. Eight analytical chord columns use source whole values without invented meter. The final fundamental C2 is retained at its printed low position; no theoretical repair replaces the source line.", "originalReason": "Round source heads, three staves, all figures and A/B references retained. — Eight analytical chord columns use source whole values without invented meter. The final fundamental C2 is retained at its printed low position; no theoretical repair replaces the source line." }, { "id": "II.17-030-note-1", "blocks": [ "II.17-030" ], "status": "needs-review", "reason": "The seven-staff source comparison remains visible. Primary playback sounds the four ordinary upper parts and continuo; added top part and theoretical fundamental are silent small notes. PDF 148 expressly says the added part cannot be heard with either bass. Selectable versions provide the added-part ensemble without either bass, and the fundamental-bass ensemble without continuo.", "originalReason": "The seven-staff source comparison remains visible. Primary playback sounds the four ordinary upper parts and continuo; added top part and theoretical fundamental are silent small notes. — PDF148 expressly says the added part cannot be heard with either bass. Selectable versions provide the added-part ensemble without either bass, and the fundamental-bass ensemble without continuo." }, { "id": "II.17-030-note-2", "blocks": [ "II.17-030" ], "status": "needs-review", "reason": "When the fundamental bass is selected, N uses printed guidon G5 instead of ordinary D5. This conditional change is stated explicitly in PDF 148. Primary source notation retains D5 with silent G5 cue; the fundamental version reverses their audible/cue roles. Its printed G2/G3 bass guidon remains a silent octave alternative. Cue exclusion and N=G5 are parser-tested.", "originalReason": "When the fundamental bass is selected, N uses printed guidon G5 instead of ordinary D5. — This conditional change is stated explicitly in PDF148. Primary source notation retains D5 with silent G5 cue; the fundamental version reverses their audible/cue roles. Its printed G2/G3 bass guidon remains a silent octave alternative. Cue exclusion and N=G5 are parser-tested." }, { "id": "II.17-051-note-1", "blocks": [ "II.17-051" ], "status": "needs-review", "reason": "Single bass-clef staff retains three simultaneous voices and true G3/E3 ties between the first two chords. Enlarged native inspection corrected initial rough upper readings from A3/F3 to the spaces G3/E3; basses E2–F2–D2 remain as printed. Figures 3/8, 9/7, 3/8 retained.", "originalReason": "Single bass-clef staff retains three simultaneous voices and true G3/E3 ties between the first two chords. — Enlarged native inspection corrected initial rough upper readings from A3/F3 to the spaces G3/E3; basses E2–F2–D2 remain as printed. Figures 3/8, 9/7, 3/8 retained." }, { "id": "II.17-054-note-1", "blocks": [ "II.17-054" ], "status": "needs-review", "reason": "Fundamental E2–A2–D2 and true G3/E3 ties retained; F2 is a silent guidon below the second fundamental. The following source prose identifies this guidon as the supernumerary ninth bass. It is not an extra simultaneously sounding bass note.", "originalReason": "Fundamental E2–A2–D2 and true G3/E3 ties retained; F2 is a silent guidon below the second fundamental. — The following source prose identifies this guidon as the supernumerary ninth bass. It is not an extra simultaneously sounding bass note." }, { "id": "II.17-059-note-1", "blocks": [ "II.17-059" ], "status": "needs-review", "reason": "Both F-clef-on-line-3 source contexts are shown; primary sounds the inverted bass only. The lower fundamental comparison is silent in the full engraving and available as a separate selectable version. The contexts are not concatenated or sounded as a four-voice ensemble.", "originalReason": "Both F-clef-on-line-3 source contexts are shown; primary sounds the inverted bass only. — The lower fundamental comparison is silent in the full engraving and available as a separate selectable version. The contexts are not concatenated or sounded as a four-voice ensemble." }, { "id": "II.17-063-note-1", "blocks": [ "II.17-063" ], "status": "needs-review", "reason": "Intermediate diatonic guidons are visible as small silent pitches, with descending/ascending order labeled. Source provides passing-pitch guides without timed note values. D3–C3–B2 and B2–C3–D3 are attached as silent cue alternatives; no unprinted rhythm is invented for them.", "originalReason": "Intermediate diatonic guidons are visible as small silent pitches, with descending/ascending order labeled. — Source provides passing-pitch guides without timed note values. D3–C3–B2 and B2–C3–D3 are attached as silent cue alternatives; no unprinted rhythm is invented for them." }, { "id": "II.17-064-note-1", "blocks": [ "II.17-064" ], "status": "needs-review", "reason": "Both inverted-cadence groups and the two Quarte figures retained. Round heads, original F4 clef and low D2/C2 bass positions follow the native inset. No meter or source tempo inferred.", "originalReason": "Both inverted-cadence groups and the two Quarte figures retained. — Round heads, original F4 clef and low D2/C2 bass positions follow the native inset. No meter or source tempo inferred." }, { "id": "II.17-067-note-1", "blocks": [ "II.17-067" ], "status": "needs-review", "reason": "A3 guidon is silent; the diagonal source line is an analytical 7-to-8 connection, not a tie. The engraving labels that connection without inventing phrasing or glissando. B3/B2 first chord and B3/G3/G2 second chord retain the source voice comparison.", "originalReason": "A3 guidon is silent; the diagonal source line is an analytical 7-to-8 connection, not a tie. — The engraving labels that connection without inventing phrasing or glissando. B3/B2 first chord and B3/G3/G2 second chord retain the source voice comparison." }, { "id": "II.17-070-note-1", "blocks": [ "II.17-070" ], "status": "needs-review", "reason": "The four-part illustration retains its printed outer notes and silent E3 diatonic guidon. The source says « à 4. Parties. » but only its shown notes are encoded; inner realizations are not invented.", "originalReason": "The four-part illustration retains its printed outer notes and silent E3 diatonic guidon. — The source says « à 4. Parties. » but only its shown notes are encoded; inner realizations are not invented." }, { "id": "II.17-071-note-1", "blocks": [ "II.17-071" ], "status": "needs-review", "reason": "Fundamental Ré–Sol retained as D2–G2 beneath F3–D3. This separately printed derivation is not combined with the preceding alternative bass.", "originalReason": "Fundamental Ré–Sol retained as D2–G2 beneath F3–D3. — This separately printed derivation is not combined with the preceding alternative bass." }, { "id": "II.17-079-note-1", "blocks": [ "II.17-079" ], "status": "needs-review", "reason": "Explicit « ou » readings are alternatives: F2 or F-sharp 2, G2 or G-sharp 2, and the corresponding upper B-flat 4 or B-natural 4. Selectable versions preserve these choices. Independent native audit confirms the first « ou » between repeated 7/6 figures and the second at note level. Four sequential chromatic bass attacks would misread the source. Unselected pitches are silent small cues.", "originalReason": "Explicit « ou » readings are alternatives: F2 or F-sharp2, G2 or G-sharp2, and the corresponding upper B-flat4 or B-natural4. Selectable versions preserve these choices. — Independent native audit confirms the first « ou » between repeated 7/6 figures and the second at note level. Four sequential chromatic bass attacks would misread the source. Unselected pitches are silent small cues." }, { "id": "II.17-079-note-2", "blocks": [ "II.17-079" ], "status": "needs-review", "reason": "Timing remains uncertain in right-half second bar: literal upper whole+half totals six quarter units; selected bass half+half totals four. Both direct readings independently identify these shapes. The candidate retains literal durations without inserting rests, extending notes or imposing a meter. Playback timing in this bar is a review candidate, not a resolved source performance.", "originalReason": "Timing remains uncertain in right-half second bar: literal upper whole+half totals six quarter units; selected bass half+half totals four. — Both direct readings independently identify these shapes. The candidate retains literal durations without inserting rests, extending notes or imposing a meter. Playback timing in this bar is a review candidate, not a resolved source performance." }, { "id": "II.17-079-note-3", "blocks": [ "II.17-079" ], "status": "needs-review", "reason": "D5 at the opening of the right half is a probable damaged notehead above clear B-flat 4/E4. Native ink fragments occur at D5, but its outline is incomplete. The candidate includes D5 explicitly marked as damaged; omission is an unresolved alternative. Independent audit crop: astra-medium-II 24-II 29/p122-opening-detail.png.", "originalReason": "D5 at the opening of the right half is a probable damaged notehead above clear B-flat4/E4. — Native ink fragments occur at D5, but its outline is incomplete. The candidate includes D5 explicitly marked as damaged; omission is an unresolved alternative. Independent audit crop: astra-medium-II24-II29/p122-opening-detail.png." }, { "id": "II.17-079-note-4", "blocks": [ "II.17-079" ], "status": "needs-review", "reason": "Upper chords retain round heads, bass retains diamond heads, with source Sixte/7me. labels and all figured bass. Dense lower notes were reinspected against staff/ledger lines: left penultimate chord B4/G4/F4/D4; right penultimate C-sharp 5/A4/G4/E4. Historical cross sharps and slashed fifths normalize to modern sharp and 5/.", "originalReason": "Upper chords retain round heads, bass retains diamond heads, with source Sixte/7me. labels and all figured bass. — Dense lower notes were reinspected against staff/ledger lines: left penultimate chord B4/G4/F4/D4; right penultimate C-sharp5/A4/G4/E4. Historical cross sharps and slashed fifths normalize to modern sharp and 5/." }, { "id": "II.17-081-note-1", "blocks": [ "II.17-081" ], "status": "needs-review", "reason": "Opening E5/G4 or E-flat 5/G4 is one selected half-note pair; bass G3 begins at that selected half, not after an invented rest. The printed « ou » offers replacement, not a second sequential opening. Selectable natural/flat versions retain the source ties across barlines; the dotted Son permanent rule is descriptive.", "originalReason": "Opening E5/G4 or E-flat5/G4 is one selected half-note pair; bass G3 begins at that selected half, not after an invented rest. — The printed « ou » offers replacement, not a second sequential opening. Selectable natural/flat versions retain the source ties across barlines; the dotted Son permanent rule is descriptive." }, { "id": "II.17-081-note-2", "blocks": [ "II.17-081" ], "status": "needs-review", "reason": "Lower E4/E-flat 4 alternative in the third group retains its printed half value; its precise alignment under the two upper halves remains uncertain. No unprinted second attack, rest or sustained extension is supplied to force equal voice totals. This local duration ambiguity is visible in the literal candidate and remains for source review.", "originalReason": "Lower E4/E-flat4 alternative in the third group retains its printed half value; its precise alignment under the two upper halves remains uncertain. — No unprinted second attack, rest or sustained extension is supplied to force equal voice totals. This local duration ambiguity is visible in the literal candidate and remains for source review." }, { "id": "II.17-081-note-3", "blocks": [ "II.17-081" ], "status": "needs-review", "reason": "Upper sustained notes are true ties; the permanent bass and successive 6/7, 5/7, 5/6, 4/6 and 4/5–7 figures are retained. Figures change under a single sustained bass note through timed semantic figure events. Unselected accidentals are silent cue alternatives.", "originalReason": "Upper sustained notes are true ties; the permanent bass and successive 6/7, 5/7, 5/6, 4/6 and 4/5–7 figures are retained. — Figures change under a single sustained bass note through timed semantic figure events. Unselected accidentals are silent cue alternatives." }, { "id": "II.17-093-note-1", "blocks": [ "II.17-093" ], "status": "needs-review", "reason": "Brossard example retains C1/F4/F4, source ties, final filled quarter diamonds and dotted-half continuo. The small final lozenge after the continuo G3 half is its augmentation dot; upper B4 and fundamental G3 are filled quarter notes. The final source group therefore has three quarter units, without an invented meter.", "originalReason": "Brossard example retains C1/F4/F4, source ties, final filled quarter diamonds and dotted-half continuo. — The small final lozenge after the continuo G3 half is its augmentation dot; upper B4 and fundamental G3 are filled quarter notes. The final source group therefore has three quarter units, without an invented meter." }, { "id": "II.17-093-note-2", "blocks": [ "II.17-093" ], "status": "needs-review", "reason": "Primary sounds upper part and continuo, with added fundamental shown silently; selectable proof omits continuo and sounds the fundamental. PDF 157 explains that the supernumerary continuo sound is removed for the proof. Both source contexts remain inspectable rather than sounding incompatible analytical layers together.", "originalReason": "Primary sounds upper part and continuo, with added fundamental shown silently; selectable proof omits continuo and sounds the fundamental. — PDF157 explains that the supernumerary continuo sound is removed for the proof. Both source contexts remain inspectable rather than sounding incompatible analytical layers together." }, { "id": "II.17-095-note-1", "blocks": [ "II.17-095" ], "status": "needs-review", "reason": "C5 remains tied across the first three groups before B4; source half/whole proportions and L/M references retained. Primary uses continuo; selectable proof uses fundamental instead. The two compared basses remain visible in the primary score, with the analytical one silent.", "originalReason": "C5 remains tied across the first three groups before B4; source half/whole proportions and L/M references retained. — Primary uses continuo; selectable proof uses fundamental instead. The two compared basses remain visible in the primary score, with the analytical one silent." }, { "id": "II.19-006-note-1", "blocks": [ "II.19-006" ], "status": "needs-review", "reason": "In the phrase 'the octave there,' the word before 'the octave' is obscured by an ink blot. French là ('there') is a tentative reading based on surviving print and sentence structure.", "originalReason": "là l’Octave — Ink blot obscures word before l’Octave; là supplied as a tentative reading from residual print and sentence structure." }, { "id": "II.19-008-note-1", "blocks": [ "II.19-008" ], "status": "needs-review", "reason": "The source opens a parenthesis before the chapter 58 reference but prints no closing parenthesis.", "originalReason": "Opening parenthesis before Cap.58 has no printed closing parenthesis." }, { "id": "II.19-009-note-1", "blocks": [ "II.19-009" ], "status": "needs-review", "reason": "The French word pour ('for') is partly covered by an ink blot.", "originalReason": "pour — Word partially covered by an ink blot." }, { "id": "II.21-011-note-1", "blocks": [ "II.21-011" ], "status": "needs-review", "reason": "The French de in de ne pouvoir (rendered “to be unable”) is partly obscured by an ink blot. The reading is tentative, based on surviving print and syntax.", "originalReason": "de ne pouvoir — de partly obscured by an ink blot; tentative reading from visible remnants and syntax." }, { "id": "II.21-020-note-1", "blocks": [ "II.21-020" ], "status": "needs-review", "reason": "The letters a and b following G and E are references to the small example, not accidentals. Ink intervenes after Mi; they are not silently read as flats or other alterations.", "originalReason": "Mi b / Sol a — a and b are reference letters tied to the small example; ink intervenes after Mi. They are not silently converted to accidentals." }, { "id": "II.21-021-note-1", "blocks": [ "II.21-021" ], "status": "needs-review", "reason": "The staff diagram is normalized to two simultaneous pitch sets: principal C3–G3–C4 and collateral G2–C3–G3. It illustrates two octave divisions, not a specified rhythmic melody. Equal whole-note listening steps are editorial. The source crop preserves five main heads and overlapping reference glyphs; no melodic order is asserted.", "originalReason": "Staff diagram normalized to two simultaneous pitch sets: C3–G3–C4 principal; G2–C3–G3 collateral. — Source demonstrates two divisions of an octave, not a specified rhythmic melody. Equal whole-note listening steps are editorial. Original five main heads and overlapping reference glyphs remain in source crop; no invented melodic order asserted." }, { "id": "II.21-021-note-2", "blocks": [ "II.21-021" ], "status": "needs-review", "reason": "E3/G3 guide notes appear silently in both sets; a/b/C labels remain. Some overlapping guide strokes and reference positions are ambiguous. The prose’s Mi b / Sol a uses reference letters, not automatic flats.", "originalReason": "E3/G3 reference guidons represented silently in both sets; a/b/C labels preserved. — Some overlapping guidon strokes and reference placement remain ambiguous. Prose Mi b / Sol a uses reference letters, not automatically flats." }, { "id": "II.23-018-note-1", "blocks": [ "II.23-018" ], "status": "needs-review", "reason": "Source numeral 4; pre-clef marker whole C5 is silent. Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained.", "originalReason": "Source numeral 4; pre-clef marker whole C5 is silent. — Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained." }, { "id": "II.23-019-note-1", "blocks": [ "II.23-019" ], "status": "needs-review", "reason": "Source numeral 4; pre-clef marker half D5 is silent. Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained.", "originalReason": "Source numeral 4; pre-clef marker half D5 is silent. — Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained." }, { "id": "II.23-020-note-1", "blocks": [ "II.23-020" ], "status": "needs-review", "reason": "Source numeral 4; pre-clef marker quarter G4 is silent. Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained.", "originalReason": "Source numeral 4; pre-clef marker quarter G4 is silent. — Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained." }, { "id": "II.23-020-note-2", "blocks": [ "II.23-020" ], "status": "needs-review", "reason": "Independent medium glyph audit supports four single-flag eighths after the two quarters; heavy caps retained as a qualified reading. Terminal D5 is a silent custos. Native glyph reading and note/rest legend comparison; no theory-based repair or artificial filling.", "originalReason": "Independent medium glyph audit supports four single-flag eighths after the two quarters; heavy caps retained as a qualified reading. Terminal D5 is a silent custos. — Native glyph reading and note/rest legend comparison; no theory-based repair or artificial filling." }, { "id": "II.23-020-note-3", "blocks": [ "II.23-020" ], "status": "needs-review", "reason": "Terminal D5 is encoded as a silent small diamond cue. Zigzag/wavy source head differs from the sounded diamond/round heads. App parser skips cue notes.", "originalReason": "Terminal D5 is encoded as a silent small diamond cue. — Zigzag/wavy source head differs from the sounded diamond/round heads. App parser skips cue notes." }, { "id": "II.23-021-note-1", "blocks": [ "II.23-021" ], "status": "needs-review", "reason": "Source numeral 4; pre-clef marker eighth E5 is silent. Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained.", "originalReason": "Source numeral 4; pre-clef marker eighth E5 is silent. — Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained." }, { "id": "II.23-021-note-2", "blocks": [ "II.23-021" ], "status": "needs-review", "reason": "Enlarged native run reveals 16 round heads and three beam levels. Displaced cross-sign horizontally before the low D is read D-sharp 4; terminal B4 custos silent. Native glyph reading and note/rest legend comparison; no theory-based repair or artificial filling.", "originalReason": "Enlarged native run reveals16 round heads and three beam levels. Displaced cross-sign horizontally before the low D is read D-sharp4; terminal B4 custos silent. — Native glyph reading and note/rest legend comparison; no theory-based repair or artificial filling." }, { "id": "II.23-021-note-3", "blocks": [ "II.23-021" ], "status": "needs-review", "reason": "Terminal B4 is encoded as a silent small diamond cue. Zigzag/wavy source head differs from the sounded diamond/round heads. App parser skips cue notes.", "originalReason": "Terminal B4 is encoded as a silent small diamond cue. — Zigzag/wavy source head differs from the sounded diamond/round heads. App parser skips cue notes." }, { "id": "II.23-023-note-1", "blocks": [ "II.23-023" ], "status": "needs-review", "reason": "Source numeral 2; pre-clef marker whole D5 is silent. Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained.", "originalReason": "Source numeral 2; pre-clef marker whole D5 is silent. — Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained." }, { "id": "II.23-024-note-1", "blocks": [ "II.23-024" ], "status": "needs-review", "reason": "Source numeral 2; pre-clef marker half B4 is silent. Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained.", "originalReason": "Source numeral 2; pre-clef marker half B4 is silent. — Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained." }, { "id": "II.23-025-note-1", "blocks": [ "II.23-025" ], "status": "needs-review", "reason": "Source numeral 2; pre-clef marker eighth C5 is silent. Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained.", "originalReason": "Source numeral 2; pre-clef marker eighth C5 is silent. — Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained." }, { "id": "II.23-025-note-2", "blocks": [ "II.23-025" ], "status": "needs-review", "reason": "First bar has four single-flag eighths; second has two unflagged quarters. Literal values retained despite apparent disagreement with the pre-clef eighth marker and printed 2. Native glyph reading and note/rest legend comparison; no theory-based repair or artificial filling.", "originalReason": "First bar has four single-flag eighths; second has two unflagged quarters. Literal values retained despite apparent disagreement with the pre-clef eighth marker and printed2. — Native glyph reading and note/rest legend comparison; no theory-based repair or artificial filling." }, { "id": "II.23-025-note-3", "blocks": [ "II.23-025" ], "status": "needs-review", "reason": "Independent BNE printed 153 shows the same flagless final pair and source marker; literal notation retained. Native glyph reading and note/rest legend comparison; no theory-based repair or artificial filling.", "originalReason": "Independent BNE printed153 shows the same flagless final pair and source marker; literal notation retained. — Native glyph reading and note/rest legend comparison; no theory-based repair or artificial filling." }, { "id": "II.23-026-note-1", "blocks": [ "II.23-026" ], "status": "needs-review", "reason": "Source numeral 2; pre-clef marker eighth C5 is silent. Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained.", "originalReason": "Source numeral 2; pre-clef marker eighth C5 is silent. — Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained." }, { "id": "II.23-026-note-2", "blocks": [ "II.23-026" ], "status": "needs-review", "reason": "Expanded crop preserves previously clipped first flag. Second bar reads three single-flag eighths then two double-flag 16ths; unequal bar totals retained, not padded or rebarred. Native glyph reading and note/rest legend comparison; no theory-based repair or artificial filling.", "originalReason": "Expanded crop preserves previously clipped first flag. Second bar reads three single-flag eighths then two double-flag16ths; unequal bar totals retained, not padded or rebarred. — Native glyph reading and note/rest legend comparison; no theory-based repair or artificial filling." }, { "id": "II.23-026-note-3", "blocks": [ "II.23-026" ], "status": "needs-review", "reason": "Independent BNE printed 153 confirms the same printed bar grouping; no duration adjusted merely to match the heading. Native glyph reading and note/rest legend comparison; no theory-based repair or artificial filling.", "originalReason": "Independent BNE printed153 confirms the same printed bar grouping; no duration adjusted merely to match the heading. — Native glyph reading and note/rest legend comparison; no theory-based repair or artificial filling." }, { "id": "II.23-028-note-1", "blocks": [ "II.23-028" ], "status": "needs-review", "reason": "Source numeral 3; pre-clef marker whole G4 is silent. Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained.", "originalReason": "Source numeral 3; pre-clef marker whole G4 is silent. — Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained." }, { "id": "II.23-029-note-1", "blocks": [ "II.23-029" ], "status": "needs-review", "reason": "Source numeral 3; pre-clef marker half A4 is silent. Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained.", "originalReason": "Source numeral 3; pre-clef marker half A4 is silent. — Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained." }, { "id": "II.23-030-note-1", "blocks": [ "II.23-030" ], "status": "needs-review", "reason": "Source numeral 3; pre-clef marker quarter A4 is silent. Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained.", "originalReason": "Source numeral 3; pre-clef marker quarter A4 is silent. — Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained." }, { "id": "II.23-031-note-1", "blocks": [ "II.23-031" ], "status": "needs-review", "reason": "Source numeral 3; pre-clef marker eighth Bb 4 is silent. Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained.", "originalReason": "Source numeral 3; pre-clef marker eighth Bb4 is silent. — Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained." }, { "id": "II.23-032-note-1", "blocks": [ "II.23-032" ], "status": "needs-review", "reason": "Source numeral 3; pre-clef marker 16th E5 is silent. Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained.", "originalReason": "Source numeral 3; pre-clef marker 16th E5 is silent. — Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained." }, { "id": "II.23-040-note-1", "blocks": [ "II.23-040" ], "status": "needs-review", "reason": "Source numeral 3; pre-clef marker dotted whole C5 is silent. Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained.", "originalReason": "Source numeral 3; pre-clef marker dotted whole C5 is silent. — Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained." }, { "id": "II.23-041-note-1", "blocks": [ "II.23-041" ], "status": "needs-review", "reason": "Source numeral 3; pre-clef marker dotted half D5 is silent. Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained.", "originalReason": "Source numeral 3; pre-clef marker dotted half D5 is silent. — Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained." }, { "id": "II.23-042-note-1", "blocks": [ "II.23-042" ], "status": "needs-review", "reason": "Source numeral 3; pre-clef marker dotted quarter A4 is silent. Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained.", "originalReason": "Source numeral 3; pre-clef marker dotted quarter A4 is silent. — Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained." }, { "id": "II.23-042-note-2", "blocks": [ "II.23-042" ], "status": "needs-review", "reason": "First three cap shapes match single eighth flags; middle four notes have double beams, following native PDF 210 legend. Native glyph reading and note/rest legend comparison; no theory-based repair or artificial filling.", "originalReason": "First three cap shapes match single eighth flags; middle four notes have double beams, following native PDF210 legend. — Native glyph reading and note/rest legend comparison; no theory-based repair or artificial filling." }, { "id": "II.23-042-note-3", "blocks": [ "II.23-042" ], "status": "needs-review", "reason": "Two cross-signs displaced above/below the middle run are provisionally associated with F4/G4; F-sharp/G-sharp candidates explicitly disclosed. Native glyph reading and note/rest legend comparison; no theory-based repair or artificial filling.", "originalReason": "Two cross-signs displaced above/below the middle run are provisionally associated with F4/G4; F-sharp/G-sharp candidates explicitly disclosed. — Native glyph reading and note/rest legend comparison; no theory-based repair or artificial filling." }, { "id": "II.23-042-note-4", "blocks": [ "II.23-042" ], "status": "needs-review", "reason": "Independent BNE printed 155 impression confirms displaced cross-signs align horizontally with F4/G4 in the ascending run; no alternate reading silently substituted. Native glyph reading and note/rest legend comparison; no theory-based repair or artificial filling.", "originalReason": "Independent BNE printed155 impression confirms displaced cross-signs align horizontally with F4/G4 in the ascending run; no alternate reading silently substituted. — Native glyph reading and note/rest legend comparison; no theory-based repair or artificial filling." }, { "id": "II.23-043-note-1", "blocks": [ "II.23-043" ], "status": "needs-review", "reason": "Source numeral 3; pre-clef marker dotted eighth D5 is silent. Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained.", "originalReason": "Source numeral 3; pre-clef marker dotted eighth D5 is silent. — Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained." }, { "id": "II.23-043-note-2", "blocks": [ "II.23-043" ], "status": "needs-review", "reason": "Middle six-note run read with three beam levels; outer three-note groups with two, after comparison with native PDF 210. Terminal D5 is a silent custos. Some beam ink merges with staff lines. Native glyph reading and note/rest legend comparison; no theory-based repair or artificial filling.", "originalReason": "Middle six-note run read with three beam levels; outer three-note groups with two, after comparison with native PDF210. Terminal D5 is a silent custos. Some beam ink merges with staff lines. — Native glyph reading and note/rest legend comparison; no theory-based repair or artificial filling." }, { "id": "II.23-043-note-3", "blocks": [ "II.23-043" ], "status": "needs-review", "reason": "Terminal D5 is encoded as a silent small diamond cue. Zigzag/wavy source head differs from the sounded diamond/round heads. App parser skips cue notes.", "originalReason": "Terminal D5 is encoded as a silent small diamond cue. — Zigzag/wavy source head differs from the sounded diamond/round heads. App parser skips cue notes." }, { "id": "II.23-045-note-1", "blocks": [ "II.23-045" ], "status": "needs-review", "reason": "Source numeral 2; pre-clef marker dotted whole C5 is silent. Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained.", "originalReason": "Source numeral 2; pre-clef marker dotted whole C5 is silent. — Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained." }, { "id": "II.23-045-note-2", "blocks": [ "II.23-045" ], "status": "needs-review", "reason": "Final B is explicitly naturalized by the historical cross sign, despite the flat key. Native glyph reading and note/rest legend comparison; no theory-based repair or artificial filling.", "originalReason": "Final B is explicitly naturalized by the historical cross sign, despite the flat key. — Native glyph reading and note/rest legend comparison; no theory-based repair or artificial filling." }, { "id": "II.23-046-note-1", "blocks": [ "II.23-046" ], "status": "needs-review", "reason": "Source numeral 2; pre-clef marker dotted half Bb 4 is silent. Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained.", "originalReason": "Source numeral 2; pre-clef marker dotted half Bb4 is silent. — Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained." }, { "id": "II.23-047-note-1", "blocks": [ "II.23-047" ], "status": "needs-review", "reason": "Source numeral 2; pre-clef marker dotted quarter G4 is silent. Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained.", "originalReason": "Source numeral 2; pre-clef marker dotted quarter G4 is silent. — Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained." }, { "id": "II.23-047-note-2", "blocks": [ "II.23-047" ], "status": "needs-review", "reason": "First three notes have single flags; final four short notes have two levels. Expanded crop and native 210 legend support this reading. Native glyph reading and note/rest legend comparison; no theory-based repair or artificial filling.", "originalReason": "First three notes have single flags; final four short notes have two levels. Expanded crop and native210 legend support this reading. — Native glyph reading and note/rest legend comparison; no theory-based repair or artificial filling." }, { "id": "II.23-048-note-1", "blocks": [ "II.23-048" ], "status": "needs-review", "reason": "Source numeral 2; pre-clef marker dotted eighth G4 is silent. Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained.", "originalReason": "Source numeral 2; pre-clef marker dotted eighth G4 is silent. — Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained." }, { "id": "II.23-048-note-2", "blocks": [ "II.23-048" ], "status": "needs-review", "reason": "Initial three notes read as 16ths; later short G5/D5 as 32nds. Dense hooked flags partly overlap staff lines; qualified glyph reading. Native glyph reading and note/rest legend comparison; no theory-based repair or artificial filling.", "originalReason": "Initial three notes read as16ths; later short G5/D5 as32nds. Dense hooked flags partly overlap staff lines; qualified glyph reading. — Native glyph reading and note/rest legend comparison; no theory-based repair or artificial filling." }, { "id": "II.23-050-note-1", "blocks": [ "II.23-050" ], "status": "needs-review", "reason": "Source numeral 4; pre-clef marker dotted whole F5 is silent. Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained.", "originalReason": "Source numeral 4; pre-clef marker dotted whole F5 is silent. — Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained." }, { "id": "II.23-051-note-1", "blocks": [ "II.23-051" ], "status": "needs-review", "reason": "Source numeral 4; pre-clef marker dotted half B4 is silent. Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained.", "originalReason": "Source numeral 4; pre-clef marker dotted half B4 is silent. — Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained." }, { "id": "II.23-052-note-1", "blocks": [ "II.23-052" ], "status": "needs-review", "reason": "Source numeral 4; pre-clef marker dotted quarter E5 is silent. Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained.", "originalReason": "Source numeral 4; pre-clef marker dotted quarter E5 is silent. — Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained." }, { "id": "II.23-052-note-2", "blocks": [ "II.23-052" ], "status": "needs-review", "reason": "Initial printed r/7/7 rest forms match quarter/eighth/eighth rests in native PDF 210. Native glyph reading and note/rest legend comparison; no theory-based repair or artificial filling.", "originalReason": "Initial printed r/7/7 rest forms match quarter/eighth/eighth rests in native PDF210. — Native glyph reading and note/rest legend comparison; no theory-based repair or artificial filling." }, { "id": "II.23-053-note-1", "blocks": [ "II.23-053" ], "status": "needs-review", "reason": "Source numeral 4; pre-clef marker dotted eighth A4 is silent. Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained.", "originalReason": "Source numeral 4; pre-clef marker dotted eighth A4 is silent. — Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained." }, { "id": "II.23-053-note-2", "blocks": [ "II.23-053" ], "status": "needs-review", "reason": "Initial printed 7/3/7 rest forms match eighth/16th/eighth in native PDF 210. Dotted C-sharp and following tiny hooks remain a qualified 16th/32nd reading; source bar not padded. Native glyph reading and note/rest legend comparison; no theory-based repair or artificial filling.", "originalReason": "Initial printed7/3/7 rest forms match eighth/16th/eighth in native PDF210. Dotted C-sharp and following tiny hooks remain a qualified16th/32nd reading; source bar not padded. — Native glyph reading and note/rest legend comparison; no theory-based repair or artificial filling." }, { "id": "II.23-053-note-3", "blocks": [ "II.23-053" ], "status": "needs-review", "reason": "Expanded source key normalized to three distinct sharps F/C/G; octave repetitions are not additional key alterations. BNE impression compared as confirmation, not an override. Native glyph reading and note/rest legend comparison; no theory-based repair or artificial filling.", "originalReason": "Expanded source key normalized to three distinct sharps F/C/G; octave repetitions are not additional key alterations. BNE impression compared as confirmation, not an override. — Native glyph reading and note/rest legend comparison; no theory-based repair or artificial filling." }, { "id": "II.23-057-note-1", "blocks": [ "II.23-057" ], "status": "needs-review", "reason": "Source numeral 2; pre-clef marker whole C5 + half C5 is silent. Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained.", "originalReason": "Source numeral 2; pre-clef marker whole C5 + half C5 is silent. — Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained." }, { "id": "II.23-057-note-2", "blocks": [ "II.23-057" ], "status": "needs-review", "reason": "Curved source mark spans differing E5/D5 pitches; encoded as a slur, not a tie. Native glyph reading and note/rest legend comparison; no theory-based repair or artificial filling.", "originalReason": "Curved source mark spans differing E5/D5 pitches; encoded as a slur, not a tie. — Native glyph reading and note/rest legend comparison; no theory-based repair or artificial filling." }, { "id": "II.23-058-note-1", "blocks": [ "II.23-058" ], "status": "needs-review", "reason": "Source numeral 2; pre-clef marker half D5 + quarter D5 is silent. Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained.", "originalReason": "Source numeral 2; pre-clef marker half D5 + quarter D5 is silent. — Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained." }, { "id": "II.23-059-note-1", "blocks": [ "II.23-059" ], "status": "needs-review", "reason": "Source numeral 2; pre-clef marker quarter A4 + eighth A4 is silent. Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained.", "originalReason": "Source numeral 2; pre-clef marker quarter A4 + eighth A4 is silent. — Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained." }, { "id": "II.23-060-note-1", "blocks": [ "II.23-060" ], "status": "needs-review", "reason": "Source numeral 2; pre-clef marker eighth G4 +16th G4 is silent. Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained.", "originalReason": "Source numeral 2; pre-clef marker eighth G4 +16th G4 is silent. — Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained." }, { "id": "II.23-062-note-1", "blocks": [ "II.23-062" ], "status": "needs-review", "reason": "Source numeral 4; pre-clef marker whole C5 + half C5 is silent. Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained.", "originalReason": "Source numeral 4; pre-clef marker whole C5 + half C5 is silent. — Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained." }, { "id": "II.23-063-note-1", "blocks": [ "II.23-063" ], "status": "needs-review", "reason": "Source numeral 4; pre-clef marker half D5 + quarter D5 is silent. Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained.", "originalReason": "Source numeral 4; pre-clef marker half D5 + quarter D5 is silent. — Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained." }, { "id": "II.23-063-note-2", "blocks": [ "II.23-063" ], "status": "needs-review", "reason": "Loure contains printed dotted values and + sign; source + preserved as text, not sounded as an ornament. Native glyph reading and note/rest legend comparison; no theory-based repair or artificial filling.", "originalReason": "Loure contains printed dotted values and + sign; source + preserved as text, not sounded as an ornament. — Native glyph reading and note/rest legend comparison; no theory-based repair or artificial filling." }, { "id": "II.23-064-note-1", "blocks": [ "II.23-064" ], "status": "needs-review", "reason": "Source numeral 4; pre-clef marker quarter E5 + eighth E5 is silent. Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained.", "originalReason": "Source numeral 4; pre-clef marker quarter E5 + eighth E5 is silent. — Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained." }, { "id": "II.23-065-note-1", "blocks": [ "II.23-065" ], "status": "needs-review", "reason": "Source numeral 4; pre-clef marker eighth F5 +16th F5 is silent. Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained.", "originalReason": "Source numeral 4; pre-clef marker eighth F5 +16th F5 is silent. — Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained." }, { "id": "II.23-067-note-1", "blocks": [ "II.23-067" ], "status": "needs-review", "reason": "Source numeral 6; pre-clef marker whole A4 + half A4 is silent. Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained.", "originalReason": "Source numeral 6; pre-clef marker whole A4 + half A4 is silent. — Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained." }, { "id": "II.23-068-note-1", "blocks": [ "II.23-068" ], "status": "needs-review", "reason": "Source numeral 6; pre-clef marker half A4 + quarter A4 is silent. Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained.", "originalReason": "Source numeral 6; pre-clef marker half A4 + quarter A4 is silent. — Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained." }, { "id": "II.23-068-note-2", "blocks": [ "II.23-068" ], "status": "needs-review", "reason": "Expanded-octave key has three distinct sharp pitch classes F/C/G; corrected earlier four-sharp normalization. D5 therefore natural. BnF positions and BNE impression compared. Final pair has two hooked flag levels. Native glyph reading and note/rest legend comparison; no theory-based repair or artificial filling.", "originalReason": "Expanded-octave key has three distinct sharp pitch classes F/C/G; corrected earlier four-sharp normalization. D5 therefore natural. BnF positions and BNE impression compared. Final pair has two hooked flag levels. — Native glyph reading and note/rest legend comparison; no theory-based repair or artificial filling." }, { "id": "II.23-069-note-1", "blocks": [ "II.23-069" ], "status": "needs-review", "reason": "Source numeral 6; pre-clef marker quarter C5 + eighth C5 is silent. Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained.", "originalReason": "Source numeral 6; pre-clef marker quarter C5 + eighth C5 is silent. — Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained." }, { "id": "II.23-070-note-1", "blocks": [ "II.23-070" ], "status": "needs-review", "reason": "Source numeral 6; pre-clef marker eighth G4 +16th G4 is silent. Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained.", "originalReason": "Source numeral 6; pre-clef marker eighth G4 +16th G4 is silent. — Prose defines this marker as beat-unit/tonic indication, not an additional musical event. Modern denominator and numeric tempo are not asserted. Historical key glyph duplication normalized; original crop retained." }, { "id": "II.25-004-note-1", "blocks": [ "II.25-004" ], "status": "needs-review", "reason": "Notation syntax diagram, not a timed melody. Preserved as a native source crop rather than assigning invented playback durations to the mode signs before the clef.", "originalReason": "Notation syntax diagram, not a timed melody; preserved as native crop rather than inventing playback durations for the pre-clef mode signs." }, { "id": "II.26-006-note-1", "blocks": [ "II.26-006" ], "status": "needs-review", "reason": "4; quarter note on C, with major-mode sign before the clef. Original pre-clef beat-unit/tonic and printed number are descriptive source marks, not extra melody notes. Modern timing shown only where unambiguous.", "originalReason": "4 ; noire en ut, marque de mode majeur avant la clef. — Original pre-clef beat-unit/tonic and printed number are descriptive source marks, not extra melody notes. Modern timing shown only where unambiguous." }, { "id": "II.26-006-note-2", "blocks": [ "II.26-006" ], "status": "needs-review", "reason": "The ornament signs “w” and “+” remain visible; no sounded realization is added. Source ornament signs preserved as text to avoid invented ornament notes and unsupported expanded playback.", "originalReason": "Les signes d’agrément « w » et « + » restent visibles ; leur réalisation sonore n’est pas ajoutée. — Source ornament signs preserved as text to avoid invented ornament notes and unsupported expanded playback." }, { "id": "II.26-007-note-1", "blocks": [ "II.26-007" ], "status": "needs-review", "reason": "3; half note on G, with major-mode sign. Original pre-clef beat-unit/tonic and printed number are descriptive source marks, not extra melody notes. Modern timing shown only where unambiguous.", "originalReason": "3 ; blanche en sol, marque de mode majeur. — Original pre-clef beat-unit/tonic and printed number are descriptive source marks, not extra melody notes. Modern timing shown only where unambiguous." }, { "id": "II.26-007-note-2", "blocks": [ "II.26-007" ], "status": "needs-review", "reason": "The ornament signs “w” and “+” remain visible; no sounded realization is added. Source ornament signs preserved as text to avoid invented ornament notes and unsupported expanded playback.", "originalReason": "Les signes d’agrément « w » et « + » restent visibles ; leur réalisation sonore n’est pas ajoutée. — Source ornament signs preserved as text to avoid invented ornament notes and unsupported expanded playback." }, { "id": "II.26-008-note-1", "blocks": [ "II.26-008" ], "status": "needs-review", "reason": "3; half note on D, with minor-mode sign. Original pre-clef beat-unit/tonic and printed number are descriptive source marks, not extra melody notes. Modern timing shown only where unambiguous.", "originalReason": "3 ; blanche en ré, marque de mode mineur. — Original pre-clef beat-unit/tonic and printed number are descriptive source marks, not extra melody notes. Modern timing shown only where unambiguous." }, { "id": "II.26-008-note-2", "blocks": [ "II.26-008" ], "status": "needs-review", "reason": "The ornament signs “w” and “+” remain visible; no sounded realization is added. Source ornament signs preserved as text to avoid invented ornament notes and unsupported expanded playback.", "originalReason": "Les signes d’agrément « w » et « + » restent visibles ; leur réalisation sonore n’est pas ajoutée. — Source ornament signs preserved as text to avoid invented ornament notes and unsupported expanded playback." }, { "id": "II.26-009-note-1", "blocks": [ "II.26-009" ], "status": "needs-review", "reason": "Final isolated sharp note is read G#5 from its space above top staff line; source stroke is small. No cadential/theoretical substitution made. Explicit source-reading uncertainty; no theoretical or metrical repair applied.", "originalReason": "Final isolated sharp note is read G#5 from its space above top staff line; source stroke is small. No cadential/theoretical substitution made. — Explicit source-reading uncertainty; no theoretical or metrical repair applied." }, { "id": "II.26-009-note-2", "blocks": [ "II.26-009" ], "status": "needs-review", "reason": "3; quarter note on B, with minor-mode sign. Slowly. Original pre-clef beat-unit/tonic and printed number are descriptive source marks, not extra melody notes. Modern timing shown only where unambiguous.", "originalReason": "3 ; noire en si, marque de mode mineur. Lentement. — Original pre-clef beat-unit/tonic and printed number are descriptive source marks, not extra melody notes. Modern timing shown only where unambiguous." }, { "id": "II.26-009-note-3", "blocks": [ "II.26-009" ], "status": "needs-review", "reason": "The ornament signs “w” and “+” remain visible; no sounded realization is added. Source ornament signs preserved as text to avoid invented ornament notes and unsupported expanded playback.", "originalReason": "Les signes d’agrément « w » et « + » restent visibles ; leur réalisation sonore n’est pas ajoutée. — Source ornament signs preserved as text to avoid invented ornament notes and unsupported expanded playback." }, { "id": "II.26-010-note-1", "blocks": [ "II.26-010" ], "status": "needs-review", "reason": "Pickup beaming read as four sixteenths followed by eighth; short extra ink near first beam retained in crop. Explicit source-reading uncertainty; no theoretical or metrical repair applied.", "originalReason": "Pickup beaming read as four sixteenths followed by eighth; short extra ink near first beam retained in crop. — Explicit source-reading uncertainty; no theoretical or metrical repair applied." }, { "id": "II.26-010-note-2", "blocks": [ "II.26-010" ], "status": "needs-review", "reason": "2; dotted quarter note on D, with major-mode sign (two compound beats). Original pre-clef beat-unit/tonic and printed number are descriptive source marks, not extra melody notes. Modern timing shown only where unambiguous.", "originalReason": "2 ; noire pointée en ré, marque de mode majeur (deux temps composés). — Original pre-clef beat-unit/tonic and printed number are descriptive source marks, not extra melody notes. Modern timing shown only where unambiguous." }, { "id": "II.26-010-note-3", "blocks": [ "II.26-010" ], "status": "needs-review", "reason": "The ornament signs “w” and “+” remain visible; no sounded realization is added. Source ornament signs preserved as text to avoid invented ornament notes and unsupported expanded playback.", "originalReason": "Les signes d’agrément « w » et « + » restent visibles ; leur réalisation sonore n’est pas ajoutée. — Source ornament signs preserved as text to avoid invented ornament notes and unsupported expanded playback." }, { "id": "II.26-011-note-1", "blocks": [ "II.26-011" ], "status": "needs-review", "reason": "Two thin ornamental 32nd-note pairs read from their small stem-end heads, using PDF 210 legend; F#5–D5 (bar 1) and B4–D5 (bar 3) remain locally uncertain in the worn impression. They are notes, not rests. Explicit source-reading uncertainty; no theoretical or metrical repair applied.", "originalReason": "Two thin ornamental 32nd-note pairs read from their small stem-end heads, using PDF210 legend; F#5–D5 (bar1) and B4–D5 (bar3) remain locally uncertain in the worn impression. They are notes, not rests. — Explicit source-reading uncertainty; no theoretical or metrical repair applied." }, { "id": "II.26-011-note-2", "blocks": [ "II.26-011" ], "status": "needs-review", "reason": "3; quarter note on A, with major-mode sign. Original pre-clef beat-unit/tonic and printed number are descriptive source marks, not extra melody notes. Modern timing shown only where unambiguous.", "originalReason": "3 ; noire en la, marque de mode majeur. — Original pre-clef beat-unit/tonic and printed number are descriptive source marks, not extra melody notes. Modern timing shown only where unambiguous." }, { "id": "II.26-011-note-3", "blocks": [ "II.26-011" ], "status": "needs-review", "reason": "The ornament signs “w” and “+” remain visible; no sounded realization is added. Source ornament signs preserved as text to avoid invented ornament notes and unsupported expanded playback.", "originalReason": "Les signes d’agrément « w » et « + » restent visibles ; leur réalisation sonore n’est pas ajoutée. — Source ornament signs preserved as text to avoid invented ornament notes and unsupported expanded playback." }, { "id": "II.26-012-note-1", "blocks": [ "II.26-012" ], "status": "needs-review", "reason": "Printed beat-marker pair and miniature rhythm use different proportional descriptions; modern 3/8 reflects the sixteenth/eighth groups, not a literal printed fraction. Explicit source-reading uncertainty; no theoretical or metrical repair applied.", "originalReason": "Printed beat-marker pair and miniature rhythm use different proportional descriptions; modern 3/8 reflects the sixteenth/eighth groups, not a literal printed fraction. — Explicit source-reading uncertainty; no theoretical or metrical repair applied." }, { "id": "II.26-012-note-2", "blocks": [ "II.26-012" ], "status": "needs-review", "reason": "2; quarter note followed by eighth note on D, with minor-mode sign (unequal beats). Original pre-clef beat-unit/tonic and printed number are descriptive source marks, not extra melody notes. Modern timing shown only where unambiguous.", "originalReason": "2 ; noire puis croche en ré, marque de mode mineur (temps inégaux). — Original pre-clef beat-unit/tonic and printed number are descriptive source marks, not extra melody notes. Modern timing shown only where unambiguous." }, { "id": "II.26-012-note-3", "blocks": [ "II.26-012" ], "status": "needs-review", "reason": "The ornament signs “w” and “+” remain visible; no sounded realization is added. Source ornament signs preserved as text to avoid invented ornament notes and unsupported expanded playback.", "originalReason": "Les signes d’agrément « w » et « + » restent visibles ; leur réalisation sonore n’est pas ajoutée. — Source ornament signs preserved as text to avoid invented ornament notes and unsupported expanded playback." }, { "id": "II.26-013-note-1", "blocks": [ "II.26-013" ], "status": "needs-review", "reason": "Very thin standalone triple-croche glyphs between larger notes read as 32nd notes, not the compact rest glyph shown in PDF 210. Their pitches (F#5, B4, C#5, D5) remain lower-confidence stem-end readings; exact native crop retained. Explicit source-reading uncertainty; no theoretical or metrical repair applied.", "originalReason": "Very thin standalone triple-croche glyphs between larger notes read as 32nd notes, not the compact rest glyph shown in PDF210. Their pitches (F#5, B4, C#5, D5) remain lower-confidence stem-end readings; exact native crop retained. — Explicit source-reading uncertainty; no theoretical or metrical repair applied." }, { "id": "II.26-013-note-2", "blocks": [ "II.26-013" ], "status": "needs-review", "reason": "2; eighth note followed by sixteenth note on D, with major-mode sign (unequal beats). Original pre-clef beat-unit/tonic and printed number are descriptive source marks, not extra melody notes. Modern timing shown only where unambiguous.", "originalReason": "2 ; croche puis double croche en ré, marque de mode majeur (temps inégaux). — Original pre-clef beat-unit/tonic and printed number are descriptive source marks, not extra melody notes. Modern timing shown only where unambiguous." }, { "id": "II.26-013-note-3", "blocks": [ "II.26-013" ], "status": "needs-review", "reason": "The ornament signs “w” and “+” remain visible; no sounded realization is added. Source ornament signs preserved as text to avoid invented ornament notes and unsupported expanded playback.", "originalReason": "Les signes d’agrément « w » et « + » restent visibles ; leur réalisation sonore n’est pas ajoutée. — Source ornament signs preserved as text to avoid invented ornament notes and unsupported expanded playback." }, { "id": "II.26-014-note-1", "blocks": [ "II.26-014" ], "status": "needs-review", "reason": "Opening compact rest and adjacent flags are worn; candidate eighth rest + sixteenth E5 + eighth D5 retained. Last printed group duration is nonuniform relative to nominal compound beat; no added padding/rest or forced metrical repair. Functional meter withheld pending glyph review. Explicit source-reading uncertainty; no theoretical or metrical repair applied.", "originalReason": "Opening compact rest and adjacent flags are worn; candidate eighth rest + sixteenth E5 + eighth D5 retained. Last printed group duration is nonuniform relative to nominal compound beat; no added padding/rest or forced metrical repair. Functional meter withheld pending glyph review. — Explicit source-reading uncertainty; no theoretical or metrical repair applied." }, { "id": "II.26-014-note-2", "blocks": [ "II.26-014" ], "status": "needs-review", "reason": "2; dotted quarter note on A, with major-mode sign. Original pre-clef beat-unit/tonic and printed number are descriptive source marks, not extra melody notes. Modern timing shown only where unambiguous.", "originalReason": "2 ; noire pointée en la, marque de mode majeur. — Original pre-clef beat-unit/tonic and printed number are descriptive source marks, not extra melody notes. Modern timing shown only where unambiguous." }, { "id": "II.26-014-note-3", "blocks": [ "II.26-014" ], "status": "needs-review", "reason": "The ornament signs “w” and “+” remain visible; no sounded realization is added. Source ornament signs preserved as text to avoid invented ornament notes and unsupported expanded playback.", "originalReason": "Les signes d’agrément « w » et « + » restent visibles ; leur réalisation sonore n’est pas ajoutée. — Source ornament signs preserved as text to avoid invented ornament notes and unsupported expanded playback." }, { "id": "II.26-015-note-1", "blocks": [ "II.26-015" ], "status": "needs-review", "reason": "2; dotted quarter note on A, with minor-mode sign. Original pre-clef beat-unit/tonic and printed number are descriptive source marks, not extra melody notes. Modern timing shown only where unambiguous.", "originalReason": "2 ; noire pointée en la, marque de mode mineur. — Original pre-clef beat-unit/tonic and printed number are descriptive source marks, not extra melody notes. Modern timing shown only where unambiguous." }, { "id": "II.26-015-note-2", "blocks": [ "II.26-015" ], "status": "needs-review", "reason": "The ornament signs “w” and “+” remain visible; no sounded realization is added. Source ornament signs preserved as text to avoid invented ornament notes and unsupported expanded playback.", "originalReason": "Les signes d’agrément « w » et « + » restent visibles ; leur réalisation sonore n’est pas ajoutée. — Source ornament signs preserved as text to avoid invented ornament notes and unsupported expanded playback." }, { "id": "II.26-016-note-1", "blocks": [ "II.26-016" ], "status": "needs-review", "reason": "3; dotted quarter note on F, with major-mode sign. Original pre-clef beat-unit/tonic and printed number are descriptive source marks, not extra melody notes. Modern timing shown only where unambiguous.", "originalReason": "3 ; noire pointée en fa, marque de mode majeur. — Original pre-clef beat-unit/tonic and printed number are descriptive source marks, not extra melody notes. Modern timing shown only where unambiguous." }, { "id": "II.26-016-note-2", "blocks": [ "II.26-016" ], "status": "needs-review", "reason": "The ornament signs “w” and “+” remain visible; no sounded realization is added. Source ornament signs preserved as text to avoid invented ornament notes and unsupported expanded playback.", "originalReason": "Les signes d’agrément « w » et « + » restent visibles ; leur réalisation sonore n’est pas ajoutée. — Source ornament signs preserved as text to avoid invented ornament notes and unsupported expanded playback." }, { "id": "II.26-017-note-1", "blocks": [ "II.26-017" ], "status": "needs-review", "reason": "First rest and short beam subdivisions in first bar uncertain; literal candidate durations total 3.5 quarter notes versus 6 in second bar. No fictitious rest/lengthening used to force the printed 4 marker into regular modern meter; functional meter withheld. Explicit source-reading uncertainty; no theoretical or metrical repair applied.", "originalReason": "First rest and short beam subdivisions in first bar uncertain; literal candidate durations total 3.5 quarter notes versus 6 in second bar. No fictitious rest/lengthening used to force the printed 4 marker into regular modern meter; functional meter withheld. — Explicit source-reading uncertainty; no theoretical or metrical repair applied." }, { "id": "II.26-017-note-2", "blocks": [ "II.26-017" ], "status": "needs-review", "reason": "4; dotted quarter note on G, with minor-mode sign. Original pre-clef beat-unit/tonic and printed number are descriptive source marks, not extra melody notes. Modern timing shown only where unambiguous.", "originalReason": "4 ; noire pointée en sol, marque de mode mineur. — Original pre-clef beat-unit/tonic and printed number are descriptive source marks, not extra melody notes. Modern timing shown only where unambiguous." }, { "id": "II.26-017-note-3", "blocks": [ "II.26-017" ], "status": "needs-review", "reason": "The ornament signs “w” and “+” remain visible; no sounded realization is added. Source ornament signs preserved as text to avoid invented ornament notes and unsupported expanded playback.", "originalReason": "Les signes d’agrément « w » et « + » restent visibles ; leur réalisation sonore n’est pas ajoutée. — Source ornament signs preserved as text to avoid invented ornament notes and unsupported expanded playback." }, { "id": "II.26-018-note-1", "blocks": [ "II.26-018" ], "status": "needs-review", "reason": "4; half note followed by quarter note on A, with minor-mode sign (unequal beats). Original pre-clef beat-unit/tonic and printed number are descriptive source marks, not extra melody notes. Modern timing shown only where unambiguous.", "originalReason": "4 ; blanche puis noire en la, marque de mode mineur (temps inégaux). — Original pre-clef beat-unit/tonic and printed number are descriptive source marks, not extra melody notes. Modern timing shown only where unambiguous." }, { "id": "II.26-018-note-2", "blocks": [ "II.26-018" ], "status": "needs-review", "reason": "The ornament signs “w” and “+” remain visible; no sounded realization is added. Source ornament signs preserved as text to avoid invented ornament notes and unsupported expanded playback.", "originalReason": "Les signes d’agrément « w » et « + » restent visibles ; leur réalisation sonore n’est pas ajoutée. — Source ornament signs preserved as text to avoid invented ornament notes and unsupported expanded playback." }, { "id": "II.26-019-note-1", "blocks": [ "II.26-019" ], "status": "needs-review", "reason": "2; half note on D, with major-mode sign. Original pre-clef beat-unit/tonic and printed number are descriptive source marks, not extra melody notes. Modern timing shown only where unambiguous.", "originalReason": "2 ; blanche en ré, marque de mode majeur. — Original pre-clef beat-unit/tonic and printed number are descriptive source marks, not extra melody notes. Modern timing shown only where unambiguous." }, { "id": "II.26-019-note-2", "blocks": [ "II.26-019" ], "status": "needs-review", "reason": "The ornament signs “w” and “+” remain visible; no sounded realization is added. Source ornament signs preserved as text to avoid invented ornament notes and unsupported expanded playback.", "originalReason": "Les signes d’agrément « w » et « + » restent visibles ; leur réalisation sonore n’est pas ajoutée. — Source ornament signs preserved as text to avoid invented ornament notes and unsupported expanded playback." }, { "id": "II.26-020-note-1", "blocks": [ "II.26-020" ], "status": "needs-review", "reason": "2; quarter note on E, with major-mode sign. Original pre-clef beat-unit/tonic and printed number are descriptive source marks, not extra melody notes. Modern timing shown only where unambiguous.", "originalReason": "2 ; noire en mi, marque de mode majeur. — Original pre-clef beat-unit/tonic and printed number are descriptive source marks, not extra melody notes. Modern timing shown only where unambiguous." }, { "id": "II.26-020-note-2", "blocks": [ "II.26-020" ], "status": "needs-review", "reason": "The ornament signs “w” and “+” remain visible; no sounded realization is added. Source ornament signs preserved as text to avoid invented ornament notes and unsupported expanded playback.", "originalReason": "Les signes d’agrément « w » et « + » restent visibles ; leur réalisation sonore n’est pas ajoutée. — Source ornament signs preserved as text to avoid invented ornament notes and unsupported expanded playback." }, { "id": "II.26-021-note-1", "blocks": [ "II.26-021" ], "status": "needs-review", "reason": "Final beamed ornament group and displaced sharp glyphs are crowded. Candidate A4/B4/C5/G#4/A4/B4/C5 retained provisionally, with no theoretical pitch repair. Final group totals 1.5 quarter notes, complementing the half-quarter opening. Source crop needed for final flag/accidental reassessment; no padding added. Explicit source-reading uncertainty; no theoretical or metrical repair applied.", "originalReason": "Final beamed ornament group and displaced sharp glyphs are crowded. Candidate A4/B4/C5/G#4/A4/B4/C5 retained provisionally, with no theoretical pitch repair. Final group totals 1.5 quarter notes, complementing the half-quarter opening. Source crop needed for final flag/accidental reassessment; no padding added. — Explicit source-reading uncertainty; no theoretical or metrical repair applied." }, { "id": "II.26-021-note-2", "blocks": [ "II.26-021" ], "status": "needs-review", "reason": "2; quarter note on C, with minor-mode sign; two flats printed after the clef. Original pre-clef beat-unit/tonic and printed number are descriptive source marks, not extra melody notes. Modern timing shown only where unambiguous.", "originalReason": "2 ; noire en ut, marque de mode mineur ; deux bémols imprimés après la clef. — Original pre-clef beat-unit/tonic and printed number are descriptive source marks, not extra melody notes. Modern timing shown only where unambiguous." }, { "id": "II.26-021-note-3", "blocks": [ "II.26-021" ], "status": "needs-review", "reason": "The ornament signs “w” and “+” remain visible; no sounded realization is added. Source ornament signs preserved as text to avoid invented ornament notes and unsupported expanded playback.", "originalReason": "Les signes d’agrément « w » et « + » restent visibles ; leur réalisation sonore n’est pas ajoutée. — Source ornament signs preserved as text to avoid invented ornament notes and unsupported expanded playback." }, { "id": "II.27-006-note-1", "blocks": [ "II.27-006" ], "status": "needs-review", "reason": "No meter numeral is printed. The words are Chantez ('Sing') and Je chante ('I sing'). Original pre-clef beat-unit or tonic signs are descriptive source marks, not additional melody notes; modern timing is supplied only where unambiguous.", "originalReason": "Sans chiffre de mesure. Chantez. Je chante. — Original pre-clef beat-unit/tonic and printed number are descriptive source marks, not extra melody notes. Modern timing shown only where unambiguous." }, { "id": "II.29-013-note-1", "blocks": [ "II.29-013" ], "status": "needs-review", "reason": "F4 clef independently compared against explicit PDF 206 clef legend. Literal E3/G3 in printed Tierce majeure column conflicts with modern/theoretical label; no transposition or theoretical repair applied. Other accidental-bearing columns likewise preserve literal positions. Explicit source-reading uncertainty; no theoretical or metrical repair applied.", "originalReason": "F4 clef independently compared against explicit PDF206 clef legend. Literal E3/G3 in printed Tierce majeure column conflicts with modern/theoretical label; no transposition or theoretical repair applied. Other accidental-bearing columns likewise preserve literal positions. — Explicit source-reading uncertainty; no theoretical or metrical repair applied." }, { "id": "II.29-016-note-1", "blocks": [ "II.29-016" ], "status": "needs-review", "reason": "Printed ou in diminished-unison compartment separates upper C4–Cb 4 from lower C#3–C3; lower branch supplied as variant. Octave compartment retains the displayed octave pair. Explicit source-reading uncertainty; no theoretical or metrical repair applied.", "originalReason": "Printed ou in diminished-unison compartment separates upper C4–Cb4 from lower C#3–C3; lower branch supplied as variant. Octave compartment retains the displayed octave pair. — Explicit source-reading uncertainty; no theoretical or metrical repair applied." }, { "id": "II.29-017-note-1", "blocks": [ "II.29-017" ], "status": "needs-review", "reason": "Last lower accidental before E3 is worn, read sharp by matching same-row sharp glyphs. Explicit source-reading uncertainty; no theoretical or metrical repair applied.", "originalReason": "Last lower accidental before E3 is worn, read sharp by matching same-row sharp glyphs. — Explicit source-reading uncertainty; no theoretical or metrical repair applied." }, { "id": "II.29-026-note-1", "blocks": [ "II.29-026" ], "status": "needs-review", "reason": "Small round upper-left glyph is retained provisionally as B3 notehead; possible printed numeral 0 rather than pitched head. Source crop preserves exact mark for review. Explicit source-reading uncertainty; no theoretical or metrical repair applied.", "originalReason": "Small round upper-left glyph is retained provisionally as B3 notehead; possible printed numeral 0 rather than pitched head. Source crop preserves exact mark for review. — Explicit source-reading uncertainty; no theoretical or metrical repair applied." }, { "id": "II.29-026-note-2", "blocks": [ "II.29-026" ], "status": "needs-review", "reason": "Printed scale: 7, 6, 4, 2, 1. Original pre-clef beat-unit/tonic and printed number are descriptive source marks, not extra melody notes. Modern timing shown only where unambiguous.", "originalReason": "Graduation imprimée : 7, 6, 4, 2, 1. — Original pre-clef beat-unit/tonic and printed number are descriptive source marks, not extra melody notes. Modern timing shown only where unambiguous." }, { "id": "III.01-020-note-1", "blocks": [ "III.01-020" ], "status": "needs-review", "reason": "Native page bears handwritten cancellations and replacements over this sentence. Printed reading retained; manuscript appears to replace « ne… pas moins » with « aussi » and revise « L’on » to « où l’on ».", "originalReason": "Native page bears handwritten cancellations and replacements over this sentence. Printed reading retained; manuscript appears to replace « ne… pas moins » with « aussi » and revise « L’on » to « où l’on »." }, { "id": "III.01-046-note-1", "blocks": [ "III.01-046" ], "status": "needs-review", "reason": "Word naming first line is overmarked by manuscript ink; Sol is supported by the same-page labelled F4 example and the printed staff positions.", "originalReason": "Word naming first line is overmarked by manuscript ink; Sol is supported by the same-page labelled F4 example and the printed staff positions." }, { "id": "III.01-056-note-1", "blocks": [ "III.01-056" ], "status": "needs-review", "reason": "Printed extent bounds are retained; small diamond cues represent the source guidons or optional lower limits. These are range comparisons, not melodies or an ensemble recommendation. Only the selected ordinary endpoints sound; extensions remain silent. Original clefs are retained, with selectable source clef/bass alternatives where present.", "originalReason": "Printed extent bounds are retained; small diamond cues represent the source guidons or optional lower limits. — These are range comparisons, not melodies or an ensemble recommendation. Only the selected ordinary endpoints sound; extensions remain silent. Original clefs are retained, with selectable source clef/bass alternatives where present." }, { "id": "III.01-058-note-1", "blocks": [ "III.01-058" ], "status": "needs-review", "reason": "Printed extent bounds are retained; small diamond cues represent the source guidons or optional lower limits. These are range comparisons, not melodies or an ensemble recommendation. Only the selected ordinary endpoints sound; extensions remain silent. Original clefs are retained, with selectable source clef/bass alternatives where present.", "originalReason": "Printed extent bounds are retained; small diamond cues represent the source guidons or optional lower limits. — These are range comparisons, not melodies or an ensemble recommendation. Only the selected ordinary endpoints sound; extensions remain silent. Original clefs are retained, with selectable source clef/bass alternatives where present." }, { "id": "III.01-060-note-1", "blocks": [ "III.01-060" ], "status": "needs-review", "reason": "Printed extent bounds are retained; small diamond cues represent the source guidons or optional lower limits. These are range comparisons, not melodies or an ensemble recommendation. Only the selected ordinary endpoints sound; extensions remain silent. Original clefs are retained, with selectable source clef/bass alternatives where present.", "originalReason": "Printed extent bounds are retained; small diamond cues represent the source guidons or optional lower limits. — These are range comparisons, not melodies or an ensemble recommendation. Only the selected ordinary endpoints sound; extensions remain silent. Original clefs are retained, with selectable source clef/bass alternatives where present." }, { "id": "III.01-062-note-1", "blocks": [ "III.01-062" ], "status": "needs-review", "reason": "Printed extent bounds are retained; small diamond cues represent the source guidons or optional lower limits. These are range comparisons, not melodies or an ensemble recommendation. Only the selected ordinary endpoints sound; extensions remain silent. Original clefs are retained, with selectable source clef/bass alternatives where present.", "originalReason": "Printed extent bounds are retained; small diamond cues represent the source guidons or optional lower limits. — These are range comparisons, not melodies or an ensemble recommendation. Only the selected ordinary endpoints sound; extensions remain silent. Original clefs are retained, with selectable source clef/bass alternatives where present." }, { "id": "III.01-064-note-1", "blocks": [ "III.01-064" ], "status": "needs-review", "reason": "Printed extent bounds are retained; small diamond cues represent the source guidons or optional lower limits. These are range comparisons, not melodies or an ensemble recommendation. Only the selected ordinary endpoints sound; extensions remain silent. Original clefs are retained, with selectable source clef/bass alternatives where present.", "originalReason": "Printed extent bounds are retained; small diamond cues represent the source guidons or optional lower limits. — These are range comparisons, not melodies or an ensemble recommendation. Only the selected ordinary endpoints sound; extensions remain silent. Original clefs are retained, with selectable source clef/bass alternatives where present." }, { "id": "III.01-066-note-1", "blocks": [ "III.01-066" ], "status": "needs-review", "reason": "Printed extent bounds are retained; small diamond cues represent the source guidons or optional lower limits. These are range comparisons, not melodies or an ensemble recommendation. Only the selected ordinary endpoints sound; extensions remain silent. Original clefs are retained, with selectable source clef/bass alternatives where present.", "originalReason": "Printed extent bounds are retained; small diamond cues represent the source guidons or optional lower limits. — These are range comparisons, not melodies or an ensemble recommendation. Only the selected ordinary endpoints sound; extensions remain silent. Original clefs are retained, with selectable source clef/bass alternatives where present." }, { "id": "III.01-069-note-1", "blocks": [ "III.01-069" ], "status": "needs-review", "reason": "Printed extent bounds are retained; small diamond cues represent the source guidons or optional lower limits. These are range comparisons, not melodies or an ensemble recommendation. Only the selected ordinary endpoints sound; extensions remain silent. Original clefs are retained, with selectable source clef/bass alternatives where present.", "originalReason": "Printed extent bounds are retained; small diamond cues represent the source guidons or optional lower limits. — These are range comparisons, not melodies or an ensemble recommendation. Only the selected ordinary endpoints sound; extensions remain silent. Original clefs are retained, with selectable source clef/bass alternatives where present." }, { "id": "III.01-071-note-1", "blocks": [ "III.01-071" ], "status": "needs-review", "reason": "Printed extent bounds are retained; small diamond cues represent the source guidons or optional lower limits. These are range comparisons, not melodies or an ensemble recommendation. Only the selected ordinary endpoints sound; extensions remain silent. Original clefs are retained, with selectable source clef/bass alternatives where present.", "originalReason": "Printed extent bounds are retained; small diamond cues represent the source guidons or optional lower limits. — These are range comparisons, not melodies or an ensemble recommendation. Only the selected ordinary endpoints sound; extensions remain silent. Original clefs are retained, with selectable source clef/bass alternatives where present." }, { "id": "III.01-071-note-2", "blocks": [ "III.01-071" ], "status": "needs-review", "reason": "The three string staves retain only the two printed endpoints: E5 above and D3 below. The middle Taille staff is intentionally blank, as in the source. No missing notes or inner range bounds are invented.", "originalReason": "The three string staves retain only the two printed endpoints: E5 above and D3 below. — The middle Taille staff is intentionally blank, as in the source. No missing notes or inner range bounds are invented." }, { "id": "III.01-073-note-1", "blocks": [ "III.01-073" ], "status": "needs-review", "reason": "Printed extent bounds are retained; small diamond cues represent the source guidons or optional lower limits. These are range comparisons, not melodies or an ensemble recommendation. Only the selected ordinary endpoints sound; extensions remain silent. Original clefs are retained, with selectable source clef/bass alternatives where present.", "originalReason": "Printed extent bounds are retained; small diamond cues represent the source guidons or optional lower limits. — These are range comparisons, not melodies or an ensemble recommendation. Only the selected ordinary endpoints sound; extensions remain silent. Original clefs are retained, with selectable source clef/bass alternatives where present." }, { "id": "III.01-079-note-1", "blocks": [ "III.01-079" ], "status": "needs-review", "reason": "All eight clefs represent the same C4. G1/G2, C1/C2/C3/C4 and F3/F4 positions are retained. Parser verifies every sounded pitch is C4.", "originalReason": "All eight clefs represent the same C4. — G1/G2, C1/C2/C3/C4 and F3/F4 positions are retained. Parser verifies every sounded pitch is C4." }, { "id": "III.01-083-note-1", "blocks": [ "III.01-083" ], "status": "needs-review", "reason": "Printed « Composition » is crossed out and manuscript « comparaison » supplied above. Printed reading retained.", "originalReason": "Printed « Composition » is crossed out and manuscript « comparaison » supplied above. Printed reading retained." }, { "id": "III.01-094-note-1", "blocks": [ "III.01-094" ], "status": "needs-review", "reason": "The six note/rest categories retain their source G2 pitch context and exact named value ratios; « ou » forms are silent cues or selectable alternatives. Upper notes and lower pauses are comparison voices: rests add no sound. Historical rest glyphs and miniature triple-croche heads use modern equivalents. No pitch is assigned to a pitchless symbol.", "originalReason": "The six note/rest categories retain their source G2 pitch context and exact named value ratios; « ou » forms are silent cues or selectable alternatives. — Upper notes and lower pauses are comparison voices: rests add no sound. Historical rest glyphs and miniature triple-croche heads use modern equivalents. No pitch is assigned to a pitchless symbol." }, { "id": "III.01-096-note-1", "blocks": [ "III.01-096" ], "status": "needs-review", "reason": "Two/four whole-note examples, multi-measure silence values and beamed groups retained. The beaming panel includes paired/single eighths, double beams and a final mixed group with three-beam descending/rising small heads. Source beam topology is encoded rather than replacing all beams with individual flags. These are value demonstrations, not bars forced into a meter.", "originalReason": "Two/four whole-note examples, multi-measure silence values and beamed groups retained. — The beaming panel includes paired/single eighths, double beams and a final mixed group with three-beam descending/rising small heads. Source beam topology is encoded rather than replacing all beams with individual flags. These are value demonstrations, not bars forced into a meter." }, { "id": "III.01-099-note-1", "blocks": [ "III.01-099" ], "status": "needs-review", "reason": "Manuscript correction replaces printed « de même que » near the Ronde equivalence with « réciproquement ». Printed phrase retained.", "originalReason": "Manuscript correction replaces printed « de même que » near the Ronde equivalence with « réciproquement ». Printed phrase retained." }, { "id": "III.01-103-note-1", "blocks": [ "III.01-103" ], "status": "needs-review", "reason": "Printed meter numerals and principal-beat numbers are retained without inventing a denominator. Written note/rest values determine playback durations. The source explicitly allows different note values and multiple notes for one principal Temps.", "originalReason": "Printed meter numerals and principal-beat numbers are retained without inventing a denominator. — Written note/rest values determine playback durations. The source explicitly allows different note values and multiple notes for one principal Temps." }, { "id": "III.01-104-note-1", "blocks": [ "III.01-104" ], "status": "needs-review", "reason": "Printed meter numerals and principal-beat numbers are retained without inventing a denominator. Written note/rest values determine playback durations. The source explicitly allows different note values and multiple notes for one principal Temps.", "originalReason": "Printed meter numerals and principal-beat numbers are retained without inventing a denominator. — Written note/rest values determine playback durations. The source explicitly allows different note values and multiple notes for one principal Temps." }, { "id": "III.01-104-note-2", "blocks": [ "III.01-104" ], "status": "needs-review", "reason": "The third bar continues onto the next printed line; its terminal C5 guidon is silent before the sounded C5 continuation. Both line segments form one six-quarter-unit bar. A small ink mark near the final dotted whole is not clearly an additional rest/note and is not given an invented duration.", "originalReason": "The third bar continues onto the next printed line; its terminal C5 guidon is silent before the sounded C5 continuation. — Both line segments form one six-quarter-unit bar. A small ink mark near the final dotted whole is not clearly an additional rest/note and is not given an invented duration." }, { "id": "III.01-105-note-1", "blocks": [ "III.01-105" ], "status": "needs-review", "reason": "Printed meter numerals and principal-beat numbers are retained without inventing a denominator. Written note/rest values determine playback durations. The source explicitly allows different note values and multiple notes for one principal Temps.", "originalReason": "Printed meter numerals and principal-beat numbers are retained without inventing a denominator. — Written note/rest values determine playback durations. The source explicitly allows different note values and multiple notes for one principal Temps." }, { "id": "III.01-105-note-2", "blocks": [ "III.01-105" ], "status": "needs-review", "reason": "Printed caption « Une Ronde, ou deux Blanches pour chaque temps » is crossed out and replaced by manuscript « Idem ». Printed notes are retained, yielding four eight-quarter-unit bars and a final four-quarter-unit closing group; no additional notes/rests are supplied.", "originalReason": "Printed caption « Une Ronde, ou deux Blanches pour chaque temps » is crossed out and replaced by manuscript « Idem ». — Printed notes are retained, yielding four eight-quarter-unit bars and a final four-quarter-unit closing group; no additional notes/rests are supplied." }, { "id": "III.01-106-note-1", "blocks": [ "III.01-106" ], "status": "needs-review", "reason": "Printed caption is crossed out and manuscript « Idem » supplied. Preserve source values; do not force caption into a new meter.", "originalReason": "Printed caption is crossed out and manuscript « Idem » supplied. Preserve source values; do not force caption into a new meter." }, { "id": "III.01-107-note-1", "blocks": [ "III.01-107" ], "status": "needs-review", "reason": "Printed meter numerals and principal-beat numbers are retained without inventing a denominator. Written note/rest values determine playback durations. The source explicitly allows different note values and multiple notes for one principal Temps.", "originalReason": "Printed meter numerals and principal-beat numbers are retained without inventing a denominator. — Written note/rest values determine playback durations. The source explicitly allows different note values and multiple notes for one principal Temps." }, { "id": "III.01-107-note-2", "blocks": [ "III.01-107" ], "status": "needs-review", "reason": "Middle bar reads eighteen quarter units after independent source audit corrected an extra transcribed B4. The isolated native crop shows six filled quarters D5–E5–D5–C5–D5–A4 before the second beat marker. The earlier candidate inserted B4; it has been removed without changing any printed duration. Remaining two beats each total six quarter units.", "originalReason": "Middle bar reads eighteen quarter units after independent source audit corrected an extra transcribed B4. — The isolated native crop shows six filled quarters D5–E5–D5–C5–D5–A4 before the second beat marker. The earlier candidate inserted B4; it has been removed without changing any printed duration. Remaining two beats each total six quarter units." }, { "id": "III.01-113-note-1", "blocks": [ "III.01-113" ], "status": "needs-review", "reason": "First printed dotted stemless diamond reads as a dotted whole, while the lower tied illustration reads half+quarter. The caption claims equivalence, but the visible first pair gives six versus three quarter units. Literal glyph values are retained; no silent correction makes them equal.", "originalReason": "First printed dotted stemless diamond reads as a dotted whole, while the lower tied illustration reads half+quarter. — The caption claims equivalence, but the visible first pair gives six versus three quarter units. Literal glyph values are retained; no silent correction makes them equal." }, { "id": "III.01-113-note-2", "blocks": [ "III.01-113" ], "status": "needs-review", "reason": "Source repeated-pitch ties and dots crossing barlines retain one articulation. In the dotted version, continuation dots are represented by hidden tied continuation events plus a printed dot; these add no new attack. The tied version shows the same continuation notes explicitly. No curve is converted into a phrasing slur.", "originalReason": "Source repeated-pitch ties and dots crossing barlines retain one articulation. — In the dotted version, continuation dots are represented by hidden tied continuation events plus a printed dot; these add no new attack. The tied version shows the same continuation notes explicitly. No curve is converted into a phrasing slur." }, { "id": "III.01-115-note-1", "blocks": [ "III.01-115" ], "status": "needs-review", "reason": "Source repeated-pitch ties and dots crossing barlines retain one articulation. In the dotted version, continuation dots are represented by hidden tied continuation events plus a printed dot; these add no new attack. The tied version shows the same continuation notes explicitly. No curve is converted into a phrasing slur.", "originalReason": "Source repeated-pitch ties and dots crossing barlines retain one articulation. — In the dotted version, continuation dots are represented by hidden tied continuation events plus a printed dot; these add no new attack. The tied version shows the same continuation notes explicitly. No curve is converted into a phrasing slur." }, { "id": "III.01-126-note-1", "blocks": [ "III.01-126" ], "status": "needs-review", "reason": "C5–C-sharp 5–C-natural 5 and B4–B-flat 4–B-natural 4 follow the labelled source legend. Historical Dieze/B-quarre/B-mol shapes normalize to modern sharp/natural/flat. Complete source captions are reflowed to prevent clipping.", "originalReason": "C5–C-sharp5–C-natural5 and B4–B-flat4–B-natural4 follow the labelled source legend. — Historical Dieze/B-quarre/B-mol shapes normalize to modern sharp/natural/flat. Complete source captions are reflowed to prevent clipping." }, { "id": "III.01-128-note-1", "blocks": [ "III.01-128" ], "status": "needs-review", "reason": "A/B and C/D preserve sharp/flat application and natural cancellation. F-sharp 5 returns to F-natural 5; B-flat 4 returns to B-natural 4. Solfège labels remain.", "originalReason": "A/B and C/D preserve sharp/flat application and natural cancellation. — F-sharp5 returns to F-natural5; B-flat4 returns to B-natural4. Solfège labels remain." }, { "id": "III.01-131-note-1", "blocks": [ "III.01-131" ], "status": "needs-review", "reason": "One inline accidental in native prose is ink-overmarked; context and labelled example identify B-mol. Modern ♯/♮/♭ used for source glyphs.", "originalReason": "One inline accidental in native prose is ink-overmarked; context and labelled example identify B-mol. Modern ♯/♮/♭ used for source glyphs." }, { "id": "III.01-133-note-1", "blocks": [ "III.01-133" ], "status": "needs-review", "reason": "The diminished and augmented fifth « ou » pairs are alternatives, not extra successive chord stages. Primary uses C5/F-sharp 3 and C-sharp 5/F3; selectable alternatives use B-flat 4/E3 and B4/E-flat 3. Unselected pitches remain silent cue notes.", "originalReason": "The diminished and augmented fifth « ou » pairs are alternatives, not extra successive chord stages. — Primary uses C5/F-sharp3 and C-sharp5/F3; selectable alternatives use B-flat4/E3 and B4/E-flat3. Unselected pitches remain silent cue notes." }, { "id": "III.01-140-note-1", "blocks": [ "III.01-140" ], "status": "needs-review", "reason": "All six source staves, 8/5/3 figures and ut/sol/mi labels retained. Original G2/C3/C4/F3/F4/F4 clefs preserve repeated pitch classes at different octaves. Fundamental C2 stays fixed in all three columns.", "originalReason": "All six source staves, 8/5/3 figures and ut/sol/mi labels retained. — Original G2/C3/C4/F3/F4/F4 clefs preserve repeated pitch classes at different octaves. Fundamental C2 stays fixed in all three columns." }, { "id": "III.02-005-note-1", "blocks": [ "III.02-005" ], "status": "needs-review", "reason": "Ascending and descending octave choices are separate source versions. The primary version selects C3 to E3/F3/G3/A3; the descending version selects E2/F2/G2/A2. Opposite choices are silent cues, not simultaneous octave doublings.", "originalReason": "Ascending and descending octave choices are separate source versions. — Primary selects C3 to E3/F3/G3/A3; descending version selects E2/F2/G2/A2. Opposite choices are silent cues, not simultaneously sounded octave doublings." }, { "id": "III.02-006-note-1", "blocks": [ "III.02-006" ], "status": "needs-review", "reason": "A manuscript annotation changes printed sous-entendons ('we also mean') toward a future tense. The printed reading is retained.", "originalReason": "Manuscript changes printed « sous-entendons » toward future tense; printed reading retained." }, { "id": "III.03-008-note-1", "blocks": [ "III.03-008" ], "status": "needs-review", "reason": "Printed Fondamentale ('fundamental') is crossed out and manuscript Taille ('tenor') supplied. The printed text is retained; the correction changes the ordering of voices and is not silently adopted.", "originalReason": "Printed « Fondamentale » is crossed out and manuscript « Taille » supplied. Printed text retained; the correction changes voice ordering and is not silently adopted." }, { "id": "III.04-015-note-1", "blocks": [ "III.04-015" ], "status": "needs-review", "reason": "The curves show relationships between figures and parts, not notes joined into one sustained sound. Analytical arcs are displayed as slurs, never duration ties; all written attacks are retained.", "originalReason": "Les courbes servent ici aux relations entre les chiffres et les parties ; elles ne réunissent pas les notes en une seule tenue. — Source analytical arcs encoded as visual slurs, never duration ties; all written note attacks retained." }, { "id": "III.04-015-note-2", "blocks": [ "III.04-015" ], "status": "needs-review", "reason": "Upper and lower octave destinations in the bass are alternatives, described as rising or descending. Two complete register versions are supplied; both destinations never sound simultaneously.", "originalReason": "Bass upper/lower octave destinations are alternatives, described by monter/ou descendre. Two complete register versions supplied; never both bass destinations simultaneously. — Source octave/substitution alternative, kept separate in playback." }, { "id": "III.06-010-note-1", "blocks": [ "III.06-010" ], "status": "needs-review", "reason": "Printed main G4 at top voice event 6 remains clear below ink patch. Probable cue C5 (B) above it is obscured; encoded silently and retained as qualified reading, not a replacement note. Analytical arc endpoint positions follow nearest printed figured groups; no ties or sustained-note merging inferred. Native-source local uncertainty; no theoretical pitch correction or cue-to-note conversion.", "originalReason": "Printed main G4 at top voice event6 remains clear below ink patch. Probable cue C5 (B) above it is obscured; encoded silently and retained as qualified reading, not a replacement note. Analytical arc endpoint positions follow nearest printed figured groups; no ties or sustained-note merging inferred. — Native-source local uncertainty; no theoretical pitch correction or cue-to-note conversion." }, { "id": "III.06-010-note-2", "blocks": [ "III.06-010" ], "status": "needs-review", "reason": "The curves show relationships between figures and parts; they do not merge notes into one sustained sound. Source analytical arcs encoded as visual slurs, never duration ties; all written note attacks retained.", "originalReason": "Les courbes servent ici aux relations entre les chiffres et les parties ; elles ne réunissent pas les notes en une seule tenue. — Source analytical arcs encoded as visual slurs, never duration ties; all written note attacks retained." }, { "id": "III.06-020-note-1", "blocks": [ "III.06-020" ], "status": "needs-review", "reason": "Bass page-end guidon has low-profile head around E3 staff space, but exact line is unclear and differs from next-page opening F2. Candidate E3 is silent; not coerced to following note/register by theory. Other three guidons read A4/F4/C4. Native-source local uncertainty; no theoretical pitch correction or cue-to-note conversion.", "originalReason": "Bass page-end guidon has low-profile head around E3 staff space, but exact line is unclear and differs from next-page opening F2. Candidate E3 is silent; not coerced to following note/register by theory. Other three guidons read A4/F4/C4. — Native-source local uncertainty; no theoretical pitch correction or cue-to-note conversion." }, { "id": "III.06-020-note-2", "blocks": [ "III.06-020" ], "status": "needs-review", "reason": "The curves show relationships between figures and parts; they do not merge notes into one sustained sound. Source analytical arcs encoded as visual slurs, never duration ties; all written note attacks retained.", "originalReason": "Les courbes servent ici aux relations entre les chiffres et les parties ; elles ne réunissent pas les notes en une seule tenue. — Source analytical arcs encoded as visual slurs, never duration ties; all written note attacks retained." }, { "id": "III.06-020-note-3", "blocks": [ "III.06-020" ], "status": "needs-review", "reason": "The direction “Turn the page for the continuation of this example” and the next page’s heading establish continuity. The complete version joins pages 195–196 without adding sustained notes or changing the notes in the individual page versions. Explicit source continuation; continuous playback and download added.", "originalReason": "L’indication « Tournez pour la suite de cet Exemple » et le titre de la page suivante établissent la continuité. La version complète réunit les pages195–196 sans ajouter de tenue ni modifier les notes des versions par page. — Explicit source continuation; continuous playback and download added." }, { "id": "III.06-023-note-1", "blocks": [ "III.06-023" ], "status": "needs-review", "reason": "The curves show relationships between figures and parts; they do not merge notes into one sustained sound. Source analytical arcs encoded as visual slurs, never duration ties; all written note attacks retained.", "originalReason": "Les courbes servent ici aux relations entre les chiffres et les parties ; elles ne réunissent pas les notes en une seule tenue. — Source analytical arcs encoded as visual slurs, never duration ties; all written note attacks retained." }, { "id": "III.07-005-note-1", "blocks": [ "III.07-005" ], "status": "needs-review", "reason": "The prose explicitly replaces C with D. The primary A–B–C version and alternative A–B–D version are supplied separately, rather than sounding all four comparison notes successively. The source substitution remains separate in playback.", "originalReason": "Prose explicitly replaces C with D; primary A-B-C and alternative A-B-D supplied rather than playing all four printed comparison notes sequentially. — Source octave/substitution alternative, kept separate in playback." }, { "id": "III.08-003-note-1", "blocks": [ "III.08-003" ], "status": "needs-review", "reason": "Printed Tierce ('third') is retained. A manuscript correction above it substitutes Seconde ('second').", "originalReason": "Printed « Tierce » retained; manuscript correction above changes it to « Seconde »." }, { "id": "III.09-017-note-1", "blocks": [ "III.09-017" ], "status": "needs-review", "reason": "The final 7 in the small-sixth reduction row is obscured by ink. The expected reading is bracketed, not silently restored. The first figure is a printed slashed 5, described in the transcription as “slashed 5.”", "originalReason": "Final 7 in reduction row for petite Sixte is obscured by ink; expected reading bracketed, not silently restored. First figure is source slashed 5, transcribed descriptively as 5 barré." }, { "id": "III.09-018-note-1", "blocks": [ "III.09-018" ], "status": "needs-review", "reason": "Printed devoit (“should occur”) is retained; a manuscript correction changes it to doit (“must occur”). A small overwritten word before porte is read le, but the printed text beneath is unclear.", "originalReason": "Printed « devoit » retained; manuscript correction changes it to « doit ». Small overwritten word before « porte » read « le », but printed undertext is unclear." }, { "id": "III.11-006-note-1", "blocks": [ "III.11-006" ], "status": "needs-review", "reason": "Solfège labels printed above numerical pairs are retained inline in editorial square brackets; numbers remain unaltered.", "originalReason": "Solfège labels printed above numerical pairs are retained inline in editorial square brackets; numbers remain unaltered." }, { "id": "III.11-012-note-1", "blocks": [ "III.11-012" ], "status": "needs-review", "reason": "Audited reuse after source-first independent transcription. Independent note data were saved before opening implementation seed. Native comparison agrees; unprinted time/key metadata removed.", "originalReason": "Audited reuse after source-first independent transcription. — Independent note data were saved before opening implementation seed. Native comparison agrees; unprinted time/key metadata removed." }, { "id": "III.11-017-note-1", "blocks": [ "III.11-017" ], "status": "needs-review", "reason": "Previously user-accepted example, preserved byte-identically. SHA 256 and byte comparison recorded in accepted-p209.json. No transcription or notation changes made.", "originalReason": "Previously user-accepted example, preserved byte-identically. — SHA256 and byte comparison recorded in accepted-p209.json. No transcription or notation changes made." }, { "id": "III.11-019-note-1", "blocks": [ "III.11-019" ], "status": "needs-review", "reason": "Printed opening sentence is crossed/corrected in handwriting, apparently relocating à une sixiéme Notte and replacing d’une by celle d’une. Printed wording retained; handwritten revision not silently substituted.", "originalReason": "Printed opening sentence is crossed/corrected in handwriting, apparently relocating à une sixiéme Notte and replacing d’une by celle d’une. Printed wording retained; handwritten revision not silently substituted." }, { "id": "III.11-021-note-1", "blocks": [ "III.11-021" ], "status": "needs-review", "reason": "Previously user-accepted example, preserved byte-identically. SHA 256 and byte comparison recorded in accepted-p209.json. No transcription or notation changes made.", "originalReason": "Previously user-accepted example, preserved byte-identically. — SHA256 and byte comparison recorded in accepted-p209.json. No transcription or notation changes made." }, { "id": "III.11-027-note-1", "blocks": [ "III.11-027" ], "status": "needs-review", "reason": "Audited reuse after source-first independent transcription. Independent note data were saved before opening implementation seed. Native comparison agrees; unprinted time/key metadata removed.", "originalReason": "Audited reuse after source-first independent transcription. — Independent note data were saved before opening implementation seed. Native comparison agrees; unprinted time/key metadata removed." }, { "id": "III.11-027-note-2", "blocks": [ "III.11-027" ], "status": "needs-review", "reason": "Upper second chord top is literal F5. Eighth upper chord middle note is G4. F5 retained despite possible harmonic surprise. Native enlarged p210-chord 8.png fixes tentative initial A4 to clear G4; no theory-based repair.", "originalReason": "Upper second chord top is literal F5. Eighth upper chord middle note is G4. — F5 retained despite possible harmonic surprise. Native enlarged p210-chord8.png fixes tentative initial A4 to clear G4; no theory-based repair." }, { "id": "III.11-031-note-1", "blocks": [ "III.11-031" ], "status": "needs-review", "reason": "Audited reuse after source-first independent transcription. Independent note data were saved before opening implementation seed. Native comparison agrees; unprinted time/key metadata removed.", "originalReason": "Audited reuse after source-first independent transcription. — Independent note data were saved before opening implementation seed. Native comparison agrees; unprinted time/key metadata removed." }, { "id": "III.11-031-note-2", "blocks": [ "III.11-031" ], "status": "needs-review", "reason": "First upper B4 head is pale/partly erased; candidate B4 retained. Surviving ink at middle treble line supports B4; reader can inspect full native crop.", "originalReason": "First upper B4 head is pale/partly erased; candidate B4 retained. — Surviving ink at middle treble line supports B4; reader can inspect full native crop." }, { "id": "III.11-034-note-1", "blocks": [ "III.11-034" ], "status": "needs-review", "reason": "Audited reuse after source-first independent transcription. Independent note data were saved before opening implementation seed. Native comparison agrees; unprinted time/key metadata removed.", "originalReason": "Audited reuse after source-first independent transcription. — Independent note data were saved before opening implementation seed. Native comparison agrees; unprinted time/key metadata removed." }, { "id": "III.11-034-note-2", "blocks": [ "III.11-034" ], "status": "needs-review", "reason": "Fundamental-bass measure 2 starts C3 half, A2 half, D3 whole; source Y addition retained. Stems determine halves. Other four parts retain two whole-note columns. First second-staff G4 head is pale; A3 continuo 6♯ numeral is worn but visible in p212-A3-figure.png.", "originalReason": "Fundamental-bass measure2 starts C3 half, A2 half, D3 whole; source Y addition retained. — Stems determine halves. Other four parts retain two whole-note columns. First second-staff G4 head is pale; A3 continuo6♯ numeral is worn but visible in p212-A3-figure.png." }, { "id": "III.11-044-note-1", "blocks": [ "III.11-044" ], "status": "needs-review", "reason": "Handwritten insertions/corrections over se trouvant and le Ton ou la; printed wording retained. First insertion appears cette Notte; second appears l’Intervalle plus bas ou plus haut, uncertain.", "originalReason": "Handwritten insertions/corrections over se trouvant and le Ton ou la; printed wording retained. First insertion appears cette Notte; second appears l’Intervalle plus bas ou plus haut, uncertain." }, { "id": "III.12-006-note-1", "blocks": [ "III.12-006" ], "status": "needs-review", "reason": "Direct native-source candidate. Clefs, figures, reference letters, and round versus diamond noteheads are retained. Unmetered analytical whole-note columns are listening steps; no printed numerical meter or tempo is claimed. Silent cues add no sounded events.", "originalReason": "Direct native-source candidate; source clefs, figures, reference letters and round/diamond distinction retained. — Unmetered analytical whole-note columns are listening steps; no source numeric meter/tempo claimed. Silent cue tags never add sounding events." }, { "id": "III.12-006-note-2", "blocks": [ "III.12-006" ], "status": "needs-review", "reason": "Single printed upper sonorities spanning repeated bass columns are sustained with hidden tied continuation notes. This is an explicit playback normalization of the analytical layout: no new attack is added where only a shared sonority is printed. Worn low heads around J/C remain D4/F4 candidates; the source crop is authoritative.", "originalReason": "Single printed upper sonorities spanning repeated bass columns are sustained by hidden tied continuation notes. — This is an explicit listening normalization of the analytical matrix: no new attack is invented where only a shared sonority is printed. Worn low heads around J/C retained as D4/F4 candidates; source crop authoritative." }, { "id": "III.13-004-note-1", "blocks": [ "III.13-004" ], "status": "needs-review", "reason": "Direct native-source candidate. Clefs, figures, reference letters, and round versus diamond noteheads are retained. Unmetered analytical whole-note columns are listening steps; no printed numerical meter or tempo is claimed. Silent cues add no sounded events.", "originalReason": "Direct native-source candidate; source clefs, figures, reference letters and round/diamond distinction retained. — Unmetered analytical whole-note columns are listening steps; no source numeric meter/tempo claimed. Silent cue tags never add sounding events." }, { "id": "III.13-004-note-2", "blocks": [ "III.13-004" ], "status": "needs-review", "reason": "The first continuo staff uses the historical F clef on line 3, not line 4. All six printed parts sound, including the analytical fundamental bass. The native clef's gap lies on the middle line: pitches G3 to G3, with 6/4 at the resolution. The other continuo and fundamental staves use F4 clefs.", "originalReason": "First continuo staff uses historical F clef on line3, not line4. All six printed parts sound, including the analytical fundamental. — Native clef gap is on middle line; pitches G3→G3, with6/4 at resolution. Other continuo/fundamental staves use F4." }, { "id": "III.13-005-note-1", "blocks": [ "III.13-005" ], "status": "needs-review", "reason": "The printed word se rencontroit ('were placed') is crossed through; a handwritten replacement appears to read rencontrait. The printed reading is retained.", "originalReason": "se rencontroit — Printed word crossed through and handwritten replacement appears rencontrait; printed reading retained." }, { "id": "III.14-007-note-1", "blocks": [ "III.14-007" ], "status": "needs-review", "reason": "Direct native-source candidate. Clefs, figures, reference letters, and round versus diamond noteheads are retained. Unmetered analytical whole-note columns are listening steps; no printed numerical meter or tempo is claimed. Silent cues add no sounded events.", "originalReason": "Direct native-source candidate; source clefs, figures, reference letters and round/diamond distinction retained. — Unmetered analytical whole-note columns are listening steps; no source numeric meter/tempo claimed. Silent cue tags never add sounding events." }, { "id": "III.14-007-note-2", "blocks": [ "III.14-007" ], "status": "needs-review", "reason": "F3/B3 and B2/F3 sound. The E3/C4 and C3/E3 resolution guides remain silent; the prose explicitly identifies them as guide signs describing natural resolution.", "originalReason": "F3/B3 and B2/F3 sound; E3/C4 and C3/E3 resolution guidons remain silent. — Source prose explicitly identifies these as guidons describing natural resolution." }, { "id": "III.14-009-note-1", "blocks": [ "III.14-009" ], "status": "needs-review", "reason": "The inline pair of guide-note glyphs is represented by a bracketed description. The full source crop preserves the signs.", "originalReason": "Inline pair of guidon glyphs normalized as bracketed description; full example crop retains the signs." }, { "id": "III.15-006-note-1", "blocks": [ "III.15-006" ], "status": "needs-review", "reason": "Direct native-source candidate. Clefs, figures, reference letters, and round versus diamond noteheads are retained. Unmetered analytical whole-note columns are listening steps; no printed numerical meter or tempo is claimed. Silent cues add no sounded events.", "originalReason": "Direct native-source candidate; source clefs, figures, reference letters and round/diamond distinction retained. — Unmetered analytical whole-note columns are listening steps; no source numeric meter/tempo claimed. Silent cue tags never add sounding events." }, { "id": "III.15-006-note-2", "blocks": [ "III.15-006" ], "status": "needs-review", "reason": "The bass clef changes from F3 to F4 for the diminished-fifth preparation, then back to F3 for the sixth preparation. Native gap and staff-line inspection is documented in dedicated clef crops. Round and diamond heads remain distinct; equal prepared pitches are tied. End-of-system guide pitches remain candidate D4/C5 above and D3/G3 below.", "originalReason": "Bass clef F3 changes to F4 for the fausse-Quinte preparation, then back to F3 for the sixth preparation. — Native gap/line inspection documented in dedicated clef crops. Mixed round/diamond head styles retained; prepared equal pitches tied. End-system guide pitches are candidate D4/C5 above, D3/G3 below." }, { "id": "III.16-007-note-1", "blocks": [ "III.16-007" ], "status": "needs-review", "reason": "Direct native-source candidate; source clefs, figures, reference letters and round/diamond distinction retained. Unmetered analytical whole-note columns are listening steps; no source numeric meter/tempo claimed. Silent cue tags never add sounding events.", "originalReason": "Direct native-source candidate; source clefs, figures, reference letters and round/diamond distinction retained. — Unmetered analytical whole-note columns are listening steps; no source numeric meter/tempo claimed. Silent cue tags never add sounding events." }, { "id": "III.16-007-note-2", "blocks": [ "III.16-007" ], "status": "needs-review", "reason": "Curved A/B cadence marks encoded as slurs, not ties. They join different pitches and identify cadences; no held sound inferred. Final upper bass dyad contains a printed round E4 against diamond C4; mixed glyphs are encoded individually.", "originalReason": "Curved A/B cadence marks encoded as slurs, not ties. — They join different pitches and identify cadences; no held sound inferred. Final upper bass dyad contains a printed round E4 against diamond C4; mixed glyphs are encoded individually." }, { "id": "III.16-013-note-1", "blocks": [ "III.16-013" ], "status": "needs-review", "reason": "Direct native-source candidate; source clefs, figures, reference letters and round/diamond distinction retained. Unmetered analytical whole-note columns are listening steps; no source numeric meter/tempo claimed. Silent cue tags never add sounding events.", "originalReason": "Direct native-source candidate; source clefs, figures, reference letters and round/diamond distinction retained. — Unmetered analytical whole-note columns are listening steps; no source numeric meter/tempo claimed. Silent cue tags never add sounding events." }, { "id": "III.16-013-note-2", "blocks": [ "III.16-013" ], "status": "needs-review", "reason": "Original six-part example retained; handwritten supplement reference is not applied silently. Endpoint continuo dyads read as octaves while interior dyads are sixths; caption relation and original geometry retained. Printed prose warns of consecutive fifths with the fundamental at J; no source note repaired.", "originalReason": "Original six-part example retained; handwritten supplement reference is not applied silently. — Endpoint continuo dyads read as octaves while interior dyads are sixths; caption relation and original geometry retained. Printed prose warns of consecutive fifths with the fundamental at J; no source note repaired." }, { "id": "III.16-014-note-1", "blocks": [ "III.16-014" ], "status": "needs-review", "reason": "Handwritten marginal reference; wording retained as read, spelling uncertain.", "originalReason": "Handwritten marginal reference; wording retained as read, spelling uncertain." }, { "id": "III.16-024-note-1", "blocks": [ "III.16-024" ], "status": "needs-review", "reason": "Direct native-source candidate; source clefs, figures, reference letters and round/diamond distinction retained. Unmetered analytical whole-note columns are listening steps; no source numeric meter/tempo claimed. Silent cue tags never add sounding events.", "originalReason": "Direct native-source candidate; source clefs, figures, reference letters and round/diamond distinction retained. — Unmetered analytical whole-note columns are listening steps; no source numeric meter/tempo claimed. Silent cue tags never add sounding events." }, { "id": "III.16-024-note-2", "blocks": [ "III.16-024" ], "status": "needs-review", "reason": "Long bass line continues onto lower-left staff; lower-right F2→C3 is analytical bass only for H→J. These are not two full simultaneous lines. Generated hidden rests align the brief analytical part; the source slur marks cadence, not a same-pitch tie.", "originalReason": "Long bass line continues onto lower-left staff; lower-right F2→C3 is analytical bass only for H→J. — These are not two full simultaneous lines. Generated hidden rests align the brief analytical part; the source slur marks cadence, not a same-pitch tie." }, { "id": "III.17-006-note-1", "blocks": [ "III.17-006" ], "status": "needs-review", "reason": "Direct native-source candidate; source clefs, figures, reference letters and round/diamond distinction retained. Unmetered analytical whole-note columns are listening steps; no source numeric meter/tempo claimed. Silent cue tags never add sounding events.", "originalReason": "Direct native-source candidate; source clefs, figures, reference letters and round/diamond distinction retained. — Unmetered analytical whole-note columns are listening steps; no source numeric meter/tempo claimed. Silent cue tags never add sounding events." }, { "id": "III.17-006-note-2", "blocks": [ "III.17-006" ], "status": "needs-review", "reason": "Wavy alternative-bass guidons are silent cue notes, never additional chord tones. Source prose permits substitution of Tonique/Mediante/Dominante. Printed main notes remain audible; cue placement modernized. Round main heads where printed distinguished from open diamonds.", "originalReason": "Wavy alternative-bass guidons are silent cue notes, never additional chord tones. — Source prose permits substitution of Tonique/Mediante/Dominante. Printed main notes remain audible; cue placement modernized. Round main heads where printed distinguished from open diamonds." }, { "id": "III.17-009-note-1", "blocks": [ "III.17-009" ], "status": "needs-review", "reason": "Direct native-source candidate; source clefs, figures, reference letters and round/diamond distinction retained. Unmetered analytical whole-note columns are listening steps; no source numeric meter/tempo claimed. Silent cue tags never add sounding events.", "originalReason": "Direct native-source candidate; source clefs, figures, reference letters and round/diamond distinction retained. — Unmetered analytical whole-note columns are listening steps; no source numeric meter/tempo claimed. Silent cue tags never add sounding events." }, { "id": "III.17-009-note-2", "blocks": [ "III.17-009" ], "status": "needs-review", "reason": "Wavy alternative-bass guidons are silent cue notes, never additional chord tones. Source prose permits substitution of Tonique/Mediante/Dominante. Printed main notes remain audible; cue placement modernized. Round main heads where printed distinguished from open diamonds.", "originalReason": "Wavy alternative-bass guidons are silent cue notes, never additional chord tones. — Source prose permits substitution of Tonique/Mediante/Dominante. Printed main notes remain audible; cue placement modernized. Round main heads where printed distinguished from open diamonds." }, { "id": "III.17-011-note-1", "blocks": [ "III.17-011" ], "status": "needs-review", "reason": "Cue-only staff: no invented sounding notes. Reference preserved as diagram crop; corresponding cues appear in preceding examples.", "originalReason": "Cue-only staff: no invented sounding notes. Reference preserved as diagram crop; corresponding cues appear in preceding examples." }, { "id": "III.17-014-note-1", "blocks": [ "III.17-014" ], "status": "needs-review", "reason": "Handwritten marginal reference.", "originalReason": "Handwritten marginal reference." }, { "id": "III.17-016-note-1", "blocks": [ "III.17-016" ], "status": "needs-review", "reason": "Direct native-source candidate; source clefs, figures, reference letters and round/diamond distinction retained. Unmetered analytical whole-note columns are listening steps; no source numeric meter/tempo claimed. Silent cue tags never add sounding events.", "originalReason": "Direct native-source candidate; source clefs, figures, reference letters and round/diamond distinction retained. — Unmetered analytical whole-note columns are listening steps; no source numeric meter/tempo claimed. Silent cue tags never add sounding events." }, { "id": "III.17-016-note-2", "blocks": [ "III.17-016" ], "status": "needs-review", "reason": "Wavy alternative-bass guidons are silent cue notes, never additional chord tones. Source prose permits substitution of Tonique/Mediante/Dominante. Printed main notes remain audible; cue placement modernized. Round main heads where printed distinguished from open diamonds.", "originalReason": "Wavy alternative-bass guidons are silent cue notes, never additional chord tones. — Source prose permits substitution of Tonique/Mediante/Dominante. Printed main notes remain audible; cue placement modernized. Round main heads where printed distinguished from open diamonds." }, { "id": "III.17-020-note-1", "blocks": [ "III.17-020" ], "status": "needs-review", "reason": "Direct native-source candidate; source clefs, figures, reference letters and round/diamond distinction retained. Unmetered analytical whole-note columns are listening steps; no source numeric meter/tempo claimed. Silent cue tags never add sounding events.", "originalReason": "Direct native-source candidate; source clefs, figures, reference letters and round/diamond distinction retained. — Unmetered analytical whole-note columns are listening steps; no source numeric meter/tempo claimed. Silent cue tags never add sounding events." }, { "id": "III.17-020-note-2", "blocks": [ "III.17-020" ], "status": "needs-review", "reason": "Wavy alternative-bass guidons are silent cue notes, never additional chord tones. Source prose permits substitution of Tonique/Mediante/Dominante. Printed main notes remain audible; cue placement modernized. Round main heads where printed distinguished from open diamonds.", "originalReason": "Wavy alternative-bass guidons are silent cue notes, never additional chord tones. — Source prose permits substitution of Tonique/Mediante/Dominante. Printed main notes remain audible; cue placement modernized. Round main heads where printed distinguished from open diamonds." }, { "id": "III.17-020-note-3", "blocks": [ "III.17-020" ], "status": "needs-review", "reason": "Some upper heads in middle cells are pale. End-system custos retained in source crop without guessed pitch. Candidate F4/G4 reading follows surviving line positions. No uncertain end-guide note added to playback or notation.", "originalReason": "Some upper heads in middle cells are pale. End-system custos retained in source crop without guessed pitch. — Candidate F4/G4 reading follows surviving line positions. No uncertain end-guide note added to playback or notation." }, { "id": "III.17-022-note-1", "blocks": [ "III.17-022" ], "status": "needs-review", "reason": "Direct native-source candidate; source clefs, figures, reference letters and round/diamond distinction retained. Unmetered analytical whole-note columns are listening steps; no source numeric meter/tempo claimed. Silent cue tags never add sounding events.", "originalReason": "Direct native-source candidate; source clefs, figures, reference letters and round/diamond distinction retained. — Unmetered analytical whole-note columns are listening steps; no source numeric meter/tempo claimed. Silent cue tags never add sounding events." }, { "id": "III.17-022-note-2", "blocks": [ "III.17-022" ], "status": "needs-review", "reason": "Wavy alternative-bass guidons are silent cue notes, never additional chord tones. Source prose permits substitution of Tonique/Mediante/Dominante. Printed main notes remain audible; cue placement modernized. Round main heads where printed distinguished from open diamonds.", "originalReason": "Wavy alternative-bass guidons are silent cue notes, never additional chord tones. — Source prose permits substitution of Tonique/Mediante/Dominante. Printed main notes remain audible; cue placement modernized. Round main heads where printed distinguished from open diamonds." }, { "id": "III.17-022-note-3", "blocks": [ "III.17-022" ], "status": "needs-review", "reason": "Middle-cell high F5/G4 pair retained literally. Unusual register/spacing is not silently replaced by a theoretically expected voicing; native crop available for review.", "originalReason": "Middle-cell high F5/G4 pair retained literally. — Unusual register/spacing is not silently replaced by a theoretically expected voicing; native crop available for review." }, { "id": "III.18-007-note-1", "blocks": [ "III.18-007" ], "status": "needs-review", "reason": "Historical noteheads, clefs, and figures are transcribed in modern notation. Figures appear below the staff; readable cue signs are small silent notes. No time signature or numerical tempo has been added. Engraving has been normalized; comparison with the facsimile remains available.", "originalReason": "Les têtes anciennes, les clefs et les chiffres sont transcrits en notation moderne. Les chiffres s’affichent sous la portée ; les Guidons lisibles sont de petites notes muettes. Aucun chiffre de mesure ni tempo numérique n’est ajouté. — Normalisation de gravure ; comparaison avec le fac-similé conservée." }, { "id": "III.18-007-note-2", "blocks": [ "III.18-007" ], "status": "needs-review", "reason": "The fundamental bass remains visible but silent in the main version. The proof version plays it separately from the continuo bass. The two basses are alternative demonstrations.", "originalReason": "La Basse fondamentale reste visible mais muette dans la version principale. La version de preuve la fait entendre séparément de la Basse-continuë. — Les deux Basses sont des démonstrations alternatives." }, { "id": "III.18-009-note-1", "blocks": [ "III.18-009" ], "status": "needs-review", "reason": "Historical noteheads, clefs, and figures are transcribed in modern notation. Figures appear below the staff; readable cue signs are small silent notes. No time signature or numerical tempo has been added. Engraving has been normalized; comparison with the facsimile remains available.", "originalReason": "Les têtes anciennes, les clefs et les chiffres sont transcrits en notation moderne. Les chiffres s’affichent sous la portée ; les Guidons lisibles sont de petites notes muettes. Aucun chiffre de mesure ni tempo numérique n’est ajouté. — Normalisation de gravure ; comparaison avec le fac-similé conservée." }, { "id": "III.18-009-note-2", "blocks": [ "III.18-009" ], "status": "needs-review", "reason": "The fundamental bass remains visible but silent in the main version. The proof version plays it separately from the continuo bass. The two basses are alternative demonstrations.", "originalReason": "La Basse fondamentale reste visible mais muette dans la version principale. La version de preuve la fait entendre séparément de la Basse-continuë. — Les deux Basses sont des démonstrations alternatives." }, { "id": "III.18-021-note-1", "blocks": [ "III.18-021" ], "status": "needs-review", "reason": "The printed reference letter is obscured by a manuscript correction. J is supplied from the clear corrected reference and the matching earlier example of the second.", "originalReason": "Printed reference letter is obscured by manuscript correction; J supplied by the clear corrected reference and the matching earlier Seconde example." }, { "id": "III.19-006-note-1", "blocks": [ "III.19-006" ], "status": "needs-review", "reason": "Historical noteheads, clefs, and figures are transcribed in modern notation. Figures appear below the staff; readable cue signs are small silent notes. No time signature or numerical tempo has been added. Engraving has been normalized; comparison with the facsimile remains available.", "originalReason": "Les têtes anciennes, les clefs et les chiffres sont transcrits en notation moderne. Les chiffres s’affichent sous la portée ; les Guidons lisibles sont de petites notes muettes. Aucun chiffre de mesure ni tempo numérique n’est ajouté. — Normalisation de gravure ; comparaison avec le fac-similé conservée." }, { "id": "III.19-011-note-1", "blocks": [ "III.19-011" ], "status": "needs-review", "reason": "Historical noteheads, clefs, and figures are transcribed in modern notation. Figures appear below the staff; readable cue signs are small silent notes. No time signature or numerical tempo has been added. Engraving has been normalized; comparison with the facsimile remains available.", "originalReason": "Les têtes anciennes, les clefs et les chiffres sont transcrits en notation moderne. Les chiffres s’affichent sous la portée ; les Guidons lisibles sont de petites notes muettes. Aucun chiffre de mesure ni tempo numérique n’est ajouté. — Normalisation de gravure ; comparaison avec le fac-similé conservée." }, { "id": "III.20-008-note-1", "blocks": [ "III.20-008" ], "status": "needs-review", "reason": "Historical noteheads, clefs, and figures are transcribed in modern notation. Figures appear below the staff; readable cue signs are small silent notes. No time signature or numerical tempo has been added. Engraving has been normalized; comparison with the facsimile remains available.", "originalReason": "Les têtes anciennes, les clefs et les chiffres sont transcrits en notation moderne. Les chiffres s’affichent sous la portée ; les Guidons lisibles sont de petites notes muettes. Aucun chiffre de mesure ni tempo numérique n’est ajouté. — Normalisation de gravure ; comparaison avec le fac-similé conservée." }, { "id": "III.20-019-note-1", "blocks": [ "III.20-019" ], "status": "needs-review", "reason": "Historical noteheads, clefs, and figures are transcribed in modern notation. Figures appear below the staff; readable cue signs are small silent notes. No time signature or numerical tempo has been added. Engraving has been normalized; comparison with the facsimile remains available.", "originalReason": "Les têtes anciennes, les clefs et les chiffres sont transcrits en notation moderne. Les chiffres s’affichent sous la portée ; les Guidons lisibles sont de petites notes muettes. Aucun chiffre de mesure ni tempo numérique n’est ajouté. — Normalisation de gravure ; comparaison avec le fac-similé conservée." }, { "id": "III.20-019-note-2", "blocks": [ "III.20-019" ], "status": "needs-review", "reason": "The first two staves received a second independent reading: F clef on the fourth line, with opening pairs C4–C4 and C4–A3, confirmed by the geometry of the staff lines and clef dots. The other staves retain the initial native-source reading; no harmonic transposition has been applied. The independent audit confirms the literal reading of those first two staves.", "originalReason": "Les deux premières portées ont reçu une seconde lecture indépendante : clef de Fa quatrième ligne, puis Ut4–Ut4 et Ut4–La3, confirmés par la géométrie des lignes et des points de clef. Les autres portées gardent la lecture native initiale ; aucune transposition harmonique n’est appliquée. — Audit indépendant des deux premières portées ; lecture littérale conservée." }, { "id": "III.20-019-note-3", "blocks": [ "III.20-019" ], "status": "needs-review", "reason": "All eight printed parts remain visible. The main version plays the first four with the fundamental bass; alternative versions follow the combinations permitted by the text. The final B–C arc in the third part is a slur, not a same-pitch duration tie. The text forbids combining certain parts; comparison marks are not additional attacks.", "originalReason": "Les huit Parties imprimées restent visibles. La version principale joue les quatre premières avec la Basse fondamentale ; les versions alternatives suivent les ensembles autorisés par le texte. L’arc final Si–Ut de la troisième Partie est une liaison, non une prolongation de même hauteur. — Le texte interdit de réunir certaines Parties ; les marques de comparaison ne sont pas des attaques supplémentaires." }, { "id": "III.20-024-note-1", "blocks": [ "III.20-024" ], "status": "needs-review", "reason": "Historical noteheads, clefs, and figures are transcribed in modern notation. Figures appear below the staff; readable cue signs are small silent notes. No time signature or numerical tempo has been added. Engraving has been normalized; comparison with the facsimile remains available.", "originalReason": "Les têtes anciennes, les clefs et les chiffres sont transcrits en notation moderne. Les chiffres s’affichent sous la portée ; les Guidons lisibles sont de petites notes muettes. Aucun chiffre de mesure ni tempo numérique n’est ajouté. — Normalisation de gravure ; comparaison avec le fac-similé conservée." }, { "id": "III.20-028-note-1", "blocks": [ "III.20-028" ], "status": "needs-review", "reason": "Historical noteheads, clefs, and figures are transcribed in modern notation. Figures appear below the staff; readable cue signs are small silent notes. No time signature or numerical tempo has been added. Engraving has been normalized; comparison with the facsimile remains available.", "originalReason": "Les têtes anciennes, les clefs et les chiffres sont transcrits en notation moderne. Les chiffres s’affichent sous la portée ; les Guidons lisibles sont de petites notes muettes. Aucun chiffre de mesure ni tempo numérique n’est ajouté. — Normalisation de gravure ; comparaison avec le fac-similé conservée." }, { "id": "III.20-034-note-1", "blocks": [ "III.20-034" ], "status": "needs-review", "reason": "Historical noteheads, clefs, and figures are transcribed in modern notation. Figures appear below the staff; readable cue signs are small silent notes. No time signature or numerical tempo has been added. Engraving has been normalized; comparison with the facsimile remains available.", "originalReason": "Les têtes anciennes, les clefs et les chiffres sont transcrits en notation moderne. Les chiffres s’affichent sous la portée ; les Guidons lisibles sont de petites notes muettes. Aucun chiffre de mesure ni tempo numérique n’est ajouté. — Normalisation de gravure ; comparaison avec le fac-similé conservée." }, { "id": "III.20-034-note-2", "blocks": [ "III.20-034" ], "status": "needs-review", "reason": "The printed whole-note heads and the order of the two voices are retained. Attack alignment around the dotted barlines and the exact association of some figures remain uncertain. Playback is provisional and does not silently reconstruct missing values. In this syncopated example, the dotted barlines cross the voice layout, and literal durations do not agree in every group.", "originalReason": "Les têtes entières imprimées et l’ordre des deux voix sont conservés. L’alignement des attaques autour des barres pointillées et l’association exacte de certains chiffres restent incertains ; la lecture audio est provisoire et ne reconstitue pas silencieusement des valeurs manquantes. — Exemple de syncope : les barres pointillées traversent la disposition des voix ; leurs durées littérales ne coïncident pas dans tous les groupes." }, { "id": "III.20-034-note-3", "blocks": [ "III.20-034" ], "status": "needs-review", "reason": "The Supplement (PDF 479, correction to printed page 240) identifies a missing dot after the initial C on each staff. This correction is reported separately; the version above retains the original undotted print. This is the author’s erratum, identified during the Supplement audit; no silent correction has been made.", "originalReason": "Le Supplément (PDF 479, correction de la page 240) signale un point oublié après l’Ut initial sur chaque portée. Cette correction est signalée séparément ; la version ci-dessus garde l’impression originale sans point. — Erratum de l’auteur communiqué par l’audit du Supplément ; aucune correction silencieuse." }, { "id": "III.20-036-note-1", "blocks": [ "III.20-036" ], "status": "needs-review", "reason": "Historical noteheads, clefs, and figures are transcribed in modern notation. Figures appear below the staff; readable cue signs are small silent notes. No time signature or numerical tempo has been added. Engraving has been normalized; comparison with the facsimile remains available.", "originalReason": "Les têtes anciennes, les clefs et les chiffres sont transcrits en notation moderne. Les chiffres s’affichent sous la portée ; les Guidons lisibles sont de petites notes muettes. Aucun chiffre de mesure ni tempo numérique n’est ajouté. — Normalisation de gravure ; comparaison avec le fac-similé conservée." }, { "id": "III.20-036-note-2", "blocks": [ "III.20-036" ], "status": "needs-review", "reason": "The printed whole-note heads and the order of the two voices are retained. Attack alignment around the dotted barlines and the exact association of some figures remain uncertain. Playback is provisional and does not silently reconstruct missing values. In this syncopated example, the dotted barlines cross the voice layout, and literal durations do not agree in every group.", "originalReason": "Les têtes entières imprimées et l’ordre des deux voix sont conservés. L’alignement des attaques autour des barres pointillées et l’association exacte de certains chiffres restent incertains ; la lecture audio est provisoire et ne reconstitue pas silencieusement des valeurs manquantes. — Exemple de syncope : les barres pointillées traversent la disposition des voix ; leurs durées littérales ne coïncident pas dans tous les groupes." }, { "id": "III.20-036-note-3", "blocks": [ "III.20-036" ], "status": "needs-review", "reason": "The Supplement (PDF 479, correction to printed page 240) identifies a missing dot after the initial C on each staff. This correction is reported separately; the version above retains the original undotted print. This is the author’s erratum, identified during the Supplement audit; no silent correction has been made.", "originalReason": "Le Supplément (PDF 479, correction de la page 240) signale un point oublié après l’Ut initial sur chaque portée. Cette correction est signalée séparément ; la version ci-dessus garde l’impression originale sans point. — Erratum de l’auteur communiqué par l’audit du Supplément ; aucune correction silencieuse." }, { "id": "III.21-005-note-1", "blocks": [ "III.21-005" ], "status": "needs-review", "reason": "Historical noteheads, clefs, and figures are transcribed in modern notation. Figures appear below the staff; readable cue signs are small silent notes. No time signature or numerical tempo has been added. Engraving has been normalized; comparison with the facsimile remains available.", "originalReason": "Les têtes anciennes, les clefs et les chiffres sont transcrits en notation moderne. Les chiffres s’affichent sous la portée ; les Guidons lisibles sont de petites notes muettes. Aucun chiffre de mesure ni tempo numérique n’est ajouté. — Normalisation de gravure ; comparaison avec le fac-similé conservée." }, { "id": "III.21-011-note-1", "blocks": [ "III.21-011" ], "status": "needs-review", "reason": "Historical noteheads, clefs, and figures are transcribed in modern notation. Figures appear below the staff; readable cue signs are small silent notes. No time signature or numerical tempo has been added. Engraving has been normalized; comparison with the facsimile remains available.", "originalReason": "Les têtes anciennes, les clefs et les chiffres sont transcrits en notation moderne. Les chiffres s’affichent sous la portée ; les Guidons lisibles sont de petites notes muettes. Aucun chiffre de mesure ni tempo numérique n’est ajouté. — Normalisation de gravure ; comparaison avec le fac-similé conservée." }, { "id": "III.21-011-note-2", "blocks": [ "III.21-011" ], "status": "needs-review", "reason": "The fundamental bass remains visible but silent in the main version. The proof version plays it separately from the continuo bass. The two basses are alternative demonstrations.", "originalReason": "La Basse fondamentale reste visible mais muette dans la version principale. La version de preuve la fait entendre séparément de la Basse-continuë. — Les deux Basses sont des démonstrations alternatives." }, { "id": "III.21-013-note-1", "blocks": [ "III.21-013" ], "status": "needs-review", "reason": "Historical noteheads, clefs, and figures are transcribed in modern notation. Figures appear below the staff; readable cue signs are small silent notes. No time signature or numerical tempo has been added. Engraving has been normalized; comparison with the facsimile remains available.", "originalReason": "Les têtes anciennes, les clefs et les chiffres sont transcrits en notation moderne. Les chiffres s’affichent sous la portée ; les Guidons lisibles sont de petites notes muettes. Aucun chiffre de mesure ni tempo numérique n’est ajouté. — Normalisation de gravure ; comparaison avec le fac-similé conservée." }, { "id": "III.21-013-note-2", "blocks": [ "III.21-013" ], "status": "needs-review", "reason": "The fundamental bass remains visible but silent in the main version. The proof version plays it separately from the continuo bass. The two basses are alternative demonstrations.", "originalReason": "La Basse fondamentale reste visible mais muette dans la version principale. La version de preuve la fait entendre séparément de la Basse-continuë. — Les deux Basses sont des démonstrations alternatives." }, { "id": "III.22-008-note-1", "blocks": [ "III.22-008" ], "status": "needs-review", "reason": "Historical noteheads, clefs, and figures are transcribed in modern notation. Figures appear below the staff; readable cue signs are small silent notes. No time signature or numerical tempo has been added. Engraving has been normalized; comparison with the facsimile remains available.", "originalReason": "Les têtes anciennes, les clefs et les chiffres sont transcrits en notation moderne. Les chiffres s’affichent sous la portée ; les Guidons lisibles sont de petites notes muettes. Aucun chiffre de mesure ni tempo numérique n’est ajouté. — Normalisation de gravure ; comparaison avec le fac-similé conservée." }, { "id": "III.22-008-note-2", "blocks": [ "III.22-008" ], "status": "needs-review", "reason": "Each cell is a separate example of a key signature and tonic. The numbers of sharps and flats follow the printed usage; minor-key signatures have not been modernized. These are comparisons of keys, not a continuous melody.", "originalReason": "Chaque cellule est un exemple autonome d’armure et de tonique. Les nombres de Diezes et de B-mols suivent l’usage imprimé ; les armures mineures ne sont pas modernisées. — Exemples comparatifs de tonalités, et non une mélodie continue." }, { "id": "III.22-009-note-1", "blocks": [ "III.22-009" ], "status": "needs-review", "reason": "Historical noteheads, clefs, and figures are transcribed in modern notation. Figures appear below the staff; readable cue signs are small silent notes. No time signature or numerical tempo has been added. Engraving has been normalized; comparison with the facsimile remains available.", "originalReason": "Les têtes anciennes, les clefs et les chiffres sont transcrits en notation moderne. Les chiffres s’affichent sous la portée ; les Guidons lisibles sont de petites notes muettes. Aucun chiffre de mesure ni tempo numérique n’est ajouté. — Normalisation de gravure ; comparaison avec le fac-similé conservée." }, { "id": "III.22-009-note-2", "blocks": [ "III.22-009" ], "status": "needs-review", "reason": "Each cell is a separate example of a key signature and tonic. The numbers of sharps and flats follow the printed usage; minor-key signatures have not been modernized. These are comparisons of keys, not a continuous melody.", "originalReason": "Chaque cellule est un exemple autonome d’armure et de tonique. Les nombres de Diezes et de B-mols suivent l’usage imprimé ; les armures mineures ne sont pas modernisées. — Exemples comparatifs de tonalités, et non une mélodie continue." }, { "id": "III.22-011-note-1", "blocks": [ "III.22-011" ], "status": "needs-review", "reason": "A manuscript correction replaces the printed counting expression “by fives” (« de cinq en cinq ») with a fuller description of the interval. The printed wording is retained.", "originalReason": "Manuscript revises printed counting expression « de cinq en cinq » to a fuller interval description. Printed wording retained." }, { "id": "III.22-012-note-1", "blocks": [ "III.22-012" ], "status": "needs-review", "reason": "A handwritten replacement again crosses out the printed expression “by fives” (« cinq en cinq »). The numbers above the five named keys are retained in the text.", "originalReason": "A handwritten replacement again crosses the printed « cinq en cinq » expression. Numbers over the five named tones are retained in text." }, { "id": "III.22-013-note-1", "blocks": [ "III.22-013" ], "status": "needs-review", "reason": "The manuscript supplies revised counting phrases above the printed “by fours” (« quatre en quatre ») and “by fives” (« cinq en cinq »). The printed text is retained.", "originalReason": "Native manuscript supplies revised counting phrases over printed « quatre en quatre » and « cinq en cinq ». Printed text retained." }, { "id": "III.22-022-note-1", "blocks": [ "III.22-022" ], "status": "needs-review", "reason": "Historical noteheads, clefs, and figures are transcribed in modern notation. Figures appear below the staff; readable cue signs are small silent notes. No time signature or numerical tempo has been added. Engraving has been normalized; comparison with the facsimile remains available.", "originalReason": "Les têtes anciennes, les clefs et les chiffres sont transcrits en notation moderne. Les chiffres s’affichent sous la portée ; les Guidons lisibles sont de petites notes muettes. Aucun chiffre de mesure ni tempo numérique n’est ajouté. — Normalisation de gravure ; comparaison avec le fac-similé conservée." }, { "id": "III.22-022-note-2", "blocks": [ "III.22-022" ], "status": "needs-review", "reason": "The letter table gives B-flat; the ascending staff scale is read as B natural, while the descent has B-flat. Both forms in the document are retained. The explanatory table and the accidentals on the staves differ.", "originalReason": "Le tableau en lettres donne Si B-mol ; la gamme ascendante sur portée est lue Si naturel, tandis que la descente porte le B-mol. Les deux formes du document sont conservées. — Différence entre le tableau explicatif et les altérations imprimées dans les portées." }, { "id": "III.22-025-note-1", "blocks": [ "III.22-025" ], "status": "needs-review", "reason": "Historical noteheads, clefs, and figures are transcribed in modern notation. Figures appear below the staff; readable cue signs are small silent notes. No time signature or numerical tempo has been added. Engraving has been normalized; comparison with the facsimile remains available.", "originalReason": "Les têtes anciennes, les clefs et les chiffres sont transcrits en notation moderne. Les chiffres s’affichent sous la portée ; les Guidons lisibles sont de petites notes muettes. Aucun chiffre de mesure ni tempo numérique n’est ajouté. — Normalisation de gravure ; comparaison avec le fac-similé conservée." }, { "id": "III.22-026-note-1", "blocks": [ "III.22-026" ], "status": "needs-review", "reason": "Historical noteheads, clefs, and figures are transcribed in modern notation. Figures appear below the staff; readable cue signs are small silent notes. No time signature or numerical tempo has been added. Engraving has been normalized; comparison with the facsimile remains available.", "originalReason": "Les têtes anciennes, les clefs et les chiffres sont transcrits en notation moderne. Les chiffres s’affichent sous la portée ; les Guidons lisibles sont de petites notes muettes. Aucun chiffre de mesure ni tempo numérique n’est ajouté. — Normalisation de gravure ; comparaison avec le fac-similé conservée." }, { "id": "III.22-026-note-2", "blocks": [ "III.22-026" ], "status": "needs-review", "reason": "Each cell is a separate example of a key signature and tonic. The numbers of sharps and flats follow the printed usage; minor-key signatures have not been modernized. These are comparisons of keys, not a continuous melody.", "originalReason": "Chaque cellule est un exemple autonome d’armure et de tonique. Les nombres de Diezes et de B-mols suivent l’usage imprimé ; les armures mineures ne sont pas modernisées. — Exemples comparatifs de tonalités, et non une mélodie continue." }, { "id": "III.22-028-note-1", "blocks": [ "III.22-028" ], "status": "needs-review", "reason": "Historical noteheads, clefs, and figures are transcribed in modern notation. Figures appear below the staff; readable cue signs are small silent notes. No time signature or numerical tempo has been added. Engraving has been normalized; comparison with the facsimile remains available.", "originalReason": "Les têtes anciennes, les clefs et les chiffres sont transcrits en notation moderne. Les chiffres s’affichent sous la portée ; les Guidons lisibles sont de petites notes muettes. Aucun chiffre de mesure ni tempo numérique n’est ajouté. — Normalisation de gravure ; comparaison avec le fac-similé conservée." }, { "id": "III.22-028-note-2", "blocks": [ "III.22-028" ], "status": "needs-review", "reason": "Each cell is a separate example of a key signature and tonic. The numbers of sharps and flats follow the printed usage; minor-key signatures have not been modernized. These are comparisons of keys, not a continuous melody.", "originalReason": "Chaque cellule est un exemple autonome d’armure et de tonique. Les nombres de Diezes et de B-mols suivent l’usage imprimé ; les armures mineures ne sont pas modernisées. — Exemples comparatifs de tonalités, et non une mélodie continue." }, { "id": "III.23-018-note-1", "blocks": [ "III.23-018" ], "status": "needs-review", "reason": "Historical noteheads, clefs, and figures are transcribed in modern notation. Figures appear below the staff; readable cue signs are small silent notes. No time signature or numerical tempo has been added. Engraving has been normalized; comparison with the facsimile remains available.", "originalReason": "Les têtes anciennes, les clefs et les chiffres sont transcrits en notation moderne. Les chiffres s’affichent sous la portée ; les Guidons lisibles sont de petites notes muettes. Aucun chiffre de mesure ni tempo numérique n’est ajouté. — Normalisation de gravure ; comparaison avec le fac-similé conservée." }, { "id": "III.23-018-note-2", "blocks": [ "III.23-018" ], "status": "needs-review", "reason": "The three routes separated by “or” are selected as distinct versions rather than joined into one phrase. They are explicit alternatives in both text and engraving.", "originalReason": "Les trois routes séparées par « ou » se choisissent comme versions distinctes ; elles ne sont pas enchaînées en une seule phrase. — Alternatives explicites dans le texte et dans la gravure." }, { "id": "III.24-013-note-1", "blocks": [ "III.24-013" ], "status": "needs-review", "reason": "Historical noteheads, clefs, and figures are transcribed in modern notation. Figures appear below the staff; readable cue signs are small silent notes. No time signature or numerical tempo has been added. Engraving has been normalized; comparison with the facsimile remains available.", "originalReason": "Les têtes anciennes, les clefs et les chiffres sont transcrits en notation moderne. Les chiffres s’affichent sous la portée ; les Guidons lisibles sont de petites notes muettes. Aucun chiffre de mesure ni tempo numérique n’est ajouté. — Normalisation de gravure ; comparaison avec le fac-similé conservée." }, { "id": "III.24-014-note-1", "blocks": [ "III.24-014" ], "status": "needs-review", "reason": "Historical noteheads, clefs, and figures are transcribed in modern notation. Figures appear below the staff; readable cue signs are small silent notes. No time signature or numerical tempo has been added. Engraving has been normalized; comparison with the facsimile remains available.", "originalReason": "Les têtes anciennes, les clefs et les chiffres sont transcrits en notation moderne. Les chiffres s’affichent sous la portée ; les Guidons lisibles sont de petites notes muettes. Aucun chiffre de mesure ni tempo numérique n’est ajouté. — Normalisation de gravure ; comparaison avec le fac-similé conservée." }, { "id": "III.24-015-note-1", "blocks": [ "III.24-015" ], "status": "needs-review", "reason": "Historical noteheads, clefs, and figures are transcribed in modern notation. Figures appear below the staff; readable cue signs are small silent notes. No time signature or numerical tempo has been added. Engraving has been normalized; comparison with the facsimile remains available.", "originalReason": "Les têtes anciennes, les clefs et les chiffres sont transcrits en notation moderne. Les chiffres s’affichent sous la portée ; les Guidons lisibles sont de petites notes muettes. Aucun chiffre de mesure ni tempo numérique n’est ajouté. — Normalisation de gravure ; comparaison avec le fac-similé conservée." }, { "id": "III.24-016-note-1", "blocks": [ "III.24-016" ], "status": "needs-review", "reason": "Historical noteheads, clefs, and figures are transcribed in modern notation. Figures appear below the staff; readable cue signs are small silent notes. No time signature or numerical tempo has been added. Engraving has been normalized; comparison with the facsimile remains available.", "originalReason": "Les têtes anciennes, les clefs et les chiffres sont transcrits en notation moderne. Les chiffres s’affichent sous la portée ; les Guidons lisibles sont de petites notes muettes. Aucun chiffre de mesure ni tempo numérique n’est ajouté. — Normalisation de gravure ; comparaison avec le fac-similé conservée." }, { "id": "III.24-017-note-1", "blocks": [ "III.24-017" ], "status": "needs-review", "reason": "A manuscript annotation rewrites part of this sentence and adds marginal wording concerning “the perfect chord.” The printed text is retained; no musical correction is inferred from the annotation.", "originalReason": "Manuscript rewrites part of this sentence and adds marginal wording concerning « l’accord parfait ». Printed text retained; no music correction inferred from annotation." }, { "id": "III.24-019-note-1", "blocks": [ "III.24-019" ], "status": "needs-review", "reason": "Historical noteheads, clefs, and figures are transcribed in modern notation. Figures appear below the staff; readable cue signs are small silent notes. No time signature or numerical tempo has been added. Engraving has been normalized; comparison with the facsimile remains available.", "originalReason": "Les têtes anciennes, les clefs et les chiffres sont transcrits en notation moderne. Les chiffres s’affichent sous la portée ; les Guidons lisibles sont de petites notes muettes. Aucun chiffre de mesure ni tempo numérique n’est ajouté. — Normalisation de gravure ; comparaison avec le fac-similé conservée." }, { "id": "III.24-024-note-1", "blocks": [ "III.24-024" ], "status": "needs-review", "reason": "Historical noteheads, clefs, and figures are transcribed in modern notation. Figures appear below the staff; readable cue signs are small silent notes. No time signature or numerical tempo has been added. Engraving has been normalized; comparison with the facsimile remains available.", "originalReason": "Les têtes anciennes, les clefs et les chiffres sont transcrits en notation moderne. Les chiffres s’affichent sous la portée ; les Guidons lisibles sont de petites notes muettes. Aucun chiffre de mesure ni tempo numérique n’est ajouté. — Normalisation de gravure ; comparaison avec le fac-similé conservée." }, { "id": "III.24-024-note-2", "blocks": [ "III.24-024" ], "status": "needs-review", "reason": "The fundamental bass remains visible but silent in the main version. The proof version plays it separately from the continuo bass. The two basses are alternative demonstrations.", "originalReason": "La Basse fondamentale reste visible mais muette dans la version principale. La version de preuve la fait entendre séparément de la Basse-continuë. — Les deux Basses sont des démonstrations alternatives." }, { "id": "III.24-024-note-3", "blocks": [ "III.24-024" ], "status": "needs-review", "reason": "Second system, eighth group, continuo bass: the second note is encoded as C-flat (C♭3), after C-sharp. The looped sign favors a flat; a reading as a historical cancellation sign remains to be checked. This is a candidate reading of the historical sign, without correction according to harmony.", "originalReason": "Deuxième système, huitième groupe, Basse-continuë : la seconde note est encodée Ut B-mol (C♭3), après Ut Dieze. Le signe à boucle favorise B-mol ; une lecture comme signe historique d’annulation reste à vérifier. — Lecture candidate du signe historique ; aucune rectification selon l’harmonie." }, { "id": "III.24-024-note-4", "blocks": [ "III.24-024" ], "status": "needs-review", "reason": "Second system, fundamental bass: the figure on the eighth group’s second note, F, is encoded as 7 / 5-natural, with an uncertain suffix. The sign between the two Ds in the preceding group is not interpreted as an augmentation dot. The impression is compact and the signs unclear; the printed whole-note durations are retained.", "originalReason": "Deuxième système, Basse fondamentale : le chiffre du huitième groupe, seconde note Fa, est encodé 7 / 5-bécarre, avec suffixe incertain. Le signe entre les deux Ré du groupe précédent n’est pas interprété comme point de prolongation. — Empreinte compacte et signes peu nets ; les durées entières imprimées sont conservées." }, { "id": "III.24-024-note-5", "blocks": [ "III.24-024" ], "status": "needs-review", "reason": "Key indications are retained as text; the long analytical lines marking their extent are not converted into musical slurs. The layout of these analytical annotations is normalized.", "originalReason": "Les indications de Ton sont conservées en texte ; les longs traits analytiques de leur étendue ne sont pas convertis en liaisons musicales. — Normalisation de disposition des annotations analytiques." }, { "id": "III.25-009-note-1", "blocks": [ "III.25-009" ], "status": "needs-review", "reason": "The reference letter at the start of the second staff resembles E; the later text names a note F. The visible letter is retained. This follows the native source, without theoretical correction.", "originalReason": "Le signe de renvoi au commencement de la seconde portée ressemble à E ; le texte ultérieur nomme une Notte F. La lettre visible est conservée. — Native source reading; no theoretical correction." }, { "id": "III.25-012-note-1", "blocks": [ "III.25-012" ], "status": "needs-review", "reason": "The printed “sharp fourth” is retained; the manuscript replacement reads “tritone.”", "originalReason": "Printed « de Quarte Dieze » retained; manuscript replacement reads « du Tri-Ton »." }, { "id": "III.25-022-note-1", "blocks": [ "III.25-022" ], "status": "needs-review", "reason": "All seven printed parts are retained. To hear the upper part, omit A and C; otherwise omit the upper part. These two explicit choices are provided separately. The C4 cue sign proposes the upper octave of the final C3. This follows the printed conditional instruction or notation convention.", "originalReason": "Les sept parties imprimées sont conservées. Pour entendre la partie supérieure, retranchez A et C ; autrement retranchez la partie supérieure. Ces deux choix explicites sont fournis séparément. Le guidon C4 propose l’octave supérieure du dernier C3. — Printed conditional instruction or notation convention." }, { "id": "III.25-035-note-1", "blocks": [ "III.25-035" ], "status": "needs-review", "reason": "The Supplement (native PDF page 479) instructs the reader to add a flat to the E designated F. The original printed E is retained here; this later correction remains separate. This follows the native source, without theoretical correction.", "originalReason": "Le Supplément (native 479) prescrit de joindre un bémol au Mi désigné F. Le Mi imprimé original est conservé ici ; cette correction ultérieure reste distincte. — Native source reading; no theoretical correction." }, { "id": "III.25-035-note-2", "blocks": [ "III.25-035" ], "status": "needs-review", "reason": "Second staff, sixth measure: two printed E3s have no clearly readable flat before the notehead. The small sign below the first is provisionally transcribed as barred 5. The text mentions the flat, but no E-flat is added by inference. This follows the native source, without theoretical correction.", "originalReason": "Seconde portée, sixième mesure : deux Mi3 imprimés sans bémol clairement lisible devant la tête ; le petit signe sous le premier est transcrit provisoirement 5 barré. Le texte évoque le bémol, mais aucun Mi♭ n’est ajouté par déduction. — Native source reading; no theoretical correction." }, { "id": "III.25-035-note-3", "blocks": [ "III.25-035" ], "status": "needs-review", "reason": "The small isolated signs read as flats on the second and fourth staves, and the 5 on the fourth staff, remain uncertain in this impression. This follows the native source, without theoretical correction.", "originalReason": "Les petits signes isolés lus b aux deuxième et quatrième portées, et le 5 à la quatrième portée, restent incertains dans cette impression. — Native source reading; no theoretical correction." }, { "id": "III.25-035-note-4", "blocks": [ "III.25-035" ], "status": "needs-review", "reason": "The cue sign at the end of the third staff is read as F♯3. Its body is very faint; the sharp and its position are visible. This follows the native source, without theoretical correction.", "originalReason": "Le guidon de fin de troisième portée est lu Fa♯3 ; son corps est très faible, le dièse et sa position sont visibles. — Native source reading; no theoretical correction." }, { "id": "III.25-041-note-1", "blocks": [ "III.25-041" ], "status": "needs-review", "reason": "The final “could have” is partly obscured by ink; surviving letters support the reading.", "originalReason": "Final « eût pû » partly obscured by ink; reading supported by surviving letters." }, { "id": "III.25-044-note-1", "blocks": [ "III.25-044" ], "status": "needs-review", "reason": "The printed “sharp” is retained; the manuscript replacement above reads “major.”", "originalReason": "Printed « Dieze » retained; manuscript replacement above reads « majeure »." }, { "id": "III.25-063-note-1", "blocks": [ "III.25-063" ], "status": "needs-review", "reason": "The first two divisions concern the dominant; the last two concern the tonic. Leading notes and figures are retained literally. This follows the printed conditional instruction or notation convention.", "originalReason": "Les deux premières divisions regardent la Dominante ; les deux dernières la Tonique. Les notes sensibles et chiffres sont conservés littéralement. — Printed conditional instruction or notation convention." }, { "id": "III.26-005-note-1", "blocks": [ "III.26-005" ], "status": "needs-review", "reason": "The second figure on B2 (A) is read as barred 5; the small bar is faint. This follows the native source, without theoretical correction.", "originalReason": "Le second chiffre sur Si2 (A) est lu 5 barré ; la petite barre est faible. — Native source reading; no theoretical correction." }, { "id": "III.26-005-note-2", "blocks": [ "III.26-005" ], "status": "needs-review", "reason": "Arrows between figures indicate their succession over a single held note, not a simultaneous stack. No rest has been added. This follows the printed conditional instruction or notation convention.", "originalReason": "Les flèches entre chiffres désignent leur succession au-dessus d’une seule note tenue, et non un empilement simultané. Aucune pause ajoutée. — Printed conditional instruction or notation convention." }, { "id": "III.27-005-note-1", "blocks": [ "III.27-005" ], "status": "needs-review", "reason": "The lines below D–F–B and F–A–F group inversions of the same chords; they are not duration ties. This follows the printed conditional instruction or notation convention.", "originalReason": "Les traits sous Ré–Fa–Si et Fa–La–Fa groupent les mêmes accords renversés ; ce ne sont pas des liaisons de durée. — Printed conditional instruction or notation convention." }, { "id": "III.27-006-note-1", "blocks": [ "III.27-006" ], "status": "needs-review", "reason": "The chapter-reference numeral and the words “on licenses” are struck through or overwritten in the source. The printed numeral cannot be read reliably; the native detail crop p268-reference.png is retained.", "originalReason": "Chapter-reference numeral and words « des Licences » are struck through/overwritten in source. Printed numeral not reliably legible; native detail crop p268-reference.png retained." }, { "id": "III.27-011-note-1", "blocks": [ "III.27-011" ], "status": "needs-review", "reason": "The 7 at the first cadence on G is placed near the second G (C); its assignment follows the printed position. This follows the native source, without theoretical correction.", "originalReason": "Le 7 à la première cadence de Sol est placé près du second Sol (C) ; cette attribution suit sa position imprimée. — Native source reading; no theoretical correction." }, { "id": "III.27-014-note-1", "blocks": [ "III.27-014" ], "status": "needs-review", "reason": "A small ink patch affects “or of the following note”; surrounding printed letters support the reading.", "originalReason": "Small ink patch in « ou de la Notte suivante »; surrounding printed letters support reading." }, { "id": "III.27-016-note-1", "blocks": [ "III.27-016" ], "status": "needs-review", "reason": "The printed “dominate” is retained; a manuscript correction changes it to “determine.”", "originalReason": "Printed « dominent » retained; manuscript correction changes it to « determinent »." }, { "id": "III.27-016-note-2", "blocks": [ "III.27-016" ], "status": "needs-review", "reason": "The final tiny figure in the reference list is the source’s slashed 5, transcribed descriptively.", "originalReason": "Final tiny figured symbol in reference list is source slashed 5, transcribed descriptively." }, { "id": "III.28-006-note-1", "blocks": [ "III.28-006" ], "status": "needs-review", "reason": "The small A3 cue sign gives another disposition of the final chord in the major-key example: A2–A3 instead of A2–C4. The variant is separate. This follows the printed conditional instruction or notation convention.", "originalReason": "Le petit guidon La3 donne une autre disposition du dernier accord majeur : La2–La3 au lieu de La2–Ut4. La variante est séparée. — Printed conditional instruction or notation convention." }, { "id": "III.28-010-note-1", "blocks": [ "III.28-010" ], "status": "needs-review", "reason": "All five clefs are F clefs on the fourth line. In the upper part of the minor-mode example, C4 has no visible sharp and B3 no visible flat. These printed readings are retained despite C♯3 and B♭2 in the other parts. This follows the native source, without theoretical correction.", "originalReason": "Les cinq clefs sont Fa quatrième ligne. Dans la partie supérieure du mode mineur, Ut4 n’a pas de dièse visible et Si3 n’a pas de bémol visible ; ces lectures imprimées sont conservées malgré Ut♯3 et Si♭2 dans les autres parties. — Native source reading; no theoretical correction." }, { "id": "III.28-014-note-1", "blocks": [ "III.28-014" ], "status": "needs-review", "reason": "All seven printed parts are retained. The text forbids using D as bass and prescribes omissions or changes when other parts serve as bass. Since the new sounds are not printed, no transposition or correction is invented. The 5 and then 6 are successive figures. This follows the printed conditional instruction or notation convention.", "originalReason": "Les sept parties imprimées sont conservées. Le texte interdit D comme basse et prescrit des retranchements ou changements lorsque d’autres parties servent de basse. Les nouveaux sons n’étant pas imprimés, aucune transposition ou correction n’est inventée. Les 5 puis 6 sont des chiffres successifs. — Printed conditional instruction or notation convention." }, { "id": "III.29-014-note-1", "blocks": [ "III.29-014" ], "status": "needs-review", "reason": "The ledger-line E2 and natural cancellation on G3 were independently confirmed against the native source. The faint second upper D5 and final bass D2 remain candidate readings. Inspect the native source crop.", "originalReason": "Ledger E2 and natural cancellation on G3 independently confirmed by root against native source; pale upper second D5 and final bass D2 remain candidates. — Native-source reading; inspect source crop." }, { "id": "III.29-018-note-1", "blocks": [ "III.29-018" ], "status": "needs-review", "reason": "Four printed alternatives are separated by double bars. These are separate examples, not a prescribed harmonic sequence. The faint bass F3 candidate readings are retained. Inspect the native source crop.", "originalReason": "Four printed alternatives separated by double bars; separate examples, not consecutive harmonic prescription. Pale bass F3 candidates retained. — Native-source reading; inspect source crop." }, { "id": "III.30-010-note-1", "blocks": [ "III.30-010" ], "status": "needs-review", "reason": "The source forbids the supposition bass and a lower fundamental bass from sounding together at the ninth and augmented-fifth columns. Primary and alternative playback separate those basses. Several faint inner upper noteheads are literal candidate readings, without harmonic correction. The last system has independent half-note and whole-note durations. Inspect the native source crop.", "originalReason": "Source forbids the supposition bass and a lower fundamental sounding together at ninth/augmented-fifth columns. Primary and alternative playback must separate those basses. Several pale upper inner heads are literal candidates, not harmony-corrected. Last system has independent half/whole durations. — Native-source reading; inspect source crop." }, { "id": "III.30-010-note-2", "blocks": [ "III.30-010" ], "status": "needs-review", "reason": "The main version plays the printed upper parts with the continuo bass. The selectable fundamental-bass version replaces the continuo, keeping the two incompatible low basses apart. The full source image retains all printed staves. Inspect the native source crop.", "originalReason": "Primary sounds the printed upper parts with Basse-Continuë. Selectable fundamental version replaces the continuo, so the two incompatible low basses do not sound together. Full source image retains all printed staves. — Native-source reading; inspect source crop." }, { "id": "III.30-010-note-3", "blocks": [ "III.30-010" ], "status": "needs-review", "reason": "The final single printed upper sonority spans two bass columns. A hidden tied continuation sustains it without another attack; this playback normalization is disclosed. Inspect the native source crop.", "originalReason": "The final single printed upper sonority spans two bass columns. Hidden tied continuation sustains it without a second attack; this listening normalization is explicit. — Native-source reading; inspect source crop." }, { "id": "III.30-011-note-1", "blocks": [ "III.30-011" ], "status": "needs-review", "reason": "The word after “fifths” is overwritten by hand; “augmented” follows the surviving ink and the named 5-sharp chord.", "originalReason": "Word following Quintes overwritten by hand; superfluës follows surviving ink and named 5-sharp accord." }, { "id": "III.30-016-note-1", "blocks": [ "III.30-016" ], "status": "needs-review", "reason": "The final highest upper notehead is read as E5, unusually close to the F5 line. This source-position candidate is retained without harmonic repair. Diagonal progression lines are voice-leading indications, not ties. Inspect the native source crop.", "originalReason": "Final upper top head reads E5, unusually close to F5 line; source-position candidate retained without harmonic repair. Diagonal progression strokes are editorial voice-leading indications, not ties. — Native-source reading; inspect source crop." }, { "id": "III.30-020-note-1", "blocks": [ "III.30-020" ], "status": "needs-review", "reason": "The printed phrase “although the seventh … heteroclite” is crossed out by hand; the printed wording is retained.", "originalReason": "Printed phrase bien que la Septiéme … heteroclite crossed through by hand; printed wording retained." }, { "id": "III.30-023-note-1", "blocks": [ "III.30-023" ], "status": "needs-review", "reason": "The faint lower heads of the third and fourth upper chords follow the G4 line. The fundamental bass is analytical; the alternative playback omits the continuo at the suspension columns. Inspect the native source crop.", "originalReason": "Printed pale third/fourth upper low heads follow G4 line. Fundamental bass is analytical; playback alternative omitting continuo required at the suspension columns. — Native-source reading; inspect source crop." }, { "id": "III.30-023-note-2", "blocks": [ "III.30-023" ], "status": "needs-review", "reason": "The main version plays the printed upper parts with the continuo bass. The selectable fundamental-bass version replaces the continuo, keeping the two incompatible low basses apart. The full source image retains all printed staves. Inspect the native source crop.", "originalReason": "Primary sounds the printed upper parts with Basse-Continuë. Selectable fundamental version replaces the continuo, so the two incompatible low basses do not sound together. Full source image retains all printed staves. — Native-source reading; inspect source crop." }, { "id": "III.31-003-note-1", "blocks": [ "III.31-003" ], "status": "needs-review", "reason": "Solfège labels above the numerical series are transcribed inline in square brackets.", "originalReason": "Solfège labels above the numerical series transcribed inline in square brackets." }, { "id": "III.31-008-note-1", "blocks": [ "III.31-008" ], "status": "needs-review", "reason": "The upper B4 in the fourth column follows the third staff line. Its adjacent sharp figures a major third; it is not an accidental on C5. The final open noteheads, especially E5, require targeted review. These candidate pitches are disclosed rather than corrected according to expected harmony. Printed curved resolution marks between different pitches are not same-pitch ties. Inspect the native source crop.", "originalReason": "Upper fourth-column B4 follows the third staff line; its adjacent sharp is a figured major third, not an accidental on C5. Final open heads, especially E5, require targeted audit. These candidate pitches are exposed rather than corrected from expected harmony. Printed curved different-pitch resolution marks are not same-pitch ties. — Native-source reading; inspect source crop." }, { "id": "III.31-008-note-2", "blocks": [ "III.31-008" ], "status": "needs-review", "reason": "The main version plays the printed upper parts with the continuo bass. The selectable fundamental-bass version replaces the continuo, keeping the two incompatible low basses apart. The full source image retains all printed staves. Inspect the native source crop.", "originalReason": "Primary sounds the printed upper parts with Basse-Continuë. Selectable fundamental version replaces the continuo, so the two incompatible low basses do not sound together. Full source image retains all printed staves. — Native-source reading; inspect source crop." }, { "id": "III.31-013-note-1", "blocks": [ "III.31-013" ], "status": "needs-review", "reason": "Independent inner voices are preserved: a G3 whole note beneath successive G4 and F4 half notes in the fourth bar. Chord notes have not been normalized to equal durations. Native line grids p280-top and p280-second record readings relative to the clefs. Inspect the native source crop.", "originalReason": "Independent interior voices preserved: G3 whole under successive G4/F4 halves in fourth bar. No equal-duration chord normalization. Native line grids p280-top and p280-second record clef-relative readings. — Native-source reading; inspect source crop." }, { "id": "III.31-013-note-2", "blocks": [ "III.31-013" ], "status": "needs-review", "reason": "The main version plays the printed upper parts with the continuo bass. The selectable fundamental-bass version replaces the continuo, keeping the two incompatible low basses apart. The full source image retains all printed staves. Inspect the native source crop.", "originalReason": "Primary sounds the printed upper parts with Basse-Continuë. Selectable fundamental version replaces the continuo, so the two incompatible low basses do not sound together. Full source image retains all printed staves. — Native-source reading; inspect source crop." }, { "id": "III.31-014-note-1", "blocks": [ "III.31-014" ], "status": "needs-review", "reason": "Bracketed pairs preserve the vertical figures in top-to-bottom order; the slash is an editorial separator for stacked figures.", "originalReason": "Square-bracketed pairs preserve vertical figures in top/bottom order; slash is editorial stacking separator." }, { "id": "III.32-005-note-1", "blocks": [ "III.32-005" ], "status": "needs-review", "reason": "Both diagrams literally print 7-sharp. The right caption identifies an eleventh chord, and its solfège C has no sharp; C3 remains natural there. The left C-sharp follows the printed 7-sharp figure. This source discrepancy is disclosed. Inspect the native source crop.", "originalReason": "Both diagrams literally print 7-sharp. Right caption identifies Onziéme and solfège ut carries no sharp; natural C3 retained there. Left C-sharp follows printed 7-sharp figure. Source discrepancy disclosed. — Native-source reading; inspect source crop." }, { "id": "III.32-005-note-2", "blocks": [ "III.32-005" ], "status": "needs-review", "reason": "The Supplement, native PDF page 479, explicitly directs adding a sharp before C and after the solfège “ut” in the first diagram, and removing the sharp from 7 in the second. Original diagram figures are retained here; the separately corrected Supplement version remains distinct. Inspect the native source crop.", "originalReason": "Supplement native479 explicitly directs adding a sharp before Ut and after solfège ut in first diagram, and removing sharp from 7 in second. Original diagram figures retained here; root assembles separately corrected supplement version. — Native-source reading; inspect source crop." }, { "id": "III.32-006-note-1", "blocks": [ "III.32-006" ], "status": "needs-review", "reason": "Both diagrams literally print 7-sharp. The right caption identifies an eleventh chord, and its solfège C has no sharp; C3 remains natural there. The left C-sharp follows the printed 7-sharp figure. This source discrepancy is disclosed. Inspect the native source crop.", "originalReason": "Both diagrams literally print 7-sharp. Right caption identifies Onziéme and solfège ut carries no sharp; natural C3 retained there. Left C-sharp follows printed 7-sharp figure. Source discrepancy disclosed. — Native-source reading; inspect source crop." }, { "id": "III.32-006-note-2", "blocks": [ "III.32-006" ], "status": "needs-review", "reason": "The Supplement, native PDF page 479, explicitly directs adding a sharp before C and after the solfège “ut” in the first diagram, and removing the sharp from 7 in the second. Original diagram figures are retained here; the separately corrected Supplement version remains distinct. Inspect the native source crop.", "originalReason": "Supplement native479 explicitly directs adding a sharp before Ut and after solfège ut in first diagram, and removing sharp from 7 in second. Original diagram figures retained here; root assembles separately corrected supplement version. — Native-source reading; inspect source crop." }, { "id": "III.32-007-note-1", "blocks": [ "III.32-007" ], "status": "needs-review", "reason": "The handwritten reference is abbreviated; the final abbreviation is slightly unclear.", "originalReason": "Abbreviated handwritten reference; final abbreviation slightly unclear." }, { "id": "III.32-010-note-1", "blocks": [ "III.32-010" ], "status": "needs-review", "reason": "Diagonal A/B lines mark suspensions resolving to different pitches, not same-pitch ties. The analytical bass cannot sound below the supposition bass in the middle column; listening variants separate them. Inspect the native source crop.", "originalReason": "Diagonal A/B lines mark suspensions resolving to different pitches, not same-pitch ties. Analytical bass cannot sound below the supposition bass at middle column; provide listening variants. — Native-source reading; inspect source crop." }, { "id": "III.32-010-note-2", "blocks": [ "III.32-010" ], "status": "needs-review", "reason": "The main version plays the printed upper parts with the continuo bass. The selectable fundamental-bass version replaces the continuo, keeping the two incompatible low basses apart. The full source image retains all printed staves. Inspect the native source crop.", "originalReason": "Primary sounds the printed upper parts with Basse-Continuë. Selectable fundamental version replaces the continuo, so the two incompatible low basses do not sound together. Full source image retains all printed staves. — Native-source reading; inspect source crop." }, { "id": "III.32-011-note-1", "blocks": [ "III.32-011" ], "status": "needs-review", "reason": "The printed diagonal graphic is represented by an explanatory phrase in brackets.", "originalReason": "Printed diagonal graphic represented by explanatory bracketed phrase." }, { "id": "III.32-014-note-1", "blocks": [ "III.32-014" ], "status": "needs-review", "reason": "The small wavy C5 cue signs are silent. Printed natural and flat cancellations retain pitches read literally from the glyphs. Inspect the native source crop.", "originalReason": "Small wavy C5 guidons are silent. Printed natural/flat cancellations retain literal glyph-derived pitches. — Native-source reading; inspect source crop." }, { "id": "III.32-014-note-2", "blocks": [ "III.32-014" ], "status": "needs-review", "reason": "The main version plays the printed upper parts with the continuo bass. The selectable fundamental-bass version replaces the continuo, keeping the two incompatible low basses apart. The full source image retains all printed staves. Inspect the native source crop.", "originalReason": "Primary sounds the printed upper parts with Basse-Continuë. Selectable fundamental version replaces the continuo, so the two incompatible low basses do not sound together. Full source image retains all printed staves. — Native-source reading; inspect source crop." }, { "id": "III.32-015-note-1", "blocks": [ "III.32-015" ], "status": "needs-review", "reason": "The isolated wavy guide before the clef at the far left of the continuo is silent and retained in the source crop. Its pitch remains unresolved rather than guessed. Inspect the native source crop.", "originalReason": "Standalone pre-clef wavy guide at far left of continuo is silent and retained in source crop; its pitch is unresolved rather than guessed. — Native-source reading; inspect source crop." }, { "id": "III.32-015-note-2", "blocks": [ "III.32-015" ], "status": "needs-review", "reason": "The main version plays the printed upper parts with the continuo bass. The selectable fundamental-bass version replaces the continuo, keeping the two incompatible low basses apart. The full source image retains all printed staves. Inspect the native source crop.", "originalReason": "Primary sounds the printed upper parts with Basse-Continuë. Selectable fundamental version replaces the continuo, so the two incompatible low basses do not sound together. Full source image retains all printed staves. — Native-source reading; inspect source crop." }, { "id": "III.32-016-note-1", "blocks": [ "III.32-016" ], "status": "needs-review", "reason": "“Deuxiéme” is corrected by hand to “Seconde” (both mean “second”); “Cinquiéme” (“fifth”) is crossed out. The printed wording is retained.", "originalReason": "Deuxiéme corrected by hand to Seconde; Cinquiéme crossed through. Printed wording retained." }, { "id": "III.33-011-note-1", "blocks": [ "III.33-011" ], "status": "needs-review", "reason": "The four upper parts form the main version. The printed supposition basses F and G are separate selectable alternatives and never sound together. The third staff on the left uses an F clef on line 3; the third on the right has an extended upper ledger line and an ordinary F4 clef. Both read E4→D4. Inspect the native source crop.", "originalReason": "Four upper parts are primary. Printed F and G supposition basses are separate selectable alternatives, never simultaneous. Third left staff uses F clef on line3; third right has extended upper ledger and ordinary F4 clef, both read E4→D4. — Native-source reading; inspect source crop." }, { "id": "III.33-012-note-1", "blocks": [ "III.33-012" ], "status": "needs-review", "reason": "The four upper parts form the main version. The printed supposition basses F and G are separate selectable alternatives and never sound together. The third staff on the left uses an F clef on line 3; the third on the right has an extended upper ledger line and an ordinary F4 clef. Both read E4→D4. Inspect the native source crop.", "originalReason": "Four upper parts are primary. Printed F and G supposition basses are separate selectable alternatives, never simultaneous. Third left staff uses F clef on line3; third right has extended upper ledger and ordinary F4 clef, both read E4→D4. — Native-source reading; inspect source crop." }, { "id": "III.33-017-note-1", "blocks": [ "III.33-017" ], "status": "needs-review", "reason": "An ink blemish follows reference B; no further printed word is inferred.", "originalReason": "Ink blemish after reference B; no additional printed word inferred." }, { "id": "III.33-026-note-1", "blocks": [ "III.33-026" ], "status": "needs-review", "reason": "The independent moving half-note voice above or below the held whole-note chord is preserved with separate voices. Source natural and flat glyphs and open noteheads were reviewed against the staff-line grid. The low G2 in the sixth group is retained literally as an additional printed chord tone. Inspect the native source crop.", "originalReason": "Independent moving half-note voice over/under held whole-note chord preserved with MusicXML voices/backups. Source natural/flat glyphs and open heads audited on line grid; sixth group low G2 retained literally as an additional printed chord tone. — Native-source reading; inspect source crop." }, { "id": "III.33-029-note-1", "blocks": [ "III.33-029" ], "status": "needs-review", "reason": "There are four separate printed alternatives. Curves over stationary voices indicate sustained sounds; whole-note durations are retained. The first final chord C♯3/E3/F3/A3 follows the tight native crop. The other final inner voicings, especially B♭2/A3 in the third group, remain candidates based on source position and require targeted review. Inspect the native source crop.", "originalReason": "Four separate printed alternatives. Curves over stationary voices are sustain indications; whole-note held duration is preserved. First final stack C-sharp3/E3/F3/A3 follows the tight native recrop; remaining final inner voicings, especially third group Bb2/A3, remain source-position candidates requiring targeted audit. — Native-source reading; inspect source crop." }, { "id": "III.34-011-note-1", "blocks": [ "III.34-011" ], "status": "needs-review", "reason": "Native line grids document all five historical F4 staves. The initial source 2 is retained as text, without an inferred denominator. Descending B-natural→B-flat and F-sharp→F-natural/E-flat are retained. The fundamental bass sounds in this main theoretical example; the source allows each upper part to serve as bass when the fundamental is removed. Inspect the native source crop.", "originalReason": "Native line grids document all five historical F4 staves. Initial source 2 retained as text, without inferred denominator. Descending B-natural→B-flat and F-sharp→F-natural/E-flat are retained. Fundamental bass sounds in this primary theoretical example; source permits each upper part to serve as bass when fundamental is removed. — Native-source reading; inspect source crop." }, { "id": "III.34-012-note-1", "blocks": [ "III.34-012" ], "status": "needs-review", "reason": "The final handwritten abbreviation is slightly unclear.", "originalReason": "Final handwritten abbreviation slightly unclear." }, { "id": "III.34-014-note-1", "blocks": [ "III.34-014" ], "status": "needs-review", "reason": "[6/5] represents vertically stacked figures, in top-to-bottom order.", "originalReason": "[6/5] represents vertically stacked figures, top/bottom." }, { "id": "III.34-017-note-1", "blocks": [ "III.34-017" ], "status": "needs-review", "reason": "The inner C clef is on the fourth line; the first note is A3. Both printed pedal octaves D2/D3 are retained. Natural signs distinguish F-sharp/F-natural and C-sharp/C-natural. Curved same-pitch ties are retained; no continuous pedal tie is invented where the source repeats noteheads. Inspect the native source crop.", "originalReason": "Interior C clef on fourth line; first A3. Both printed pedal octaves D2/D3 retained. Natural cancellations distinguish F-sharp/F-natural and C-sharp/C-natural. Curved same-pitch ties retained; no continuous pedal tie invented where source repeats heads. — Native-source reading; inspect source crop." }, { "id": "III.34-019-note-1", "blocks": [ "III.34-019" ], "status": "needs-review", "reason": "The chapter number after XXX is overwritten or struck out; a manuscript note in the margin gives page 274. The legible printed XXX is retained without inferring a final character.", "originalReason": "Chapter number after XXX overwritten/struck; marginal manuscript page 274. Printed legible XXX retained without inferred final character." }, { "id": "III.34-025-note-1", "blocks": [ "III.34-025" ], "status": "needs-review", "reason": "The A2 at B is silent while C borrows its foundation, following the printed explanation. It remains as a silent cue beside the printed alternative F3. This reading of a vertical alternative needs targeted review. Initial resting measures retain one visible rest plus hidden continuation rather than duplicating printed rests. Native line grids document all five parts; no numerical meter is inserted. Inspect the native source crop.", "originalReason": "B A2 excluded from sounding while C borrows its foundation, per printed explanation; retained as silent cue beside printed alternative F3. This vertical alternative reading needs targeted review. Initial resting measures retain one visible rest plus hidden continuation rather than duplicate printed rests. Native line grids document all five parts; no numeric meter inserted. — Native-source reading; inspect source crop." }, { "id": "III.34-032-note-1", "blocks": [ "III.34-032" ], "status": "needs-review", "reason": "Both sets of figures on the two-voice upper staff are retained: upper-voice figures as figured bass, lower-voice figures as explicitly labeled text, so their meanings are not merged. The tiny final F4 glyph on the C1 staff is retained as a silent cue pending confirmation. Asymmetric open noteheads around the first upper A5/G-sharp region remain candidates for review; there is no theoretical revoicing. Inspect the native source crop.", "originalReason": "Both sets of figures on the double-voice upper staff retained: upper as figured bass, lower as explicit labelled text to avoid merging their meaning. Tiny terminal F4 glyph on C1 staff is retained silently as a cue pending confirmation. Source asymmetric open heads around first upper A5/G-sharp region remain review candidates; no theoretical revoicing. — Native-source reading; inspect source crop." }, { "id": "III.34-032-note-2", "blocks": [ "III.34-032" ], "status": "needs-review", "reason": "The main version plays the printed upper parts with the continuo bass. The selectable fundamental-bass version replaces the continuo, keeping the two incompatible low basses apart. The full source image retains all printed staves. Inspect the native source crop.", "originalReason": "Primary sounds the printed upper parts with Basse-Continuë. Selectable fundamental version replaces the continuo, so the two incompatible low basses do not sound together. Full source image retains all printed staves. — Native-source reading; inspect source crop." }, { "id": "III.34-032-note-3", "blocks": [ "III.34-032" ], "status": "needs-review", "reason": "For readability, the lower voice’s source figures appear as compact numbers above the upper staff. The upper voice’s figures remain below as figured bass. This relocation is disclosed; the two sets are not merged. Inspect the native source crop.", "originalReason": "For readable engraving, lower-voice source figures are compact numerals above the upper staff; upper-voice figures remain encoded below as figured bass. This is a documented relocation, not a merger of the two sets. — Native-source reading; inspect source crop." }, { "id": "III.34-032-note-4", "blocks": [ "III.34-032" ], "status": "needs-review", "reason": "Compact upper text uses #, b, and n for sharp, flat, and natural because the preview font lacks the corresponding musical glyphs. The downloadable notation retains standard figured-bass accidentals. Inspect the native source crop.", "originalReason": "Compact upper text uses ASCII #, b and n for sharp, flat and natural because the preview text font lacks the corresponding Unicode glyphs; the MusicXML figured-bass accidentals remain standard musical elements. — Native-source reading; inspect source crop." }, { "id": "III.34-034-note-1", "blocks": [ "III.34-034" ], "status": "needs-review", "reason": "This paragraph and the following two are crossed out by hand; the printed text is retained.", "originalReason": "This paragraph and the following two crossed through by hand; printed text retained." }, { "id": "III.35-007-note-1", "blocks": [ "III.35-007" ], "status": "needs-review", "reason": "Ink blemishes affect several words; the legible printed wording is retained.", "originalReason": "Ink blemishes across several words; legible printed wording retained." }, { "id": "III.35-013-note-1", "blocks": [ "III.35-013" ], "status": "needs-review", "reason": "The F clef is on the third line. The worn third and fourth sonorities are retained as literal candidate readings; no missing chord member is invented. A and B mark key changes. Inspect the native source crop.", "originalReason": "F clef on third line. Worn third/fourth sonorities retained as literal candidates; no missing chord member invented. A and B are Ton-change labels. — Native-source reading; inspect source crop." }, { "id": "III.35-030-note-1", "blocks": [ "III.35-030" ], "status": "needs-review", "reason": "The printed “cinquiéme” is corrected by hand to “Quinte” (both mean “fifth”); the printed wording is retained.", "originalReason": "Printed cinquiéme corrected by hand to Quinte; printed wording retained." }, { "id": "III.35-049-note-1", "blocks": [ "III.35-049" ], "status": "needs-review", "reason": "Chapter numbers are crossed out; handwritten insertions read “all the” and “where meter is discussed.” The printed wording is retained.", "originalReason": "Chapter numbers crossed through; handwritten insertion tous les and où il est parlé de la mesure. Printed wording retained." }, { "id": "III.35-055-note-1", "blocks": [ "III.35-055" ], "status": "needs-review", "reason": "A schematic dashed division in the source passes through a long note. Its literal half-note duration is retained, with the division described above the note. By modern metric accounting these examples have incomplete or extended measures; no padding or duration repair is added. The bare 2, 4, and 3 remain as headings, with conventional denominators only. Inspect the native source crop.", "originalReason": "Schematic source dashed division passes through a long note; literal half-note duration retained, division described above note. Examples are incomplete/extended bars by modern metric accounting; no padding or duration repair. Bare 2/4/3 retained as headings with conventional denominators only. — Native-source reading; inspect source crop." }, { "id": "III.35-056-note-1", "blocks": [ "III.35-056" ], "status": "needs-review", "reason": "Printed curved tie signs are represented by bracketed descriptions.", "originalReason": "Printed curved tie signs represented by bracketed descriptions." }, { "id": "III.35-058-note-1", "blocks": [ "III.35-058" ], "status": "needs-review", "reason": "All printed same-pitch arcs are encoded as ties. The final example in 3 ends with an incomplete two-eighth-note fragment; no padding is added. Inspect the native source crop.", "originalReason": "All printed same-pitch arcs encoded as ties. Last 3-time example ends with an incomplete two-eighth fragment; no padding. — Native-source reading; inspect source crop." }, { "id": "III.35-061-note-1", "blocks": [ "III.35-061" ], "status": "needs-review", "reason": "No opening meter is printed. The first two examples retain literal eighth-rest/note syncopations. The final wavy guide resembling G5 remains in the source crop pending an exact pitch review and never sounds. Inspect the native source crop.", "originalReason": "No opening meter printed. Initial two examples contain literal eighth-rest/note syncopations. Terminal wavy G5-like guide retained in source crop pending exact pitch audit; never sounded. — Native-source reading; inspect source crop." }, { "id": "III.35-065-note-1", "blocks": [ "III.35-065" ], "status": "needs-review", "reason": "The native enlargement p297b-flags.png distinguishes a dotted C5 eighth note followed by a sixteenth with two flag caps. Incomplete final measures are retained without invented rests. Inspect the native source crop.", "originalReason": "Native enlarged p297b-flags.png distinguishes dotted C5 eighth followed by two-cap sixteenth. Partial terminal bars retained without rests invented. — Native-source reading; inspect source crop." }, { "id": "III.35-069-note-1", "blocks": [ "III.35-069" ], "status": "needs-review", "reason": "The source’s C5 quarter note and D5 half note cross a barline drawn through the notehead. They are encoded as shorter notes tied across the barline, with identical total duration; the source crop preserves the unsplit glyph. In the first system’s second measure, the literal dotted F5 quarter, three flagged eighths, and incoming C5 eighth total 3.5 beats against 4 in the bass. This half-beat-short source candidate is retained without repair. The fourth measure’s F-sharp is an unflagged quarter. The final dotted D5 eighth/C5 sixteenth was confirmed by a separate source enlargement. The plus ornament remains as text without an invented realization. The source system break divides the fifth measure, which is joined in the modern score. Inspect the native source crop.", "originalReason": "Source quarter C5 and half D5 cross a bar drawn through the head. Encoded as tied shorter values across the bar, with identical total duration; source crop preserves unsplit glyph. First system bar2 upper literal dotted F5 quarter plus three flagged eighths and incoming C5 eighth totals3.5 against bass4; retained as a half-beat short source candidate, not repaired. Bar4 F-sharp is unflagged quarter. Last D5 dotted eighth/C5 sixteenth confirmed by separate source enlargement. Plus ornament retained as text, without invented realization. Source system break splits fifth bar; joined in modern score. — Native-source reading; inspect source crop." }, { "id": "III.36-012-note-1", "blocks": [ "III.36-012" ], "status": "needs-review", "reason": "Clefs, pitches, durations, and notehead families follow the facsimile reading. Chord figures may appear below the staff. Cue signs are small silent notes; ornament crosses remain visible without an added realization. Engraving is normalized: no numerical tempo or time-signature denominator absent from the source is invented.", "originalReason": "Les clefs, hauteurs, valeurs et familles de têtes suivent la lecture du fac-similé. Les chiffres d’Accord peuvent être gravés au-dessous de la portée. Les Guidons sont de petites notes muettes ; les croix d’agrément restent visibles sans réalisation ajoutée. — Normalisation de gravure : aucun tempo numérique ni dénominateur de mesure absent de la source n’est inventé." }, { "id": "III.36-012-note-2", "blocks": [ "III.36-012" ], "status": "needs-review", "reason": "The cells are independent comparisons. The last is labeled “Doubtful.” Examples A and B are identified as in the source. The eleven pairs do not form a continuous melody.", "originalReason": "Les cellules sont des comparaisons autonomes. La dernière porte « Douteuse. » ; les exemples A et B sont identifiés comme dans la source. — Les onze paires ne constituent pas une mélodie continue." }, { "id": "III.36-025-note-1", "blocks": [ "III.36-025" ], "status": "needs-review", "reason": "Clefs, pitches, durations, and notehead families follow the facsimile reading. Chord figures may appear below the staff. Cue signs are small silent notes; ornament crosses remain visible without an added realization. Engraving is normalized: no numerical tempo or time-signature denominator absent from the source is invented.", "originalReason": "Les clefs, hauteurs, valeurs et familles de têtes suivent la lecture du fac-similé. Les chiffres d’Accord peuvent être gravés au-dessous de la portée. Les Guidons sont de petites notes muettes ; les croix d’agrément restent visibles sans réalisation ajoutée. — Normalisation de gravure : aucun tempo numérique ni dénominateur de mesure absent de la source n’est inventé." }, { "id": "III.36-025-note-2", "blocks": [ "III.36-025" ], "status": "needs-review", "reason": "Cue signs in groups A and B offer different chords: tritone or great sixth. The small notes remain silent and do not form a new chord combining every alternative. The text explicitly forbids using the two chords simultaneously.", "originalReason": "Les Guidons des groupes A et B offrent des Accords différents : Tri-Ton ou grande Sixte. Les petites notes restent muettes et ne sont pas un nouvel Accord cumulant toutes les alternatives. — Le texte exclut explicitement l’emploi simultané des deux Accords." }, { "id": "III.37-006-note-1", "blocks": [ "III.37-006" ], "status": "needs-review", "reason": "Clefs, pitches, durations, and notehead families follow the facsimile reading. Chord figures may appear below the staff. Cue signs are small silent notes; ornament crosses remain visible without an added realization. Engraving is normalized: no numerical tempo or time-signature denominator absent from the source is invented.", "originalReason": "Les clefs, hauteurs, valeurs et familles de têtes suivent la lecture du fac-similé. Les chiffres d’Accord peuvent être gravés au-dessous de la portée. Les Guidons sont de petites notes muettes ; les croix d’agrément restent visibles sans réalisation ajoutée. — Normalisation de gravure : aucun tempo numérique ni dénominateur de mesure absent de la source n’est inventé." }, { "id": "III.37-006-note-2", "blocks": [ "III.37-006" ], "status": "needs-review", "reason": "The first two signs on bass B3 are encoded as flats (B♭3), a candidate reading of the small historical characters. Their compact impression warrants a second reading. The four cells retain A, B, and “or.” The printed shape provides the evidence; the major/minor contrast alone is not used to repair a pitch.", "originalReason": "Les deux premiers signes sur Si3 à la Basse sont encodés B-mol (Si♭3), lecture candidate des petits caractères historiques ; leur empreinte compacte mérite une seconde lecture. Les quatre cellules conservent les repères A, B et « ou ». — La forme imprimée constitue la preuve ; le contraste majeur/mineur n’est pas utilisé seul pour réparer une hauteur." }, { "id": "III.38-006-note-1", "blocks": [ "III.38-006" ], "status": "needs-review", "reason": "Clefs, pitches, durations, and notehead families follow the facsimile reading. Chord figures may appear below the staff. Cue signs are small silent notes; ornament crosses remain visible without an added realization. Engraving is normalized: no numerical tempo or time-signature denominator absent from the source is invented.", "originalReason": "Les clefs, hauteurs, valeurs et familles de têtes suivent la lecture du fac-similé. Les chiffres d’Accord peuvent être gravés au-dessous de la portée. Les Guidons sont de petites notes muettes ; les croix d’agrément restent visibles sans réalisation ajoutée. — Normalisation de gravure : aucun tempo numérique ni dénominateur de mesure absent de la source n’est inventé." }, { "id": "III.38-006-note-2", "blocks": [ "III.38-006" ], "status": "needs-review", "reason": "The compact figures above B2 are barred 5s, identified by comparison with the printed diminished-fifth legend. The D–F line is analytical, not a same-pitch extension. Its diagonal stroke distinguishes barred 5 from a true 8; no pitch is changed.", "originalReason": "Les chiffres compacts au-dessus du Si2 sont des 5 barrés, identifiés par comparaison avec la légende imprimée de la fausse-Quinte. Le trait D–F est analytique, non une prolongation de même hauteur. — Le trait diagonal distingue le 5 barré du véritable chiffre8 ; aucune hauteur modifiée." }, { "id": "III.38-016-note-1", "blocks": [ "III.38-016" ], "status": "needs-review", "reason": "Clefs, pitches, durations, and notehead families follow the facsimile reading. Chord figures may appear below the staff. Cue signs are small silent notes; ornament crosses remain visible without an added realization. Engraving is normalized: no numerical tempo or time-signature denominator absent from the source is invented.", "originalReason": "Les clefs, hauteurs, valeurs et familles de têtes suivent la lecture du fac-similé. Les chiffres d’Accord peuvent être gravés au-dessous de la portée. Les Guidons sont de petites notes muettes ; les croix d’agrément restent visibles sans réalisation ajoutée. — Normalisation de gravure : aucun tempo numérique ni dénominateur de mesure absent de la source n’est inventé." }, { "id": "III.38-016-note-2", "blocks": [ "III.38-016" ], "status": "needs-review", "reason": "The fundamental bass remains visible but silent in the main version and has a separate analytical version. Alternative parts are not silently added to the main ensemble. This compares the continuo or figured bass with its fundamental proof.", "originalReason": "La Basse-fondamentale reste visible mais muette dans la version principale ; elle possède une version d’analyse séparée. Les Parties alternatives ne sont pas ajoutées silencieusement à l’ensemble principal. — Comparaison de Basse-continuë ou figurée avec la preuve fondamentale." }, { "id": "III.38-016-note-3", "blocks": [ "III.38-016" ], "status": "needs-review", "reason": "Second system: F4 after F♯4 and B2 after B♭2 remain encoded as naturals, candidate readings of the printed cancellation signs. Compact slashed figures are corrected to barred 5 after comparison with the diminished-fifth legend. These are direct readings of historical signs, with uncertainty explicitly retained.", "originalReason": "Deuxième système : Fa4 après Fa♯4, et Si2 après Si♭2, restent encodés naturels comme candidats des signes d’annulation imprimés. Les signes compacts barrés sont corrigés en5 barrés après comparaison avec la légende de la fausse-Quinte. — Lecture directe des signes historiques, avec incertitude explicitement conservée." }, { "id": "III.38-016-note-4", "blocks": [ "III.38-016" ], "status": "needs-review", "reason": "The seventh measure of the fundamental bass shows only one whole note where the upper voices show two. Its literal duration is retained without adding a rest or doubling its length. The analytical proof layer is less complete in layout and duration than the composed parts.", "originalReason": "La septième mesure de la Basse fondamentale ne montre qu’une ronde, là où les voix supérieures en montrent deux. Sa valeur littérale est conservée ; aucun silence ni doublement de durée n’est ajouté. — Disposition analytique et durée de la couche de preuve moins complète que celle des Parties composées." }, { "id": "III.39-009-note-1", "blocks": [ "III.39-009" ], "status": "needs-review", "reason": "Clefs, pitches, durations, and notehead families follow the facsimile reading. Chord figures may appear below the staff. Cue signs are small silent notes; ornament crosses remain visible without an added realization. Engraving is normalized: no numerical tempo or time-signature denominator absent from the source is invented.", "originalReason": "Les clefs, hauteurs, valeurs et familles de têtes suivent la lecture du fac-similé. Les chiffres d’Accord peuvent être gravés au-dessous de la portée. Les Guidons sont de petites notes muettes ; les croix d’agrément restent visibles sans réalisation ajoutée. — Normalisation de gravure : aucun tempo numérique ni dénominateur de mesure absent de la source n’est inventé." }, { "id": "III.39-014-note-1", "blocks": [ "III.39-014" ], "status": "needs-review", "reason": "Clefs, pitches, durations, and notehead families follow the facsimile reading. Chord figures may appear below the staff. Cue signs are small silent notes; ornament crosses remain visible without an added realization. Engraving is normalized: no numerical tempo or time-signature denominator absent from the source is invented.", "originalReason": "Les clefs, hauteurs, valeurs et familles de têtes suivent la lecture du fac-similé. Les chiffres d’Accord peuvent être gravés au-dessous de la portée. Les Guidons sont de petites notes muettes ; les croix d’agrément restent visibles sans réalisation ajoutée. — Normalisation de gravure : aucun tempo numérique ni dénominateur de mesure absent de la source n’est inventé." }, { "id": "III.39-014-note-2", "blocks": [ "III.39-014" ], "status": "needs-review", "reason": "The fundamental bass remains visible but silent in the main version and has a separate analytical version. Alternative parts are not silently added to the main ensemble. This compares the continuo or figured bass with its fundamental proof.", "originalReason": "La Basse-fondamentale reste visible mais muette dans la version principale ; elle possède une version d’analyse séparée. Les Parties alternatives ne sont pas ajoutées silencieusement à l’ensemble principal. — Comparaison de Basse-continuë ou figurée avec la preuve fondamentale." }, { "id": "III.39-014-note-3", "blocks": [ "III.39-014" ], "status": "needs-review", "reason": "Interval figures printed below the figured bass remain separate from chord figures, as small numbers below the staff. The cue-sign version replaces the relevant upper notes for comparison with both basses. The text explicitly requires the two number series to be distinguished.", "originalReason": "Les chiffres d’Intervale imprimés sous la Basse figurée sont conservés séparément des chiffres d’Accord, en petits nombres sous la portée. La version aux Guidons remplace les notes concernées du Dessus pour la comparaison avec les deux Basses. — Différenciation des deux séries de nombres demandée explicitement par le texte." }, { "id": "III.39-015-note-1", "blocks": [ "III.39-015" ], "status": "needs-review", "reason": "The printed word “below” is overwritten by hand; the original text is retained. A marginal annotation reads “see the Supplement.”", "originalReason": "Le mot imprimé au-dessous est surchargé à la main ; lecture du texte original conservée. Annotation marginale : « voyez le suppl. »." }, { "id": "III.39-016-note-1", "blocks": [ "III.39-016" ], "status": "needs-review", "reason": "The printed “even” is crossed out; “and especially” is handwritten above it. The original text is retained.", "originalReason": "« même » imprimé est rayé ; annotation manuscrite « et surtout » au-dessus. Texte original conservé." }, { "id": "III.39-023-note-1", "blocks": [ "III.39-023" ], "status": "needs-review", "reason": "Clefs, pitches, durations, and notehead families follow the facsimile reading. Chord figures may appear below the staff. Cue signs are small silent notes; ornament crosses remain visible without an added realization. Engraving is normalized: no numerical tempo or time-signature denominator absent from the source is invented.", "originalReason": "Les clefs, hauteurs, valeurs et familles de têtes suivent la lecture du fac-similé. Les chiffres d’Accord peuvent être gravés au-dessous de la portée. Les Guidons sont de petites notes muettes ; les croix d’agrément restent visibles sans réalisation ajoutée. — Normalisation de gravure : aucun tempo numérique ni dénominateur de mesure absent de la source n’est inventé." }, { "id": "III.39-035-note-1", "blocks": [ "III.39-035" ], "status": "needs-review", "reason": "Clefs, pitches, durations, and notehead families follow the facsimile reading. Chord figures may appear below the staff. Cue signs are small silent notes; ornament crosses remain visible without an added realization. Engraving is normalized: no numerical tempo or time-signature denominator absent from the source is invented.", "originalReason": "Les clefs, hauteurs, valeurs et familles de têtes suivent la lecture du fac-similé. Les chiffres d’Accord peuvent être gravés au-dessous de la portée. Les Guidons sont de petites notes muettes ; les croix d’agrément restent visibles sans réalisation ajoutée. — Normalisation de gravure : aucun tempo numérique ni dénominateur de mesure absent de la source n’est inventé." }, { "id": "III.39-035-note-2", "blocks": [ "III.39-035" ], "status": "needs-review", "reason": "Second system, third measure (measure 8 in this transcription): the small rest and crowded upper stems around E5–F5–G5 remain uncertain between sixteenths and thirty-seconds. The candidate reading is explicitly played; no duration is added to fill the measure. The flags merge in the native impression, and independent review cannot distinguish them confidently enough.", "originalReason": "Deuxième système, troisième mesure (mesure 8 de cette transcription) : le petit silence et les hampes serrées du Dessus autour de Mi5–Fa5–Sol5 restent incertains entre doubles et triples croches. La lecture candidate est explicitement jouée ; aucune valeur n’est ajoutée pour remplir la mesure. — Les crochets se confondent dans l’empreinte native ; l’audit indépendant ne les distingue pas avec assez de certitude." }, { "id": "III.39-035-note-3", "blocks": [ "III.39-035" ], "status": "needs-review", "reason": "In the same measure 8, the bass is encoded as E3 eighth, C3 sixteenth, D3 sixteenth, E3 eighth, F3 quarter, sixteenth rest, and E3–G3–F3 sixteenths: a literal candidate total of 3½ quarter notes against 4 in the upper part. Alignment remains provisional. The crowded stems require confirmation; the metric total is not used to invent a correction.", "originalReason": "Dans cette même mesure 8, la Basse est encodée Mi3 croche, Ut3 double croche, Ré3 double croche, Mi3 croche, Fa3 noire, quart de soupir, Mi3–Sol3–Fa3 doubles croches : total littéral candidat 3½ noires contre 4 au Dessus. L’alignement de cette mesure reste provisoire. — La lecture des hampes serrées doit être confirmée ; le total métrique n’est pas utilisé pour inventer une correction." }, { "id": "III.39-035-note-4", "blocks": [ "III.39-035" ], "status": "needs-review", "reason": "Printed appoggiaturas remain visible but silent in this playback. The separate faithful engraving preserves the actual small notes before the principal note; the playable version shows silent cue notes at the principal note’s time position. No appoggiatura duration is invented. The separate engraving preserves the printed appoggiaturas; playback omits their sound.", "originalReason": "Les appoggiatures imprimées sont visibles mais muettes dans cette lecture audio. La gravure fidèle séparée conserve les véritables petites notes avant la note principale ; la version jouable les représente par des notes-repères muettes au même emplacement temporel que cette dernière. Aucune durée d’appoggiature n’est inventée. — La gravure séparée conserve les appoggiatures imprimées ; la lecture audio omet leur son." }, { "id": "III.39-035-note-5", "blocks": [ "III.39-035" ], "status": "needs-review", "reason": "The augmentation dot printed after a barline is retained as a tied extension of the preceding note, with an invisible continuation head and text marker. The dot has its written value, half the preceding note; no new attack is created.", "originalReason": "Le point de prolongation imprimé après une barre est conservé comme prolongation liée de la note précédente, avec tête de continuation invisible et repère textuel. — Le point a sa valeur écrite, moitié de la note précédente ; aucune nouvelle attaque n’est créée." }, { "id": "III.39-035-note-6", "blocks": [ "III.39-035" ], "status": "needs-review", "reason": "The second verified impression (BNE, printed page 312) shows some small flags more clearly but does not securely resolve the whole succession. Candidate durations remain marked uncertain. Two copies were compared; no adjustment was made according to the bar total.", "originalReason": "La seconde empreinte vérifiée (BNE, page imprimée 312) montre plus nettement certains petits crochets, mais ne permet pas de résoudre sûrement toute la succession. Les valeurs candidates demeurent signalées comme incertaines. — Comparaison de deux exemplaires ; aucun ajustement par le total de la mesure." }, { "id": "III.40-005-note-1", "blocks": [ "III.40-005" ], "status": "needs-review", "reason": "Clefs, pitches, durations, and notehead families follow the facsimile reading. Chord figures may appear below the staff. Cue signs are small silent notes; ornament crosses remain visible without an added realization. Engraving is normalized: no numerical tempo or time-signature denominator absent from the source is invented.", "originalReason": "Les clefs, hauteurs, valeurs et familles de têtes suivent la lecture du fac-similé. Les chiffres d’Accord peuvent être gravés au-dessous de la portée. Les Guidons sont de petites notes muettes ; les croix d’agrément restent visibles sans réalisation ajoutée. — Normalisation de gravure : aucun tempo numérique ni dénominateur de mesure absent de la source n’est inventé." }, { "id": "III.40-005-note-2", "blocks": [ "III.40-005" ], "status": "needs-review", "reason": "Original captions: A, B, “Perfect cadences in major and minor keys”; C, D, F, G, “Perfect or irregular cadences”; H, J, L, M, “Irregular cadences.” C, D, H, L are marked “Major key”; F, G, J, M, “Minor key.” Captions are abbreviated in the engraving to avoid collisions and retained in full here.", "originalReason": "Légendes originales : A, B, « Cadences parfaites dans les Tons maj. & mineurs. » ; C, D, F, G, « Cadences parfaites, ou irregulieres. » ; H, J, L, M, « Cadences irregulieres. » C, D, H, L sont marqués « Ton majeur. » ; F, G, J, M « Ton mineur. » — Les légendes sont abrégées dans la gravure pour éviter les collisions, et conservées intégralement ici." }, { "id": "III.40-005-note-3", "blocks": [ "III.40-005" ], "status": "needs-review", "reason": "The first notehead in cell A is partly erased. The candidate B4 is retained, followed by C5. Ink remnants lie at the third staff line; a better impression is needed to confirm the reading.", "originalReason": "La première tête de la cellule A est partiellement effacée ; la candidate Si4 est conservée, suivie d’Ut5. — Restes d’encre à l’emplacement de la troisième ligne ; lecture à confirmer sur une meilleure empreinte." }, { "id": "III.40-014-note-1", "blocks": [ "III.40-014" ], "status": "needs-review", "reason": "The printed “Deuxiéme” is overwritten by the handwritten correction “Seconde” (both mean “second”).", "originalReason": "« Deuxiéme » imprimé est surchargé d’une correction manuscrite « Seconde »." }, { "id": "III.40-019-note-1", "blocks": [ "III.40-019" ], "status": "needs-review", "reason": "Clefs, pitches, durations, and notehead families follow the facsimile reading. Chord figures may appear below the staff. Cue signs are small silent notes; ornament crosses remain visible without an added realization. Engraving is normalized: no numerical tempo or time-signature denominator absent from the source is invented.", "originalReason": "Les clefs, hauteurs, valeurs et familles de têtes suivent la lecture du fac-similé. Les chiffres d’Accord peuvent être gravés au-dessous de la portée. Les Guidons sont de petites notes muettes ; les croix d’agrément restent visibles sans réalisation ajoutée. — Normalisation de gravure : aucun tempo numérique ni dénominateur de mesure absent de la source n’est inventé." }, { "id": "III.40-021-note-1", "blocks": [ "III.40-021" ], "status": "needs-review", "reason": "Clefs, pitches, durations, and notehead families follow the facsimile reading. Chord figures may appear below the staff. Cue signs are small silent notes; ornament crosses remain visible without an added realization. Engraving is normalized: no numerical tempo or time-signature denominator absent from the source is invented.", "originalReason": "Les clefs, hauteurs, valeurs et familles de têtes suivent la lecture du fac-similé. Les chiffres d’Accord peuvent être gravés au-dessous de la portée. Les Guidons sont de petites notes muettes ; les croix d’agrément restent visibles sans réalisation ajoutée. — Normalisation de gravure : aucun tempo numérique ni dénominateur de mesure absent de la source n’est inventé." }, { "id": "III.40-027-note-1", "blocks": [ "III.40-027" ], "status": "needs-review", "reason": "Clefs, pitches, durations, and notehead families follow the facsimile reading. Chord figures may appear below the staff. Cue signs are small silent notes; ornament crosses remain visible without an added realization. Engraving is normalized: no numerical tempo or time-signature denominator absent from the source is invented.", "originalReason": "Les clefs, hauteurs, valeurs et familles de têtes suivent la lecture du fac-similé. Les chiffres d’Accord peuvent être gravés au-dessous de la portée. Les Guidons sont de petites notes muettes ; les croix d’agrément restent visibles sans réalisation ajoutée. — Normalisation de gravure : aucun tempo numérique ni dénominateur de mesure absent de la source n’est inventé." }, { "id": "III.40-030-note-1", "blocks": [ "III.40-030" ], "status": "needs-review", "reason": "Clefs, pitches, durations, and notehead families follow the facsimile reading. Chord figures may appear below the staff. Cue signs are small silent notes; ornament crosses remain visible without an added realization. Engraving is normalized: no numerical tempo or time-signature denominator absent from the source is invented.", "originalReason": "Les clefs, hauteurs, valeurs et familles de têtes suivent la lecture du fac-similé. Les chiffres d’Accord peuvent être gravés au-dessous de la portée. Les Guidons sont de petites notes muettes ; les croix d’agrément restent visibles sans réalisation ajoutée. — Normalisation de gravure : aucun tempo numérique ni dénominateur de mesure absent de la source n’est inventé." }, { "id": "III.40-030-note-2", "blocks": [ "III.40-030" ], "status": "needs-review", "reason": "The first upper sign is 3 and the bass sign is 2; this printed difference is preserved. Literal durations and cells A, B, C, D, F, G are not artificially completed. These are independent progression comparisons; meter numbers are not standardized.", "originalReason": "Le premier signe du Dessus est 3, celui de la Basse est 2 ; cette différence imprimée est conservée. Les valeurs littérales et les cellules A, B, C, D, F, G ne sont pas complétées artificiellement. — Comparaison autonome de progressions ; les chiffres de mesure ne sont pas uniformisés." }, { "id": "III.40-031-note-1", "blocks": [ "III.40-031" ], "status": "needs-review", "reason": "The negative “ne” is crossed out in this copy; the printed text is retained and the manuscript correction disclosed.", "originalReason": "« ne » est rayé dans l’exemplaire ; texte imprimé conservé et correction manuscrite signalée." }, { "id": "III.40-035-note-1", "blocks": [ "III.40-035" ], "status": "needs-review", "reason": "Clefs, pitches, durations, and notehead families follow the facsimile reading. Chord figures may appear below the staff. Cue signs are small silent notes; ornament crosses remain visible without an added realization. Engraving is normalized: no numerical tempo or time-signature denominator absent from the source is invented.", "originalReason": "Les clefs, hauteurs, valeurs et familles de têtes suivent la lecture du fac-similé. Les chiffres d’Accord peuvent être gravés au-dessous de la portée. Les Guidons sont de petites notes muettes ; les croix d’agrément restent visibles sans réalisation ajoutée. — Normalisation de gravure : aucun tempo numérique ni dénominateur de mesure absent de la source n’est inventé." }, { "id": "III.40-040-note-1", "blocks": [ "III.40-040" ], "status": "needs-review", "reason": "Clefs, pitches, durations, and notehead families follow the facsimile reading. Chord figures may appear below the staff. Cue signs are small silent notes; ornament crosses remain visible without an added realization. Engraving is normalized: no numerical tempo or time-signature denominator absent from the source is invented.", "originalReason": "Les clefs, hauteurs, valeurs et familles de têtes suivent la lecture du fac-similé. Les chiffres d’Accord peuvent être gravés au-dessous de la portée. Les Guidons sont de petites notes muettes ; les croix d’agrément restent visibles sans réalisation ajoutée. — Normalisation de gravure : aucun tempo numérique ni dénominateur de mesure absent de la source n’est inventé." }, { "id": "III.40-047-note-1", "blocks": [ "III.40-047" ], "status": "needs-review", "reason": "Clefs, pitches, durations, and notehead families follow the facsimile reading. Chord figures may appear below the staff. Cue signs are small silent notes; ornament crosses remain visible without an added realization. Engraving is normalized: no numerical tempo or time-signature denominator absent from the source is invented.", "originalReason": "Les clefs, hauteurs, valeurs et familles de têtes suivent la lecture du fac-similé. Les chiffres d’Accord peuvent être gravés au-dessous de la portée. Les Guidons sont de petites notes muettes ; les croix d’agrément restent visibles sans réalisation ajoutée. — Normalisation de gravure : aucun tempo numérique ni dénominateur de mesure absent de la source n’est inventé." }, { "id": "III.40-047-note-2", "blocks": [ "III.40-047" ], "status": "needs-review", "reason": "The notehead at C, in the upper part’s third group, is badly damaged. Candidate D5 remains explicitly marked in the engraving. Ink remnants surround the second line from the top; the pitch is not presented as fully verified.", "originalReason": "La tête C, au troisième groupe du Dessus, est fortement endommagée. La candidate Ré5 reste explicitement signalée dans la gravure. — Restes d’encre autour de la deuxième ligne depuis le haut ; aucune hauteur n’est présentée comme entièrement vérifiée." }, { "id": "III.40-050-note-1", "blocks": [ "III.40-050" ], "status": "needs-review", "reason": "Clefs, pitches, durations, and notehead families follow the facsimile reading. Chord figures may appear below the staff. Cue signs are small silent notes; ornament crosses remain visible without an added realization. Engraving is normalized: no numerical tempo or time-signature denominator absent from the source is invented.", "originalReason": "Les clefs, hauteurs, valeurs et familles de têtes suivent la lecture du fac-similé. Les chiffres d’Accord peuvent être gravés au-dessous de la portée. Les Guidons sont de petites notes muettes ; les croix d’agrément restent visibles sans réalisation ajoutée. — Normalisation de gravure : aucun tempo numérique ni dénominateur de mesure absent de la source n’est inventé." }, { "id": "III.40-056-note-1", "blocks": [ "III.40-056" ], "status": "needs-review", "reason": "Clefs, pitches, durations, and notehead families follow the facsimile reading. Chord figures may appear below the staff. Cue signs are small silent notes; ornament crosses remain visible without an added realization. Engraving is normalized: no numerical tempo or time-signature denominator absent from the source is invented.", "originalReason": "Les clefs, hauteurs, valeurs et familles de têtes suivent la lecture du fac-similé. Les chiffres d’Accord peuvent être gravés au-dessous de la portée. Les Guidons sont de petites notes muettes ; les croix d’agrément restent visibles sans réalisation ajoutée. — Normalisation de gravure : aucun tempo numérique ni dénominateur de mesure absent de la source n’est inventé." }, { "id": "III.40-056-note-2", "blocks": [ "III.40-056" ], "status": "needs-review", "reason": "Original captions: A, “Perfect cadences in C major”; B, “In A minor”; A, “In C major”; B, “In A minor”; C, “Irregular cadences in C major”; D, “In A minor”; C, “In C major”; D, “In A minor.” The full captions are retained here; the engraving gives letters and key names.", "originalReason": "Légendes originales : A, « Cadences parfaites dans le Ton majeur d’Ut. » ; B, « Dans le Ton mineur de La. » ; A, « Dans le Ton majeur d’Ut. » ; B, « Dans le Ton mineur de La. » ; C, « Cadences irregulieres dans le Ton majeur d’Ut. » ; D, « Dans le Ton mineur de La. » ; C, « Dans le Ton majeur d’Ut. » ; D, « Dans le Ton mineur de La. » — Les légendes longues sont conservées ici ; la gravure donne les lettres et les noms des Tons." }, { "id": "III.41-009-note-1", "blocks": [ "III.41-009" ], "status": "needs-review", "reason": "Clefs, pitches, durations, and notehead families follow the facsimile reading. Chord figures may appear below the staff. Cue signs are small silent notes; ornament crosses remain visible without an added realization. Engraving is normalized: no numerical tempo or time-signature denominator absent from the source is invented.", "originalReason": "Les clefs, hauteurs, valeurs et familles de têtes suivent la lecture du fac-similé. Les chiffres d’Accord peuvent être gravés au-dessous de la portée. Les Guidons sont de petites notes muettes ; les croix d’agrément restent visibles sans réalisation ajoutée. — Normalisation de gravure : aucun tempo numérique ni dénominateur de mesure absent de la source n’est inventé." }, { "id": "III.41-009-note-2", "blocks": [ "III.41-009" ], "status": "needs-review", "reason": "The fundamental bass remains visible but silent in the main version and has a separate analytical version. Alternative parts are not silently added to the main ensemble. This compares the continuo or figured bass with its fundamental proof.", "originalReason": "La Basse-fondamentale reste visible mais muette dans la version principale ; elle possède une version d’analyse séparée. Les Parties alternatives ne sont pas ajoutées silencieusement à l’ensemble principal. — Comparaison de Basse-continuë ou figurée avec la preuve fondamentale." }, { "id": "III.41-009-note-3", "blocks": [ "III.41-009" ], "status": "needs-review", "reason": "Printed appoggiaturas remain visible but silent in this playback. The separate faithful engraving preserves the actual small notes before the principal note; the playable version shows silent cue notes at the principal note’s time position. No appoggiatura duration is invented. The separate engraving preserves the printed appoggiaturas; playback omits their sound.", "originalReason": "Les appoggiatures imprimées sont visibles mais muettes dans cette lecture audio. La gravure fidèle séparée conserve les véritables petites notes avant la note principale ; la version jouable les représente par des notes-repères muettes au même emplacement temporel que cette dernière. Aucune durée d’appoggiature n’est inventée. — La gravure séparée conserve les appoggiatures imprimées ; la lecture audio omet leur son." }, { "id": "III.41-009-note-4", "blocks": [ "III.41-009" ], "status": "needs-review", "reason": "The augmentation dot printed after a barline is retained as a tied extension of the preceding note, with an invisible continuation head and text marker. The dot has its written value, half the preceding note; no new attack is created.", "originalReason": "Le point de prolongation imprimé après une barre est conservé comme prolongation liée de la note précédente, avec tête de continuation invisible et repère textuel. — Le point a sa valeur écrite, moitié de la note précédente ; aucune nouvelle attaque n’est créée." }, { "id": "III.41-009-note-5", "blocks": [ "III.41-009" ], "status": "needs-review", "reason": "Fourth measure: the continuo-bass cue signs form the irregular cadence in A proposed by the text. The corresponding version replaces both C3s with A2. The author’s alternative remains separate from the original reading.", "originalReason": "Quatrième mesure : les Guidons de la Basse-continuë constituent la Cadence irrégulière en La proposée dans le texte ; la version correspondante remplace les deux Ut3 par La2. — Alternative de l’auteur conservée séparément de la lecture originale." }, { "id": "III.41-009-note-6", "blocks": [ "III.41-009" ], "status": "needs-review", "reason": "Signs with diagonal strokes previously read tentatively as “8” are identified as barred 5s, following the printed diminished-fifth legend. Glyph comparison leaves true 8s, pitches, and durations unchanged.", "originalReason": "Les signes à trait diagonal auparavant candidats «8» sont identifiés comme des5 barrés, conformément à la légende imprimée de la fausse-Quinte. — Comparaison de glyphes ; les véritables8, les hauteurs et les durées restent inchangés." }, { "id": "III.43-009-note-1", "blocks": [ "III.43-009" ], "status": "needs-review", "reason": "Clefs, pitches, durations, and notehead families follow the facsimile reading. Chord figures may appear below the staff. Cue signs are small silent notes; ornament crosses remain visible without an added realization. Engraving is normalized: no numerical tempo or time-signature denominator absent from the source is invented.", "originalReason": "Les clefs, hauteurs, valeurs et familles de têtes suivent la lecture du fac-similé. Les chiffres d’Accord peuvent être gravés au-dessous de la portée. Les Guidons sont de petites notes muettes ; les croix d’agrément restent visibles sans réalisation ajoutée. — Normalisation de gravure : aucun tempo numérique ni dénominateur de mesure absent de la source n’est inventé." }, { "id": "III.43-009-note-2", "blocks": [ "III.43-009" ], "status": "needs-review", "reason": "Clefs were verified by an independent second reading and the native legend: G clef on line 2 in the upper part, C clef on line 1 in the second part, C clef on line 4 in the bass. The C clefs’ central slots align respectively with the bottom line and the second line from the top.", "originalReason": "Clefs vérifiées par une seconde lecture indépendante et la légende native : Sol deuxième ligne au Dessus, Ut première ligne à la seconde Partie, Ut quatrième ligne à la Basse. — Les créneaux centraux des clefs d’Ut s’alignent respectivement sur la ligne inférieure et la deuxième ligne depuis le haut." }, { "id": "III.43-009-note-3", "blocks": [ "III.43-009" ], "status": "needs-review", "reason": "Signs with diagonal strokes previously read tentatively as “8” are identified as barred 5s, following the printed diminished-fifth legend. Glyph comparison leaves true 8s, pitches, and durations unchanged.", "originalReason": "Les signes à trait diagonal auparavant candidats «8» sont identifiés comme des5 barrés, conformément à la légende imprimée de la fausse-Quinte. — Comparaison de glyphes ; les véritables8, les hauteurs et les durées restent inchangés." }, { "id": "III.44-011-note-1", "blocks": [ "III.44-011" ], "status": "needs-review", "reason": "In the first example, the two printed answers marked “or” are alternatives, not consecutive measures. The main version uses G3–A3; the variant G3–B3. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "Premier exemple : les deux réponses imprimées « ou » sont des alternatives, et non deux mesures successives. La version principale prend Sol3–La3 ; la variante prend Sol3–Si3. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-011-note-2", "blocks": [ "III.44-011" ], "status": "needs-review", "reason": "Empty cells and shortened final measures remain without invented rests. The numbers 2 and 3 here indicate whole-note beats (2/1 and 3/1). Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "Les cases vides et les dernières mesures abrégées sont conservées sans pauses inventées. Les chiffres 2 et 3 désignent ici les battues de rondes (2/1 et 3/1). — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-012-note-1", "blocks": [ "III.44-012" ], "status": "needs-review", "reason": "The meter changes from four quarter notes to two whole notes, then three half notes, according to the printed values. No rests are added to short final measures. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "La mesure passe de quatre noires à deux rondes, puis trois blanches selon les valeurs imprimées ; les mesures finales courtes ne reçoivent pas de silences ajoutés. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-013-note-1", "blocks": [ "III.44-013" ], "status": "needs-review", "reason": "The first section ends with an upper half note against two bass half notes. The printed upper note is not lengthened to fill the difference. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "La première portion conclut avec une blanche dans le Dessus pendant deux blanches à la Basse ; la note supérieure imprimée n’est pas allongée pour combler cet écart. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-013-note-2", "blocks": [ "III.44-013" ], "status": "needs-review", "reason": "“Or” introduces the second section. Both documentary sections remain in printed order. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "« ou » introduit la seconde portion de l’exemple. Les deux portions documentaires sont conservées dans l’ordre imprimé. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-013-note-3", "blocks": [ "III.44-013" ], "status": "needs-review", "reason": "Small cue signs remain silent. Curves between same-pitch notes are true ties; horizontal comparison lines are not. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "Les petits guidons restent silencieux. Les courbes entre deux notes de même hauteur sont de véritables tenues ; les traits horizontaux de comparaison ne le sont pas. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-013-note-4", "blocks": [ "III.44-013" ], "status": "needs-review", "reason": "Readable ornament crosses are retained as + and are not expanded into additional notes. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "Les croix d’ornement lisibles sont conservées comme + ; elles ne sont pas développées en notes supplémentaires. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-026-note-1", "blocks": [ "III.44-026" ], "status": "needs-review", "reason": "A small handwritten insertion near “and we” does not replace the retained printed wording.", "originalReason": "A small manuscript insertion near « & nous » does not replace the printed wording." }, { "id": "III.44-031-note-1", "blocks": [ "III.44-031" ], "status": "needs-review", "reason": "In the second “First melody,” the upper part and fundamental bass print 2 while the continuo prints 3. The continuo’s four actual quarter notes are neither lengthened nor supplemented to satisfy that number. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "Au second Premier Chant, le Dessus et la Basse-fondamentale impriment 2, tandis que la Basse-continuë imprime 3. Les quatre noires effectives de cette dernière ne sont pas augmentées ni complétées pour satisfaire le chiffre. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-031-note-2", "blocks": [ "III.44-031" ], "status": "needs-review", "reason": "Horizontal linking marks in the fundamental bass are analytical and do not change written attacks. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "Les marques de liaison horizontales à la Basse-fondamentale sont analytiques ; elles ne changent pas les attaques écrites. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-031-note-3", "blocks": [ "III.44-031" ], "status": "needs-review", "reason": "Some combined continuo figures are grouped for readability; consult the facsimile for the original arrangement above and below. First-system ending cue signs read G4, G3, and B3 by their native positions. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "Quelques chiffres combinés de la Basse-continuë sont regroupés lisiblement ; la disposition originale au-dessus et au-dessous se consulte dans le fac-similé. Les guidons de fin du premier système sont lus Sol4, Sol3 et Si3, selon leurs positions natives. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-037-note-1", "blocks": [ "III.44-037" ], "status": "needs-review", "reason": "Both two-quarter-note conclusions are printed shorter than the preceding measures. No rests are added. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "Les deux conclusions de deux noires sont imprimées plus courtes que les mesures précédentes ; aucune pause n’est ajoutée. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-038-note-1", "blocks": [ "III.44-038" ], "status": "needs-review", "reason": "The small sign above G3 in the answer is read as an isolated accidental figure; its ink is thickened. This reading does not change the written pitch. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "Le petit signe au-dessus du Sol3 de la Réponse est lu comme chiffre d’altération isolé ; l’encre est empâtée. Cette lecture ne change pas la hauteur écrite. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-043-note-1", "blocks": [ "III.44-043" ], "status": "needs-review", "reason": "The printed 3/2 remains. The second section mainly contains four actual quarter notes per measure with no visible new meter; no values are changed to force six quarters. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "Le chiffre 3/2 reste imprimé. La seconde portion comporte principalement quatre noires effectives par mesure sans nouveau chiffre visible ; aucune valeur n’est changée pour forcer six noires. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-043-note-2", "blocks": [ "III.44-043" ], "status": "needs-review", "reason": "Final bass cell: small handwritten round notes superimpose G3–F3 on C3–D3 after dotted C3. The main version retains only the printed dotted C3; two variants separately expose these handwritten additions, whose intended destination remains uncertain. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "Dernière cellule de la Basse : petites notes rondes manuscrites superposent Sol3–Fa3 à Ut3–Ré3 après Ut3 pointé. La version principale conserve seulement le Ut3 pointé imprimé ; deux variantes exposent séparément ces ajouts manuscrits, dont la destination reste incertaine. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-043-note-3", "blocks": [ "III.44-043" ], "status": "needs-review", "reason": "The first section ends in shortened measures. Empty cells and silent cue signs remain distinct from actually printed rests. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "La première portion se termine par des mesures abrégées. Les cases vides et les guidons silencieux restent distincts des pauses effectivement gravées. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-043-note-4", "blocks": [ "III.44-043" ], "status": "needs-review", "reason": "Readable ornament crosses are retained as + and are not expanded into additional notes. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "Les croix d’ornement lisibles sont conservées comme + ; elles ne sont pas développées en notes supplémentaires. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-045-note-1", "blocks": [ "III.44-045" ], "status": "needs-review", "reason": "Key markers before the clefs remain distinct from sung notes. The first measure is a one-quarter-note pickup. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "Les repères de Ton avant les clefs restent distincts des notes chantées. La première mesure est une levée d’une noire. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-045-note-2", "blocks": [ "III.44-045" ], "status": "needs-review", "reason": "Seven staves are printed: five vocal parts, continuo bass, and fundamental bass for proof. The text identifies the latter as analytical; it remains available as a separate part. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "Sept portées sont imprimées : cinq parties vocales, Basse-continuë et Basse-fondamentale pour la preuve. Le texte précise que cette dernière est analytique ; elle reste disponible comme partie distincte. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-045-note-3", "blocks": [ "III.44-045" ], "status": "needs-review", "reason": "The second part’s final E5 ties to the next page’s initial E5; the continuous version joins this tie. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "La dernière note Mi5 de la deuxième partie se lie au Mi5 initial de la page suivante ; cette tenue est réunie dans la version continue. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-045-note-4", "blocks": [ "III.44-045" ], "status": "needs-review", "reason": "The fundamental bass remains visible but silent in the main version, serving as proof. The analytical variant plays all seven staves. The chapter text following Laboravi explicitly requires this distinction.", "originalReason": "La Basse-fondamentale reste visible mais silencieuse dans la lecture principale ; elle est ajoutée pour la preuve. La variante analytique fait entendre les sept portées. — Explicit instruction in chapter text following Laboravi." }, { "id": "III.44-045-note-5", "blocks": [ "III.44-045" ], "status": "needs-review", "reason": "The complete Laboravi version joins fifteen pages, five divided measures, and four ties across pages. Five voices and continuo sound; the fundamental bass remains visible and silent. Continuous playback is available in the Version selector, with individual page readings preserved.", "originalReason": "La version Laboravi complet réunit les quinze pages, cinq mesures partagées et quatre tenues entre pages. Cinq voix et Basse-continuë sont sonores ; la Basse-fondamentale reste visible et muette. — Continuous-work playback supplied in Version selector; page-specific readings preserved." }, { "id": "III.44-046-note-1", "blocks": [ "III.44-046" ], "status": "needs-review", "reason": "The page ends with a two-quarter-note half-measure continued on the next page. No artificial rests fill the page boundary. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "La page se termine par une demi-mesure de deux noires, poursuivie sur la page suivante. Cette frontière de page ne reçoit pas de silences artificiels. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-046-note-2", "blocks": [ "III.44-046" ], "status": "needs-review", "reason": "The first E5 continues the previous page’s note. The third part’s final A4 leads under a curve to the next page’s G4. Cross-page ties are joined in the continuous score. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "Le premier Mi5 prolonge la note de la page précédente ; le dernier La4 de la troisième partie conduit sous une courbe au Sol4 de la page suivante. Les tenues entre pages sont réunies dans le score continu. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-046-note-3", "blocks": [ "III.44-046" ], "status": "needs-review", "reason": "The sign above the continuo’s C♯4s is barred 5, identified against the explicit diminished-fifth legend, native PDF 460/printed page 428. An isolated dot near the second part’s first high group has no rhythmic effect because its alignment is uncertain. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "Le signe au-dessus des Ut♯4 de la Basse-continuë est le 5 barré, identifié par comparaison avec la légende explicite de la fausse-Quinte, native460/page428. Un point isolé près du premier groupe aigu de la deuxième partie reste sans effet rythmique faute d’alignement certain. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-046-note-4", "blocks": [ "III.44-046" ], "status": "needs-review", "reason": "The fundamental bass remains visible but silent in the main version, serving as proof. The analytical variant plays all seven staves. The chapter text following Laboravi explicitly requires this distinction.", "originalReason": "Les croix d’ornement lisibles sont conservées comme + ; elles ne sont pas développées en notes supplémentaires. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-046-note-5", "blocks": [ "III.44-046" ], "status": "needs-review", "reason": "Readable ornament crosses are retained as + and are not expanded into additional notes. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "La Basse-fondamentale reste visible mais silencieuse dans la lecture principale ; elle est ajoutée pour la preuve. La variante analytique fait entendre les sept portées. — Explicit instruction in chapter text following Laboravi." }, { "id": "III.44-047-note-1", "blocks": [ "III.44-047" ], "status": "needs-review", "reason": "The first and last cells are two-quarter-note half-measures at page boundaries. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "La première et la dernière cellules sont des demi-mesures de deux noires aux frontières des pages. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-047-note-2", "blocks": [ "III.44-047" ], "status": "needs-review", "reason": "The continuo changes from C clef on line 3 to F clef on line 4 midway through the fifth cell. Pitches are read on each side of the clef without correction from an assumed chord. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "La Basse-continuë change de clef d’Ut troisième ligne à Fa quatrième ligne au milieu de la cinquième cellule ; les hauteurs sont lues de chaque côté de la clef, sans correction par l’accord supposé. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-047-note-3", "blocks": [ "III.44-047" ], "status": "needs-review", "reason": "Some fundamental-bass 7 figures are very thickly printed. Printed cross ornaments are not expanded into notes. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "Les signes 7 de la Basse-fondamentale sont parfois très empâtés. Les ornements imprimés en croix ne sont pas développés en notes. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-047-note-4", "blocks": [ "III.44-047" ], "status": "needs-review", "reason": "The fundamental bass remains visible but silent in the main version, serving as proof. The analytical variant plays all seven staves. The chapter text following Laboravi explicitly requires this distinction.", "originalReason": "Les croix d’ornement lisibles sont conservées comme + ; elles ne sont pas développées en notes supplémentaires. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-047-note-5", "blocks": [ "III.44-047" ], "status": "needs-review", "reason": "Readable ornament crosses are retained as + and are not expanded into additional notes. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "La Basse-fondamentale reste visible mais silencieuse dans la lecture principale ; elle est ajoutée pour la preuve. La variante analytique fait entendre les sept portées. — Explicit instruction in chapter text following Laboravi." }, { "id": "III.44-048-note-1", "blocks": [ "III.44-048" ], "status": "needs-review", "reason": "Low bass notes are read from ledger lines: D2 between the E2 and C2 lines. No octave shift makes the harmony more familiar. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "Les notes graves de la Basse sont lues par les lignes supplémentaires : Ré2 entre les lignes de Mi2 et Ut2 ; aucun déplacement d’octave n’est fait pour rendre l’harmonie plus habituelle. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-048-note-2", "blocks": [ "III.44-048" ], "status": "needs-review", "reason": "The two diagonal signs on E2 then F♯2 are barred 5s, compared with the legend on native PDF 460. The true vertical 8 after 9 on G2 remains distinct. The isolated accidental below the figures remains locally uncertain. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "Les deux signes diagonaux sur Mi2 puis Fa♯2 sont des 5 barrés, comparés à la légende native460 ; le vrai 8 vertical après 9 sur Sol2 reste distinct. L’altération isolée sous les chiffres reste localement incertaine. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-048-note-3", "blocks": [ "III.44-048" ], "status": "needs-review", "reason": "The fundamental bass remains visible but silent in the main version, serving as proof. The analytical variant plays all seven staves. The chapter text following Laboravi explicitly requires this distinction.", "originalReason": "Les croix d’ornement lisibles sont conservées comme + ; elles ne sont pas développées en notes supplémentaires. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-048-note-4", "blocks": [ "III.44-048" ], "status": "needs-review", "reason": "Readable ornament crosses are retained as + and are not expanded into additional notes. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "La Basse-fondamentale reste visible mais silencieuse dans la lecture principale ; elle est ajoutée pour la preuve. La variante analytique fait entendre les sept portées. — Explicit instruction in chapter text following Laboravi." }, { "id": "III.44-049-note-1", "blocks": [ "III.44-049" ], "status": "needs-review", "reason": "Initial B3s in the fifth part and continuo have no printed accidental in this cell and remain natural in the literal reading. There is no conventional key signature after the clef. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "Les Si3 initiaux de la cinquième partie et de la Basse-continuë n’ont pas d’altération imprimée dans cette cellule ; ils restent naturels dans la lecture littérale. La portée ne porte pas d’armure conventionnelle après la clef. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-049-note-2", "blocks": [ "III.44-049" ], "status": "needs-review", "reason": "The small sign on the continuo’s final cue is read as B♭3; the original remains available. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "Le petit signe du dernier guidon de la Basse-continuë est lu Si♭3 ; l’original reste consultable. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-049-note-3", "blocks": [ "III.44-049" ], "status": "needs-review", "reason": "The fundamental bass remains visible but silent in the main version, serving as proof. The analytical variant plays all seven staves. The chapter text following Laboravi explicitly requires this distinction.", "originalReason": "Les croix d’ornement lisibles sont conservées comme + ; elles ne sont pas développées en notes supplémentaires. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-049-note-4", "blocks": [ "III.44-049" ], "status": "needs-review", "reason": "Readable ornament crosses are retained as + and are not expanded into additional notes. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "La Basse-fondamentale reste visible mais silencieuse dans la lecture principale ; elle est ajoutée pour la preuve. La variante analytique fait entendre les sept portées. — Explicit instruction in chapter text following Laboravi." }, { "id": "III.44-050-note-1", "blocks": [ "III.44-050" ], "status": "needs-review", "reason": "Second part, final cell: a half note followed by two quarters. The narrow hook midway down the last stem in BnF differs from actual eighth-note flags. BNE native PDF 382, verified printed page 346, shows a straight stem. The quarter-note reading follows glyph comparison, not merely the beat total. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "Dernière cellule de la deuxième partie : blanche puis deux noires. Le petit crochet étroit au milieu de la dernière hampe dans BnF diffère des vraies queues de croches ; l’impression BNE native382, titre346 vérifié, montre une hampe droite. La lecture noire est retenue sur cette comparaison de glyphes, sans correction par la seule somme des temps. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-050-note-2", "blocks": [ "III.44-050" ], "status": "needs-review", "reason": "The initial D3 head in the continuo’s third cell is badly faded; its position on the middle line and its stem survive. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "La tête initiale Ré3 de la troisième cellule de Basse-continuë est très effacée ; sa position sur la ligne médiane et la hampe subsistent. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-050-note-3", "blocks": [ "III.44-050" ], "status": "needs-review", "reason": "The fundamental bass remains visible but silent in the main version, serving as proof. The analytical variant plays all seven staves. The chapter text following Laboravi explicitly requires this distinction.", "originalReason": "Les croix d’ornement lisibles sont conservées comme + ; elles ne sont pas développées en notes supplémentaires. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-050-note-4", "blocks": [ "III.44-050" ], "status": "needs-review", "reason": "Readable ornament crosses are retained as + and are not expanded into additional notes. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "La Basse-fondamentale reste visible mais silencieuse dans la lecture principale ; elle est ajoutée pour la preuve. La variante analytique fait entendre les sept portées. — Explicit instruction in chapter text following Laboravi." }, { "id": "III.44-051-note-1", "blocks": [ "III.44-051" ], "status": "needs-review", "reason": "Upper part, third cell: stemless F5. The round dot visible in BnF is absent in BNE native PDF 383, verified printed page 347, where neighboring printed dots remain visible. The main printed reading is a whole note, four quarters. A variant retains the probably handwritten BnF dot, giving a dotted whole, six quarters. This distinction follows comparison of both impressions, not the beat total. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "Troisième cellule du Dessus : Fa5 sans hampe. Le point rond visible dans BnF manque dans l’impression BNE native383, dont le titre de page347 est vérifié ; les points imprimés voisins y sont visibles. Lecture imprimée principale : ronde, quatre noires. Une variante conserve le point vraisemblablement manuscrit BnF : ronde pointée, six noires. Cette distinction repose sur les deux impressions, non sur la somme des temps. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-051-note-2", "blocks": [ "III.44-051" ], "status": "needs-review", "reason": "Isolated ornament marks remain in the facsimile and create no additional notes. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "Les marques d’ornement isolées sont conservées par le fac-similé et ne créent aucune note supplémentaire. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-051-note-3", "blocks": [ "III.44-051" ], "status": "needs-review", "reason": "The fundamental bass remains visible but silent in the main version, serving as proof. The analytical variant plays all seven staves. The chapter text following Laboravi explicitly requires this distinction.", "originalReason": "Les croix d’ornement lisibles sont conservées comme + ; elles ne sont pas développées en notes supplémentaires. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-051-note-4", "blocks": [ "III.44-051" ], "status": "needs-review", "reason": "Readable ornament crosses are retained as + and are not expanded into additional notes. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "La Basse-fondamentale reste visible mais silencieuse dans la lecture principale ; elle est ajoutée pour la preuve. La variante analytique fait entendre les sept portées. — Explicit instruction in chapter text following Laboravi." }, { "id": "III.44-052-note-1", "blocks": [ "III.44-052" ], "status": "needs-review", "reason": "The page has five complete four-quarter-note measures. Ending cue signs anticipate native PDF 381 and remain silent. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "La page comporte cinq mesures complètes de quatre noires. Les guidons de fin annoncent la suite native381 ; ils restent silencieux. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-052-note-2", "blocks": [ "III.44-052" ], "status": "needs-review", "reason": "The fifth part’s C♯3s and the continuo’s natural C are retained according to the actual printed signs, without harmonically reconciling them. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "Les Ut♯3 de la cinquième partie et Ut naturel de la Basse-continuë sont conservés selon les signes effectivement imprimés, sans rapprochement harmonique. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-052-note-3", "blocks": [ "III.44-052" ], "status": "needs-review", "reason": "The fundamental bass remains visible but silent in the main version, serving as proof. The analytical variant plays all seven staves. The chapter text following Laboravi explicitly requires this distinction.", "originalReason": "Les croix d’ornement lisibles sont conservées comme + ; elles ne sont pas développées en notes supplémentaires. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-052-note-4", "blocks": [ "III.44-052" ], "status": "needs-review", "reason": "Readable ornament crosses are retained as + and are not expanded into additional notes. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "La Basse-fondamentale reste visible mais silencieuse dans la lecture principale ; elle est ajoutée pour la preuve. La variante analytique fait entendre les sept portées. — Explicit instruction in chapter text following Laboravi." }, { "id": "III.44-053-note-1", "blocks": [ "III.44-053" ], "status": "needs-review", "reason": "The five sung parts and continuo sound in the main version. The fundamental bass, reserved for proof, remains visible and silent; the analytical version plays all seven staves. Rameau’s text explicitly distinguishes the composition from its fundamental proof.", "originalReason": "Les cinq Parties chantées et la Basse-continuë sonnent dans la version principale. La Basse-fondamentale, réservée à la preuve, reste visible et muette ; la version analytique fait entendre les sept portées. — Le texte de Rameau distingue explicitement la composition et sa preuve fondamentale." }, { "id": "III.44-053-note-2", "blocks": [ "III.44-053" ], "status": "needs-review", "reason": "Latin words, old clefs, durations, and figures are retained. Page-ending cue signs are small silent notes. Chord figures may appear below the staff; ornament crosses remain visible without added notes. Historical layout and shapes are normalized for engraving; no ornament realization or numerical tempo is invented.", "originalReason": "Les paroles latines, les clefs anciennes, les valeurs et les chiffres sont conservés. Les Guidons de fin de page sont de petites notes muettes. Les chiffres d’Accord peuvent apparaître sous la portée ; les croix d’agrément sont visibles sans notes ajoutées. — Disposition et formes historiques normalisées pour la gravure ; aucune réalisation d’ornement ni tempo numérique inventé." }, { "id": "III.44-053-note-3", "blocks": [ "III.44-053" ], "status": "needs-review", "reason": "This leaf bears printed number “346,” although it lies between pages 348 and 350. It is page 381 of the digitized file. This pagination error is retained as source information.", "originalReason": "Cette feuille porte le numéro imprimé « 346 », bien qu’elle se trouve entre les pages 348 et 350. Elle correspond à la page 381 du fichier numérisé. — Erreur de pagination de l’exemplaire, conservée comme donnée de source." }, { "id": "III.44-053-note-4", "blocks": [ "III.44-053" ], "status": "needs-review", "reason": "The third part’s G4 continues from the end of native PDF 381 to the start of 382. Page excerpts retain the tie sign; the continuous version joins its duration without another attack. This is a true cross-page tie; isolated page playback cannot continue into the next page.", "originalReason": "Le Sol4 de la troisième Partie se prolonge de la fin de la page 381 au début de la page 382. Les extraits par page gardent le signe de liaison ; la version continue réunit sa durée sans nouvelle attaque. — Liaison vraie franchissant une page ; la lecture isolée d’une page ne peut prolonger le son dans la suivante." }, { "id": "III.44-053-note-5", "blocks": [ "III.44-053" ], "status": "needs-review", "reason": "Compact slashed signs formerly tentatively read as “8” are recognized as barred 5s: the printed legend explicitly identifies them with the diminished fifth. True 8 figures remain. This directly compares diagonal strokes with the chord legend; no pitch or duration changes.", "originalReason": "Les signes compacts barrés, auparavant candidats « 8 », sont reconnus comme des 5 barrés : la légende imprimée les identifie expressément à la fausse-Quinte. Les véritables chiffres 8 sont conservés. — Comparaison directe du trait diagonal avec la légende des Accords ; aucune hauteur ni durée modifiée." }, { "id": "III.44-054-note-1", "blocks": [ "III.44-054" ], "status": "needs-review", "reason": "The five sung parts and continuo sound in the main version. The fundamental bass, reserved for proof, remains visible and silent; the analytical version plays all seven staves. Rameau’s text explicitly distinguishes the composition from its fundamental proof.", "originalReason": "Les cinq Parties chantées et la Basse-continuë sonnent dans la version principale. La Basse-fondamentale, réservée à la preuve, reste visible et muette ; la version analytique fait entendre les sept portées. — Le texte de Rameau distingue explicitement la composition et sa preuve fondamentale." }, { "id": "III.44-054-note-2", "blocks": [ "III.44-054" ], "status": "needs-review", "reason": "Latin words, old clefs, durations, and figures are retained. Page-ending cue signs are small silent notes. Chord figures may appear below the staff; ornament crosses remain visible without added notes. Historical layout and shapes are normalized for engraving; no ornament realization or numerical tempo is invented.", "originalReason": "Les paroles latines, les clefs anciennes, les valeurs et les chiffres sont conservés. Les Guidons de fin de page sont de petites notes muettes. Les chiffres d’Accord peuvent apparaître sous la portée ; les croix d’agrément sont visibles sans notes ajoutées. — Disposition et formes historiques normalisées pour la gravure ; aucune réalisation d’ornement ni tempo numérique inventé." }, { "id": "III.44-054-note-3", "blocks": [ "III.44-054" ], "status": "needs-review", "reason": "The third part’s G4 continues from the end of native PDF 381 to the start of 382. Page excerpts retain the tie sign; the continuous version joins its duration without another attack. This is a true cross-page tie; isolated page playback cannot continue into the next page.", "originalReason": "Le Sol4 de la troisième Partie se prolonge de la fin de la page 381 au début de la page 382. Les extraits par page gardent le signe de liaison ; la version continue réunit sa durée sans nouvelle attaque. — Liaison vraie franchissant une page ; la lecture isolée d’une page ne peut prolonger le son dans la suivante." }, { "id": "III.44-054-note-4", "blocks": [ "III.44-054" ], "status": "needs-review", "reason": "The final half-measure of native PDF 382 and first half-measure of 383 form one measure. Each fragment keeps its two quarter notes without an added rest. The page break falls within a measure.", "originalReason": "La dernière demi-mesure de la page 382 et la première demi-mesure de la page 383 forment une seule mesure. Chaque fragment garde ses deux noires, sans silence ajouté. — Coupure de page au milieu d’une mesure." }, { "id": "III.44-055-note-1", "blocks": [ "III.44-055" ], "status": "needs-review", "reason": "The five sung parts and continuo sound in the main version. The fundamental bass, reserved for proof, remains visible and silent; the analytical version plays all seven staves. Rameau’s text explicitly distinguishes the composition from its fundamental proof.", "originalReason": "Les cinq Parties chantées et la Basse-continuë sonnent dans la version principale. La Basse-fondamentale, réservée à la preuve, reste visible et muette ; la version analytique fait entendre les sept portées. — Le texte de Rameau distingue explicitement la composition et sa preuve fondamentale." }, { "id": "III.44-055-note-2", "blocks": [ "III.44-055" ], "status": "needs-review", "reason": "Latin words, old clefs, durations, and figures are retained. Page-ending cue signs are small silent notes. Chord figures may appear below the staff; ornament crosses remain visible without added notes. Historical layout and shapes are normalized for engraving; no ornament realization or numerical tempo is invented.", "originalReason": "Les paroles latines, les clefs anciennes, les valeurs et les chiffres sont conservés. Les Guidons de fin de page sont de petites notes muettes. Les chiffres d’Accord peuvent apparaître sous la portée ; les croix d’agrément sont visibles sans notes ajoutées. — Disposition et formes historiques normalisées pour la gravure ; aucune réalisation d’ornement ni tempo numérique inventé." }, { "id": "III.44-055-note-3", "blocks": [ "III.44-055" ], "status": "needs-review", "reason": "The final half-measure of native PDF 382 and first half-measure of 383 form one measure. Each fragment keeps its two quarter notes without an added rest. The page break falls within a measure.", "originalReason": "La dernière demi-mesure de la page 382 et la première demi-mesure de la page 383 forment une seule mesure. Chaque fragment garde ses deux noires, sans silence ajouté. — Coupure de page au milieu d’une mesure." }, { "id": "III.44-055-note-4", "blocks": [ "III.44-055" ], "status": "needs-review", "reason": "Third part, final measure: a small ink mass lies near the fourth line between G4 and A4. No additional sound or rest is assigned to it; the three readable notes remain F4 half, G4 quarter, A4 quarter. The isolated mark lacks a sufficiently clear stem or note outline; the facsimile preserves it.", "originalReason": "Troisième Partie, dernière mesure : une petite masse d’encre figure près de la quatrième ligne, entre Sol4 et La4. Aucun son ni silence supplémentaire ne lui est attribué ; les trois notes lisibles restent Fa4 blanche, Sol4 noire, La4 noire. — Marque isolée sans hampe ni contour de note suffisamment net ; le fac-similé conserve cette trace." }, { "id": "III.44-056-note-1", "blocks": [ "III.44-056" ], "status": "needs-review", "reason": "The five sung parts and continuo sound in the main version. The fundamental bass, reserved for proof, remains visible and silent; the analytical version plays all seven staves. Rameau’s text explicitly distinguishes the composition from its fundamental proof.", "originalReason": "Les cinq Parties chantées et la Basse-continuë sonnent dans la version principale. La Basse-fondamentale, réservée à la preuve, reste visible et muette ; la version analytique fait entendre les sept portées. — Le texte de Rameau distingue explicitement la composition et sa preuve fondamentale." }, { "id": "III.44-056-note-2", "blocks": [ "III.44-056" ], "status": "needs-review", "reason": "Latin words, old clefs, durations, and figures are retained. Page-ending cue signs are small silent notes. Chord figures may appear below the staff; ornament crosses remain visible without added notes. Historical layout and shapes are normalized for engraving; no ornament realization or numerical tempo is invented.", "originalReason": "Les paroles latines, les clefs anciennes, les valeurs et les chiffres sont conservés. Les Guidons de fin de page sont de petites notes muettes. Les chiffres d’Accord peuvent apparaître sous la portée ; les croix d’agrément sont visibles sans notes ajoutées. — Disposition et formes historiques normalisées pour la gravure ; aucune réalisation d’ornement ni tempo numérique inventé." }, { "id": "III.44-056-note-3", "blocks": [ "III.44-056" ], "status": "needs-review", "reason": "Third part, final cue: the sharp is readable but its small head is unclear. C♯4 remains a silent candidate at the indicated position, supported by the following entry. This candidate cue reading adds no sounding attack.", "originalReason": "Troisième Partie, Guidon terminal : le Dieze est lisible mais sa petite tête est peu nette. Ut♯4 est conservé comme candidat muet, à l’emplacement indiqué par le signe et confirmé par l’entrée suivante. — Lecture candidate du Guidon ; aucune attaque sonore ajoutée." }, { "id": "III.44-056-note-4", "blocks": [ "III.44-056" ], "status": "needs-review", "reason": "Compact slashed signs formerly tentatively read as “8” are recognized as barred 5s: the printed legend explicitly identifies them with the diminished fifth. True 8 figures remain. This directly compares diagonal strokes with the chord legend; no pitch or duration changes.", "originalReason": "Les signes compacts barrés, auparavant candidats « 8 », sont reconnus comme des 5 barrés : la légende imprimée les identifie expressément à la fausse-Quinte. Les véritables chiffres 8 sont conservés. — Comparaison directe du trait diagonal avec la légende des Accords ; aucune hauteur ni durée modifiée." }, { "id": "III.44-057-note-1", "blocks": [ "III.44-057" ], "status": "needs-review", "reason": "The five sung parts and continuo sound in the main version. The fundamental bass, reserved for proof, remains visible and silent; the analytical version plays all seven staves. Rameau’s text explicitly distinguishes the composition from its fundamental proof.", "originalReason": "Les cinq Parties chantées et la Basse-continuë sonnent dans la version principale. La Basse-fondamentale, réservée à la preuve, reste visible et muette ; la version analytique fait entendre les sept portées. — Le texte de Rameau distingue explicitement la composition et sa preuve fondamentale." }, { "id": "III.44-057-note-2", "blocks": [ "III.44-057" ], "status": "needs-review", "reason": "Latin words, old clefs, durations, and figures are retained. Page-ending cue signs are small silent notes. Chord figures may appear below the staff; ornament crosses remain visible without added notes. Historical layout and shapes are normalized for engraving; no ornament realization or numerical tempo is invented.", "originalReason": "Les paroles latines, les clefs anciennes, les valeurs et les chiffres sont conservés. Les Guidons de fin de page sont de petites notes muettes. Les chiffres d’Accord peuvent apparaître sous la portée ; les croix d’agrément sont visibles sans notes ajoutées. — Disposition et formes historiques normalisées pour la gravure ; aucune réalisation d’ornement ni tempo numérique inventé." }, { "id": "III.44-057-note-3", "blocks": [ "III.44-057" ], "status": "needs-review", "reason": "Compact slashed signs formerly tentatively read as “8” are recognized as barred 5s: the printed legend explicitly identifies them with the diminished fifth. True 8 figures remain. This directly compares diagonal strokes with the chord legend; no pitch or duration changes.", "originalReason": "Les signes compacts barrés, auparavant candidats « 8 », sont reconnus comme des 5 barrés : la légende imprimée les identifie expressément à la fausse-Quinte. Les véritables chiffres 8 sont conservés. — Comparaison directe du trait diagonal avec la légende des Accords ; aucune hauteur ni durée modifiée." }, { "id": "III.44-058-note-1", "blocks": [ "III.44-058" ], "status": "needs-review", "reason": "The five sung parts and continuo sound in the main version. The fundamental bass, reserved for proof, remains visible and silent; the analytical version plays all seven staves. Rameau’s text explicitly distinguishes the composition from its fundamental proof.", "originalReason": "Les cinq Parties chantées et la Basse-continuë sonnent dans la version principale. La Basse-fondamentale, réservée à la preuve, reste visible et muette ; la version analytique fait entendre les sept portées. — Le texte de Rameau distingue explicitement la composition et sa preuve fondamentale." }, { "id": "III.44-058-note-2", "blocks": [ "III.44-058" ], "status": "needs-review", "reason": "Latin words, old clefs, durations, and figures are retained. Page-ending cue signs are small silent notes. Chord figures may appear below the staff; ornament crosses remain visible without added notes. Historical layout and shapes are normalized for engraving; no ornament realization or numerical tempo is invented.", "originalReason": "Les paroles latines, les clefs anciennes, les valeurs et les chiffres sont conservés. Les Guidons de fin de page sont de petites notes muettes. Les chiffres d’Accord peuvent apparaître sous la portée ; les croix d’agrément sont visibles sans notes ajoutées. — Disposition et formes historiques normalisées pour la gravure ; aucune réalisation d’ornement ni tempo numérique inventé." }, { "id": "III.44-058-note-3", "blocks": [ "III.44-058" ], "status": "needs-review", "reason": "The final half-measure of native PDF 386 and first half-measure of 387 form one measure. Each fragment keeps its two quarter notes without an added rest. The page break falls within a measure.", "originalReason": "La dernière demi-mesure de la page 386 et la première demi-mesure de la page 387 forment une seule mesure. Chaque fragment garde ses deux noires, sans silence ajouté. — Coupure de page au milieu d’une mesure." }, { "id": "III.44-058-note-4", "blocks": [ "III.44-058" ], "status": "needs-review", "reason": "Compact slashed signs formerly tentatively read as “8” are recognized as barred 5s: the printed legend explicitly identifies them with the diminished fifth. True 8 figures remain. This directly compares diagonal strokes with the chord legend; no pitch or duration changes.", "originalReason": "Les signes compacts barrés, auparavant candidats « 8 », sont reconnus comme des 5 barrés : la légende imprimée les identifie expressément à la fausse-Quinte. Les véritables chiffres 8 sont conservés. — Comparaison directe du trait diagonal avec la légende des Accords ; aucune hauteur ni durée modifiée." }, { "id": "III.44-059-note-1", "blocks": [ "III.44-059" ], "status": "needs-review", "reason": "The five sung parts and continuo sound in the main version. The fundamental bass, reserved for proof, remains visible and silent; the analytical version plays all seven staves. Rameau’s text explicitly distinguishes the composition from its fundamental proof.", "originalReason": "Les cinq Parties chantées et la Basse-continuë sonnent dans la version principale. La Basse-fondamentale, réservée à la preuve, reste visible et muette ; la version analytique fait entendre les sept portées. — Le texte de Rameau distingue explicitement la composition et sa preuve fondamentale." }, { "id": "III.44-059-note-2", "blocks": [ "III.44-059" ], "status": "needs-review", "reason": "Latin words, old clefs, durations, and figures are retained. Page-ending cue signs are small silent notes. Chord figures may appear below the staff; ornament crosses remain visible without added notes. Historical layout and shapes are normalized for engraving; no ornament realization or numerical tempo is invented.", "originalReason": "Les paroles latines, les clefs anciennes, les valeurs et les chiffres sont conservés. Les Guidons de fin de page sont de petites notes muettes. Les chiffres d’Accord peuvent apparaître sous la portée ; les croix d’agrément sont visibles sans notes ajoutées. — Disposition et formes historiques normalisées pour la gravure ; aucune réalisation d’ornement ni tempo numérique inventé." }, { "id": "III.44-059-note-3", "blocks": [ "III.44-059" ], "status": "needs-review", "reason": "The final half-measure of native PDF 386 and first half-measure of 387 form one measure. Each fragment keeps its two quarter notes without an added rest. The page break falls within a measure.", "originalReason": "La dernière demi-mesure de la page 386 et la première demi-mesure de la page 387 forment une seule mesure. Chaque fragment garde ses deux noires, sans silence ajouté. — Coupure de page au milieu d’une mesure." }, { "id": "III.44-059-note-4", "blocks": [ "III.44-059" ], "status": "needs-review", "reason": "Third part, second measure: the small group is read as dotted G4 quarter, F4–E4 sixteenths, D4 quarter, F4 quarter. The small F4–E4 flags still need confirmation in the crowded impression. The candidate is visible; durations were not chosen by harmonic correction.", "originalReason": "Troisième Partie, deuxième mesure : le petit groupe est lu Sol4 noire pointée, Fa4–Mi4 doubles croches, Ré4 noire, Fa4 noire. Les petits crochets de Fa4–Mi4 restent à confirmer dans l’empreinte serrée. — La candidate est visible ; les valeurs n’ont pas été choisies par correction harmonique." }, { "id": "III.44-064-note-1", "blocks": [ "III.44-064" ], "status": "needs-review", "reason": "Handwritten insertions near “guide” and “parts, find” are distinguished from the retained printed text.", "originalReason": "Manuscript insertions near « guide » and « Parties, trouver » are distinguished from retained printed text." }, { "id": "III.44-066-note-1", "blocks": [ "III.44-066" ], "status": "needs-review", "reason": "The printed “tones” is crossed out and “beats” supplied by hand; the printed reading is retained.", "originalReason": "Printed « Tons » is crossed out and manuscript « Temps » supplied; printed reading retained." }, { "id": "III.44-075-note-1", "blocks": [ "III.44-075" ], "status": "needs-review", "reason": "All five parts show a quarter note before the barline, then a half note. No rests are added to the two shortened measures. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "Les cinq parties montrent une noire avant la barre, puis une blanche. Aucun silence n’est ajouté aux deux mesures abrégées. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-077-note-1", "blocks": [ "III.44-077" ], "status": "needs-review", "reason": "The run contains twelve sixteenths; a visible dot follows the second high note. This literal reading gives 3⅛ quarter notes in the measure. The dot is not removed to force three quarters; its status remains to be verified. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "Le roulement contient douze doubles-croches ; un point visible suit la deuxième note aiguë. Cette lecture littérale produit 3⅛ noires dans cette mesure. Le point n’est pas supprimé pour forcer trois noires ; son statut reste à vérifier. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-077-note-2", "blocks": [ "III.44-077" ], "status": "needs-review", "reason": "The canon is notated as the single printed air. The previous example’s five parts explain its construction; no additional polyphonic realization is invented. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "Le canon est noté comme l’Air unique imprimé. Les cinq parties de l’exemple précédent indiquent sa construction ; aucune réalisation polyphonique supplémentaire n’est inventée. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-077-note-3", "blocks": [ "III.44-077" ], "status": "needs-review", "reason": "The repeat sign and Da capo prescribe repetition; playback makes one written traversal. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "Le signe de renvoi et Da capo prescrivent la reprise ; la lecture sonore présente un seul parcours écrit. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-077-note-4", "blocks": [ "III.44-077" ], "status": "needs-review", "reason": "Readable ornament crosses are retained as + and are not expanded into additional notes. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "Les croix d’ornement lisibles sont conservées comme + ; elles ne sont pas développées en notes supplémentaires. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-083-note-1", "blocks": [ "III.44-083" ], "status": "needs-review", "reason": "Pre-clef indications are key and alteration markers, distinct from the sung opening; they are not played as extra notes. Visible key signatures have three, two, one, and zero sharps. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "Les indications avant les clefs sont les repères de Ton et d’altération, distincts du début chanté ; elles ne sont pas jouées comme notes supplémentaires. Armures visibles : trois, deux, un et zéro dièses. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-083-note-2", "blocks": [ "III.44-083" ], "status": "needs-review", "reason": "The pointed flat shape following a sharp is retained literally as F♭3 and cue C♭4. A variant interprets it as cancellation to F-natural/C-natural, a practice explicitly described in Book IV, Chapter XVI, page 418. This choice is not based on harmonic correction. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "La forme pointue de B-mol après un dièse est conservée littéralement (Fa♭3, et guidon Ut♭4). Une variante donne la lecture de cancellation Fa naturel / Ut naturel, pratique décrite explicitement au Livre IV, chapitre XVI, page 418 ; ce choix ne repose pas sur une correction harmonique. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-083-note-3", "blocks": [ "III.44-083" ], "status": "needs-review", "reason": "Horizontal lines mark the same melodic member; only curves between repeated pitches are ties. The cue sign establishes the return pitch and remains silent. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "Les traits horizontaux indiquent le même membre de chant ; seules les courbes entre notes répétées sont des tenues. Le guidon fixe la hauteur de reprise et reste silencieux. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-083-note-4", "blocks": [ "III.44-083" ], "status": "needs-review", "reason": "The complete version joins both pages of the canon at the fifth, preserving clefs, four staggered entries, and printed notes. Cue signs remain silent; no extra repetition is added. This explicit source continuation has continuous playback and download.", "originalReason": "La version complète réunit les deux pages du Canon à la Quinte, avec les clefs, les quatre entrées décalées et les notes imprimées. Les guidons restent silencieux ; aucune reprise supplémentaire n’est ajoutée. — Explicit source continuation; continuous playback and download added." }, { "id": "III.44-084-note-1", "blocks": [ "III.44-084" ], "status": "needs-review", "reason": "Pointed flats printed after sharps remain flats in the literal reading, notably F♭3 after F♯3. Their shape differs from the two-stem natural in the original legend on native PDF 213. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "Les B-mols pointus imprimés après les dièses sont conservés comme bémols dans la lecture littérale : notamment Fa♭3 après Fa♯3. Leur forme diffère du B-quarre à deux hampes montré dans la légende native213, comparaison avec la légende originale. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-084-note-2", "blocks": [ "III.44-084" ], "status": "needs-review", "reason": "A cancellation variant restores these notes to their natural form, following the practice explicitly described in Book IV, Chapter XVI, page 418. This remains an editorial choice; neither reading is preferred merely for harmonic plausibility. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "Une variante de cancellation remet ces notes à leur ordre naturel, selon la pratique explicitement décrite au Livre IV, chapitre XVI, page 418. Le choix reste éditorial ; aucune des deux lectures n’est promue par simple vraisemblance harmonique. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-084-note-3", "blocks": [ "III.44-084" ], "status": "needs-review", "reason": "The source ornament before the altered long notes is preserved without expansion into trill notes. Modulating repetitions indicated by cue signs are not artificially unfolded. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "Le signe d’ornement devant les notes longues altérées est conservé par la source ; il n’est pas développé en notes de trille. Les reprises modulantes indiquées par les guidons ne sont pas déroulées artificiellement. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-090-note-1", "blocks": [ "III.44-090" ], "status": "needs-review", "reason": "Clefs are G on line 2, G on line 2, and C on line 4. Positions were read directly and compared with the historical legend. The bass begins E3–F♯3–G3 according to notehead centers, not an assumed transposition. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "Clefs : Sol deuxième ligne, Sol deuxième ligne, Ut quatrième ligne ; positions vérifiées directement et comparées à la légende historique. La Basse commence Mi3–Fa♯3–Sol3 selon les centres des têtes, non d’après une transposition supposée. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-090-note-2", "blocks": [ "III.44-090" ], "status": "needs-review", "reason": "Repeat signs and cue signs prescribe continuation at the new indicated pitch. One written traversal is played; cue signs remain silent. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "Les signes de renvoi et guidons prescrivent de poursuivre le canon sur la nouvelle hauteur indiquée. Un seul parcours écrit est joué ; les guidons restent silencieux. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-090-note-3", "blocks": [ "III.44-090" ], "status": "needs-review", "reason": "The bass cue at the first system’s end is read as B3 without an explicit accidental; the next system’s written B♭3 remains distinct. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "Le guidon de la Basse en fin du premier système est lu Si3 sans altération explicite ; le Si♭3 écrit au système suivant reste distinct. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "III.44-090-note-4", "blocks": [ "III.44-090" ], "status": "needs-review", "reason": "Readable ornament crosses are retained as + and are not expanded into additional notes. Source notation, discrepancy, or local uncertainty is retained without silent repair.", "originalReason": "Les croix d’ornement lisibles sont conservées comme + ; elles ne sont pas développées en notes supplémentaires. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "IV.01-020-note-1", "blocks": [ "IV.01-020" ], "status": "needs-review", "reason": "The source's successive interval pairs are retained across two staves. Invisible silent spacers align each upper note with its lower C; no extra simultaneous chord has been added. Read from the source; the original image remains available for inspection.", "originalReason": "Sequential source interval pairs retained across two staves. Unprinted silent spacers align the upper note to its lower Ut; no added simultaneous chord. — Native-source reading; inspect source crop." }, { "id": "IV.02-005-note-1", "blocks": [ "IV.02-005" ], "status": "needs-review", "reason": "This paragraph is repeated in the printed source. The repetition is retained.", "originalReason": "Paragraph repeated in printed source; repetition retained." }, { "id": "IV.02-011-note-1", "blocks": [ "IV.02-011" ], "status": "needs-review", "reason": "The printed diminished-seventh examples C–B-flat and G–F are retained literally despite the stated span of four and a half whole tones.", "originalReason": "Printed Septiéme diminuée examples Ut–Si-bémol and Sol–Fa retained literally despite the stated four-and-a-half-tone count." }, { "id": "IV.02-014-note-1", "blocks": [ "IV.02-014" ], "status": "needs-review", "reason": "Three source clef/signature sections give natural, four-sharp, and flat contexts. Pitches are explicitly spelled to retain each printed alteration; accidentals show the key context. Read from the source; the original image remains available.", "originalReason": "Three source clef/signature sections: natural, four-sharp, and flat context. Pitches explicitly spelled to preserve each printed alteration; key context rendered through explicit accidentals. — Native-source reading; inspect source crop." }, { "id": "IV.02-023-note-1", "blocks": [ "IV.02-023" ], "status": "needs-review", "reason": "The seventh pair's upper F3 has no clearly separate sharp in the source, despite the minor-sixth caption. The literal candidate A-sharp 2/F3 remains pending a focused sign check, without repair based on the interval name. The source image remains available.", "originalReason": "Seventh pair upper F3 shows no separate sharp clearly in native crop, although caption says minor sixth. Literal candidate A-sharp2/F3 retained pending targeted glyph audit, without interval-based repair. — Native-source reading; inspect source crop." }, { "id": "IV.02-024-note-1", "blocks": [ "IV.02-024" ], "status": "needs-review", "reason": "The fourth pair reads low F2 with D-sharp 3, contrary to the major-sixth caption. The fifth repeats D-sharp over F-sharp 2. The literal lower-head reading is retained for focused source review.", "originalReason": "Fourth pair reads low F2 with D-sharp3, unlike the major-sixth caption; fifth repeats D-sharp over F-sharp2. Literal low-head candidate retained for targeted source audit. — Native-source reading; inspect source crop." }, { "id": "IV.02-049-note-1", "blocks": [ "IV.02-049" ], "status": "needs-review", "reason": "The printed French phrase “il n’y qu’à” omits “a”; the French transcription retains it.", "originalReason": "Printed il n’y qu’à lacks a; retained literally." }, { "id": "IV.04-006-note-1", "blocks": [ "IV.04-006" ], "status": "needs-review", "reason": "6/4 and 6/5 represent vertically stacked figures. The slash in 5/ represents the printed barred sign.", "originalReason": "6/4 and 6/5 denote vertical top/bottom figures; slash in 5/ is the printed barré sign." }, { "id": "IV.04-013-note-1", "blocks": [ "IV.04-013" ], "status": "needs-review", "reason": "Seven literal ascending positions are followed by their descending repetition. The source's C3 → C1 → G2 → C3 clef changes remain, with only the printed middle-finger numbers added. Read from the source; the original image remains available.", "originalReason": "Seven literal ascending positions, then their descending repetition. Source C3→C1→G2→C3 clef changes preserved; only printed middle-finger numerals added. — Native-source reading; inspect source crop." }, { "id": "IV.04-014-note-1", "blocks": [ "IV.04-014" ], "status": "needs-review", "reason": "Three printed right-hand positions occur in each key. Repeated key-signature classes are normalized to conventional fifth counts and shared across both staves, preserving changes originally printed only in the bass. Exact pitch spellings remain explicit. The source's left-hand octave alternatives are selectable, not doubled. Read from the source; the original image remains available.", "originalReason": "Three printed right-hand positions in each key. Repeated key-signature classes normalized to conventional fifths and shared across both staves, so the engraver preserves changes originally printed in the bass only; exact pitch spellings remain explicit. Source octave alternatives in the left hand are selectable, not doubled. — Native-source reading; inspect source crop." }, { "id": "IV.04-015-note-1", "blocks": [ "IV.04-015" ], "status": "needs-review", "reason": "Three printed right-hand positions occur in each key. Repeated key-signature classes are normalized to conventional fifth counts and shared across both staves, preserving changes originally printed only in the bass. Exact pitch spellings remain explicit. The source's left-hand octave alternatives are selectable, not doubled. Read from the source; the original image remains available.", "originalReason": "Three printed right-hand positions in each key. Repeated key-signature classes normalized to conventional fifths and shared across both staves, so the engraver preserves changes originally printed in the bass only; exact pitch spellings remain explicit. Source octave alternatives in the left hand are selectable, not doubled. — Native-source reading; inspect source crop." }, { "id": "IV.04-016-note-1", "blocks": [ "IV.04-016" ], "status": "needs-review", "reason": "Three printed right-hand positions occur in each key. Repeated key-signature classes are normalized to conventional fifth counts and shared across both staves, preserving changes originally printed only in the bass. Exact pitch spellings remain explicit. The source's left-hand octave alternatives are selectable, not doubled. Read from the source; the original image remains available.", "originalReason": "Three printed right-hand positions in each key. Repeated key-signature classes normalized to conventional fifths and shared across both staves, so the engraver preserves changes originally printed in the bass only; exact pitch spellings remain explicit. Source octave alternatives in the left hand are selectable, not doubled. — Native-source reading; inspect source crop." }, { "id": "IV.04-017-note-1", "blocks": [ "IV.04-017" ], "status": "needs-review", "reason": "Three printed right-hand positions occur in each key. Repeated key-signature classes are normalized to conventional fifth counts and shared across both staves, preserving changes originally printed only in the bass. Exact pitch spellings remain explicit. The source's left-hand octave alternatives are selectable, not doubled. Read from the source; the original image remains available.", "originalReason": "Three printed right-hand positions in each key. Repeated key-signature classes normalized to conventional fifths and shared across both staves, so the engraver preserves changes originally printed in the bass only; exact pitch spellings remain explicit. Source octave alternatives in the left hand are selectable, not doubled. — Native-source reading; inspect source crop." }, { "id": "IV.04-018-note-1", "blocks": [ "IV.04-018" ], "status": "needs-review", "reason": "Three printed right-hand positions occur in each key. Repeated key-signature classes are normalized to conventional fifth counts and shared across both staves, preserving changes originally printed only in the bass. Exact pitch spellings remain explicit. The source's left-hand octave alternatives are selectable, not doubled. Read from the source; the original image remains available.", "originalReason": "Three printed right-hand positions in each key. Repeated key-signature classes normalized to conventional fifths and shared across both staves, so the engraver preserves changes originally printed in the bass only; exact pitch spellings remain explicit. Source octave alternatives in the left hand are selectable, not doubled. — Native-source reading; inspect source crop." }, { "id": "IV.04-019-note-1", "blocks": [ "IV.04-019" ], "status": "needs-review", "reason": "Three printed right-hand positions occur in each key. Repeated key-signature classes are normalized to conventional fifth counts and shared across both staves, preserving changes originally printed only in the bass. Exact pitch spellings remain explicit. The source's left-hand octave alternatives are selectable, not doubled. Read from the source; the original image remains available.", "originalReason": "Three printed right-hand positions in each key. Repeated key-signature classes normalized to conventional fifths and shared across both staves, so the engraver preserves changes originally printed in the bass only; exact pitch spellings remain explicit. Source octave alternatives in the left hand are selectable, not doubled. — Native-source reading; inspect source crop." }, { "id": "IV.04-031-note-1", "blocks": [ "IV.04-031" ], "status": "needs-review", "reason": "The final seventh is a printed cue labeled “7 added to the perfect chord”: a visible, silent B4 cue, not an extra sounding note. Bass alternatives remain separate. Read from the source; the original image remains available.", "originalReason": "Final seventh is a printed guidon annotated 7 ajoûté à l’Accord parfait: visible silent B4 cue, not an extra sounding note. Bass alternatives are separate. — Native-source reading; inspect source crop." }, { "id": "IV.05-012-note-1", "blocks": [ "IV.05-012" ], "status": "needs-review", "reason": "Each printed bass is an alternative left-hand part. The first position in the sixth bass contains the printed rest, explicitly described as incidental in the prose. In the fifth bass's fourth column, E3 gives a ninth alternative and E-flat 3 an augmented-fifth alternative. Read from the source; the original image remains available.", "originalReason": "Each printed Basse is an alternative left hand. First sixth-bass slot is the printed rest, explicitly called accidental in accompanying prose. Fifth bass fourth column offers E3 ninth versus E-flat3 augmented-fifth alternatives. — Native-source reading; inspect source crop." }, { "id": "IV.06-007-note-1", "blocks": [ "IV.06-007" ], "status": "needs-review", "reason": "Worn inner heads in the three printed positions were read independently from source details, without supplying an extra chord member. The first position's ascending seventh-degree chord contains a printed “or” alternative. Some doubled notes specific to each position are deliberately retained. The original image remains available.", "originalReason": "Worn inner heads in the three printed positions read independently from cropped source rows; no extra chord member supplied. First position ascending seventh-degree chord offers printed ou alternative. Some position-specific doubled notes deliberately retained. — Native-source reading; inspect source crop." }, { "id": "IV.06-007-note-2", "blocks": [ "IV.06-007" ], "status": "needs-review", "reason": "The printed right-hand staves are alternative positions. The prose explicitly assigns the fundamental bass to proof only. It is available alone and does not sound beneath the accompaniment.", "originalReason": "Printed right-hand staves are alternative positions. Fundamental bass is proof-only by explicit prose and is offered alone, not sounded under the accompaniment. — Native-source reading; inspect source crop." }, { "id": "IV.06-008-note-1", "blocks": [ "IV.06-008" ], "status": "needs-review", "reason": "The D-minor example has twelve columns before the source system break and ten afterward. Descending C-natural/B-flat are distinguished from raised ascending forms. Near the end, the second-position tonic has a high G5 candidate rather than the expected F5; that source reading remains flagged. The final fundamental D2 register is retained. The original image remains available.", "originalReason": "D-minor example contains twelve columns before source system break and ten after. C-natural/B-flat on descent distinguished from raised ascent. Second-position tonic near end shows a high G5 candidate rather than expected F5; source reading retained and flagged. Final fundamental D2 register retained. — Native-source reading; inspect source crop." }, { "id": "IV.06-008-note-2", "blocks": [ "IV.06-008" ], "status": "needs-review", "reason": "The printed right-hand staves are alternative positions. The prose explicitly assigns the fundamental bass to proof only. It is available alone and does not sound beneath the accompaniment.", "originalReason": "Printed right-hand staves are alternative positions. Fundamental bass is proof-only by explicit prose and is offered alone, not sounded under the accompaniment. — Native-source reading; inspect source crop." }, { "id": "IV.06-016-note-1", "blocks": [ "IV.06-016" ], "status": "needs-review", "reason": "The printed 22-note contour was read directly, then represented with explicit enharmonic spellings in each printed key. Minor-mode ascent raises the sixth and seventh; descent restores their natural minor forms. Printed key signatures remain, including one fewer flat than modern minor-key conventions. Figures and fingerings were checked separately against each source row. The original image remains available for inspection.", "originalReason": "Native 22-note printed contour read directly, then instantiated with explicit enharmonic spellings in each printed key. Minor ascent raises sixth/seventh; descent restores their natural minor forms. Printed key signatures retained, including one fewer flat than modern minor conventions. Figures and fingerings audited separately against each source row. — Native-source reading; inspect source crop." }, { "id": "IV.06-017-note-1", "blocks": [ "IV.06-017" ], "status": "needs-review", "reason": "The printed 22-note contour was read directly, then represented with explicit enharmonic spellings in each printed key. Minor-mode ascent raises the sixth and seventh; descent restores their natural minor forms. Printed key signatures remain, including one fewer flat than modern minor-key conventions. Figures and fingerings were checked separately against each source row. The original image remains available for inspection.", "originalReason": "Native 22-note printed contour read directly, then instantiated with explicit enharmonic spellings in each printed key. Minor ascent raises sixth/seventh; descent restores their natural minor forms. Printed key signatures retained, including one fewer flat than modern minor conventions. Figures and fingerings audited separately against each source row. — Native-source reading; inspect source crop." }, { "id": "IV.06-018-note-1", "blocks": [ "IV.06-018" ], "status": "needs-review", "reason": "The printed 22-note contour was read directly, then represented with explicit enharmonic spellings in each printed key. Minor-mode ascent raises the sixth and seventh; descent restores their natural minor forms. Printed key signatures remain, including one fewer flat than modern minor-key conventions. Figures and fingerings were checked separately against each source row. The original image remains available for inspection.", "originalReason": "Native 22-note printed contour read directly, then instantiated with explicit enharmonic spellings in each printed key. Minor ascent raises sixth/seventh; descent restores their natural minor forms. Printed key signatures retained, including one fewer flat than modern minor conventions. Figures and fingerings audited separately against each source row. — Native-source reading; inspect source crop." }, { "id": "IV.06-019-note-1", "blocks": [ "IV.06-019" ], "status": "needs-review", "reason": "The printed 22-note contour was read directly, then represented with explicit enharmonic spellings in each printed key. Minor-mode ascent raises the sixth and seventh; descent restores their natural minor forms. Printed key signatures remain, including one fewer flat than modern minor-key conventions. Figures and fingerings were checked separately against each source row. The original image remains available for inspection.", "originalReason": "Native 22-note printed contour read directly, then instantiated with explicit enharmonic spellings in each printed key. Minor ascent raises sixth/seventh; descent restores their natural minor forms. Printed key signatures retained, including one fewer flat than modern minor conventions. Figures and fingerings audited separately against each source row. — Native-source reading; inspect source crop." }, { "id": "IV.06-020-note-1", "blocks": [ "IV.06-020" ], "status": "needs-review", "reason": "The printed 22-note contour was read directly, then represented with explicit enharmonic spellings in each printed key. Minor-mode ascent raises the sixth and seventh; descent restores their natural minor forms. Printed key signatures remain, including one fewer flat than modern minor-key conventions. Figures and fingerings were checked separately against each source row. The original image remains available for inspection.", "originalReason": "Native 22-note printed contour read directly, then instantiated with explicit enharmonic spellings in each printed key. Minor ascent raises sixth/seventh; descent restores their natural minor forms. Printed key signatures retained, including one fewer flat than modern minor conventions. Figures and fingerings audited separately against each source row. — Native-source reading; inspect source crop." }, { "id": "IV.06-021-note-1", "blocks": [ "IV.06-021" ], "status": "needs-review", "reason": "The printed 22-note contour was read directly, then represented with explicit enharmonic spellings in each printed key. Minor-mode ascent raises the sixth and seventh; descent restores their natural minor forms. Printed key signatures remain, including one fewer flat than modern minor-key conventions. Figures and fingerings were checked separately against each source row. The original image remains available for inspection.", "originalReason": "Native 22-note printed contour read directly, then instantiated with explicit enharmonic spellings in each printed key. Minor ascent raises sixth/seventh; descent restores their natural minor forms. Printed key signatures retained, including one fewer flat than modern minor conventions. Figures and fingerings audited separately against each source row. — Native-source reading; inspect source crop." }, { "id": "IV.06-022-note-1", "blocks": [ "IV.06-022" ], "status": "needs-review", "reason": "The printed 22-note contour was read directly, then represented with explicit enharmonic spellings in each printed key. Minor-mode ascent raises the sixth and seventh; descent restores their natural minor forms. Printed key signatures remain, including one fewer flat than modern minor-key conventions. Figures and fingerings were checked separately against each source row. The original image remains available for inspection.", "originalReason": "Native 22-note printed contour read directly, then instantiated with explicit enharmonic spellings in each printed key. Minor ascent raises sixth/seventh; descent restores their natural minor forms. Printed key signatures retained, including one fewer flat than modern minor conventions. Figures and fingerings audited separately against each source row. — Native-source reading; inspect source crop." }, { "id": "IV.06-023-note-1", "blocks": [ "IV.06-023" ], "status": "needs-review", "reason": "The printed 22-note contour was read directly, then represented with explicit enharmonic spellings in each printed key. Minor-mode ascent raises the sixth and seventh; descent restores their natural minor forms. Printed key signatures remain, including one fewer flat than modern minor-key conventions. Figures and fingerings were checked separately against each source row. The original image remains available for inspection.", "originalReason": "Native 22-note printed contour read directly, then instantiated with explicit enharmonic spellings in each printed key. Minor ascent raises sixth/seventh; descent restores their natural minor forms. Printed key signatures retained, including one fewer flat than modern minor conventions. Figures and fingerings audited separately against each source row. — Native-source reading; inspect source crop." }, { "id": "IV.06-024-note-1", "blocks": [ "IV.06-024" ], "status": "needs-review", "reason": "The printed 22-note contour was read directly, then represented with explicit enharmonic spellings in each printed key. Minor-mode ascent raises the sixth and seventh; descent restores their natural minor forms. Printed key signatures remain, including one fewer flat than modern minor-key conventions. Figures and fingerings were checked separately against each source row. The original image remains available for inspection.", "originalReason": "Native 22-note printed contour read directly, then instantiated with explicit enharmonic spellings in each printed key. Minor ascent raises sixth/seventh; descent restores their natural minor forms. Printed key signatures retained, including one fewer flat than modern minor conventions. Figures and fingerings audited separately against each source row. — Native-source reading; inspect source crop." }, { "id": "IV.06-025-note-1", "blocks": [ "IV.06-025" ], "status": "needs-review", "reason": "The printed 22-note contour was read directly, then represented with explicit enharmonic spellings in each printed key. Minor-mode ascent raises the sixth and seventh; descent restores their natural minor forms. Printed key signatures remain, including one fewer flat than modern minor-key conventions. Figures and fingerings were checked separately against each source row. The original image remains available for inspection.", "originalReason": "Native 22-note printed contour read directly, then instantiated with explicit enharmonic spellings in each printed key. Minor ascent raises sixth/seventh; descent restores their natural minor forms. Printed key signatures retained, including one fewer flat than modern minor conventions. Figures and fingerings audited separately against each source row. — Native-source reading; inspect source crop." }, { "id": "IV.06-026-note-1", "blocks": [ "IV.06-026" ], "status": "needs-review", "reason": "The printed 22-note contour was read directly, then represented with explicit enharmonic spellings in each printed key. Minor-mode ascent raises the sixth and seventh; descent restores their natural minor forms. Printed key signatures remain, including one fewer flat than modern minor-key conventions. Figures and fingerings were checked separately against each source row. The original image remains available for inspection.", "originalReason": "Native 22-note printed contour read directly, then instantiated with explicit enharmonic spellings in each printed key. Minor ascent raises sixth/seventh; descent restores their natural minor forms. Printed key signatures retained, including one fewer flat than modern minor conventions. Figures and fingerings audited separately against each source row. — Native-source reading; inspect source crop." }, { "id": "IV.06-027-note-1", "blocks": [ "IV.06-027" ], "status": "needs-review", "reason": "The printed 22-note contour was read directly, then represented with explicit enharmonic spellings in each printed key. Minor-mode ascent raises the sixth and seventh; descent restores their natural minor forms. Printed key signatures remain, including one fewer flat than modern minor-key conventions. Figures and fingerings were checked separately against each source row. The original image remains available for inspection.", "originalReason": "Native 22-note printed contour read directly, then instantiated with explicit enharmonic spellings in each printed key. Minor ascent raises sixth/seventh; descent restores their natural minor forms. Printed key signatures retained, including one fewer flat than modern minor conventions. Figures and fingerings audited separately against each source row. — Native-source reading; inspect source crop." }, { "id": "IV.06-028-note-1", "blocks": [ "IV.06-028" ], "status": "needs-review", "reason": "The printed 22-note contour was read directly, then represented with explicit enharmonic spellings in each printed key. Minor-mode ascent raises the sixth and seventh; descent restores their natural minor forms. Printed key signatures remain, including one fewer flat than modern minor-key conventions. Figures and fingerings were checked separately against each source row. The original image remains available for inspection.", "originalReason": "Native 22-note printed contour read directly, then instantiated with explicit enharmonic spellings in each printed key. Minor ascent raises sixth/seventh; descent restores their natural minor forms. Printed key signatures retained, including one fewer flat than modern minor conventions. Figures and fingerings audited separately against each source row. — Native-source reading; inspect source crop." }, { "id": "IV.06-029-note-1", "blocks": [ "IV.06-029" ], "status": "needs-review", "reason": "The printed 22-note contour was read directly, then represented with explicit enharmonic spellings in each printed key. Minor-mode ascent raises the sixth and seventh; descent restores their natural minor forms. Printed key signatures remain, including one fewer flat than modern minor-key conventions. Figures and fingerings were checked separately against each source row. The original image remains available for inspection.", "originalReason": "Native 22-note printed contour read directly, then instantiated with explicit enharmonic spellings in each printed key. Minor ascent raises sixth/seventh; descent restores their natural minor forms. Printed key signatures retained, including one fewer flat than modern minor conventions. Figures and fingerings audited separately against each source row. — Native-source reading; inspect source crop." }, { "id": "IV.06-029-note-2", "blocks": [ "IV.06-029" ], "status": "needs-review", "reason": "The small printed figure at column 16 reads 5. It is retained rather than changed to 6 to match neighboring exercises.", "originalReason": "The small printed figure at column 16 reads 5, retained literally rather than regularized to 6 from neighboring exercises. — Native-source reading; inspect source crop." }, { "id": "IV.06-030-note-1", "blocks": [ "IV.06-030" ], "status": "needs-review", "reason": "The printed 22-note contour was read directly, then represented with explicit enharmonic spellings in each printed key. Minor-mode ascent raises the sixth and seventh; descent restores their natural minor forms. Printed key signatures remain, including one fewer flat than modern minor-key conventions. Figures and fingerings were checked separately against each source row. The original image remains available for inspection.", "originalReason": "Native 22-note printed contour read directly, then instantiated with explicit enharmonic spellings in each printed key. Minor ascent raises sixth/seventh; descent restores their natural minor forms. Printed key signatures retained, including one fewer flat than modern minor conventions. Figures and fingerings audited separately against each source row. — Native-source reading; inspect source crop." }, { "id": "IV.06-030-note-2", "blocks": [ "IV.06-030" ], "status": "needs-review", "reason": "The final dominant repeats C-sharp 3 on the staff, rather than an octave-lower ledger note. The source register remains.", "originalReason": "Final dominant is repeated C-sharp3 on the staff, not an octave-lower ledger note; literal source register retained. — Native-source reading; inspect source crop." }, { "id": "IV.06-031-note-1", "blocks": [ "IV.06-031" ], "status": "needs-review", "reason": "The printed 22-note contour was read directly, then represented with explicit enharmonic spellings in each printed key. Minor-mode ascent raises the sixth and seventh; descent restores their natural minor forms. Printed key signatures remain, including one fewer flat than modern minor-key conventions. Figures and fingerings were checked separately against each source row. The original image remains available for inspection.", "originalReason": "Native 22-note printed contour read directly, then instantiated with explicit enharmonic spellings in each printed key. Minor ascent raises sixth/seventh; descent restores their natural minor forms. Printed key signatures retained, including one fewer flat than modern minor conventions. Figures and fingerings audited separately against each source row. — Native-source reading; inspect source crop." }, { "id": "IV.06-031-note-2", "blocks": [ "IV.06-031" ], "status": "needs-review", "reason": "The final dominant repeats C-sharp 3 on the staff. The source does not use the lower octave here.", "originalReason": "Final dominant is repeated C-sharp3 on the staff; source does not use the lower octave here. — Native-source reading; inspect source crop." }, { "id": "IV.06-032-note-1", "blocks": [ "IV.06-032" ], "status": "needs-review", "reason": "The printed 22-note contour was read directly, then represented with explicit enharmonic spellings in each printed key. Minor-mode ascent raises the sixth and seventh; descent restores their natural minor forms. Printed key signatures remain, including one fewer flat than modern minor-key conventions. Figures and fingerings were checked separately against each source row. The original image remains available for inspection.", "originalReason": "Native 22-note printed contour read directly, then instantiated with explicit enharmonic spellings in each printed key. Minor ascent raises sixth/seventh; descent restores their natural minor forms. Printed key signatures retained, including one fewer flat than modern minor conventions. Figures and fingerings audited separately against each source row. — Native-source reading; inspect source crop." }, { "id": "IV.06-032-note-2", "blocks": [ "IV.06-032" ], "status": "needs-review", "reason": "The small printed figure at column 12 reads 5. It is retained rather than changed to 6 to match neighboring exercises.", "originalReason": "The small printed figure at column 12 reads 5, retained literally rather than regularized to 6 from neighboring exercises. — Native-source reading; inspect source crop." }, { "id": "IV.06-033-note-1", "blocks": [ "IV.06-033" ], "status": "needs-review", "reason": "The printed 22-note contour was read directly, then represented with explicit enharmonic spellings in each printed key. Minor-mode ascent raises the sixth and seventh; descent restores their natural minor forms. Printed key signatures remain, including one fewer flat than modern minor-key conventions. Figures and fingerings were checked separately against each source row. The original image remains available for inspection.", "originalReason": "Native 22-note printed contour read directly, then instantiated with explicit enharmonic spellings in each printed key. Minor ascent raises sixth/seventh; descent restores their natural minor forms. Printed key signatures retained, including one fewer flat than modern minor conventions. Figures and fingerings audited separately against each source row. — Native-source reading; inspect source crop." }, { "id": "IV.06-034-note-1", "blocks": [ "IV.06-034" ], "status": "needs-review", "reason": "The printed 22-note contour was read directly, then represented with explicit enharmonic spellings in each printed key. Minor-mode ascent raises the sixth and seventh; descent restores their natural minor forms. Printed key signatures remain, including one fewer flat than modern minor-key conventions. Figures and fingerings were checked separately against each source row. The original image remains available for inspection.", "originalReason": "Native 22-note printed contour read directly, then instantiated with explicit enharmonic spellings in each printed key. Minor ascent raises sixth/seventh; descent restores their natural minor forms. Printed key signatures retained, including one fewer flat than modern minor conventions. Figures and fingerings audited separately against each source row. — Native-source reading; inspect source crop." }, { "id": "IV.06-035-note-1", "blocks": [ "IV.06-035" ], "status": "needs-review", "reason": "The printed 22-note contour was read directly, then represented with explicit enharmonic spellings in each printed key. Minor-mode ascent raises the sixth and seventh; descent restores their natural minor forms. Printed key signatures remain, including one fewer flat than modern minor-key conventions. Figures and fingerings were checked separately against each source row. The original image remains available for inspection.", "originalReason": "Native 22-note printed contour read directly, then instantiated with explicit enharmonic spellings in each printed key. Minor ascent raises sixth/seventh; descent restores their natural minor forms. Printed key signatures retained, including one fewer flat than modern minor conventions. Figures and fingerings audited separately against each source row. — Native-source reading; inspect source crop." }, { "id": "IV.06-036-note-1", "blocks": [ "IV.06-036" ], "status": "needs-review", "reason": "The printed 22-note contour was read directly, then represented with explicit enharmonic spellings in each printed key. Minor-mode ascent raises the sixth and seventh; descent restores their natural minor forms. Printed key signatures remain, including one fewer flat than modern minor-key conventions. Figures and fingerings were checked separately against each source row. The original image remains available for inspection.", "originalReason": "Native 22-note printed contour read directly, then instantiated with explicit enharmonic spellings in each printed key. Minor ascent raises sixth/seventh; descent restores their natural minor forms. Printed key signatures retained, including one fewer flat than modern minor conventions. Figures and fingerings audited separately against each source row. — Native-source reading; inspect source crop." }, { "id": "IV.06-037-note-1", "blocks": [ "IV.06-037" ], "status": "needs-review", "reason": "The printed 22-note contour was read directly, then represented with explicit enharmonic spellings in each printed key. Minor-mode ascent raises the sixth and seventh; descent restores their natural minor forms. Printed key signatures remain, including one fewer flat than modern minor-key conventions. Figures and fingerings were checked separately against each source row. The original image remains available for inspection.", "originalReason": "Native 22-note printed contour read directly, then instantiated with explicit enharmonic spellings in each printed key. Minor ascent raises sixth/seventh; descent restores their natural minor forms. Printed key signatures retained, including one fewer flat than modern minor conventions. Figures and fingerings audited separately against each source row. — Native-source reading; inspect source crop." }, { "id": "IV.06-037-note-2", "blocks": [ "IV.06-037" ], "status": "needs-review", "reason": "The final dominant remains on the staff at B♭2; no lower octave has been substituted.", "originalReason": "Final dominant stays on staff at Bb2; no lower-octave substitution made. — Native-source reading; inspect source crop." }, { "id": "IV.06-038-note-1", "blocks": [ "IV.06-038" ], "status": "needs-review", "reason": "The printed 22-note contour was read directly, then represented with explicit enharmonic spellings in each printed key. Minor-mode ascent raises the sixth and seventh; descent restores their natural minor forms. Printed key signatures remain, including one fewer flat than modern minor-key conventions. Figures and fingerings were checked separately against each source row. The original image remains available for inspection.", "originalReason": "Native 22-note printed contour read directly, then instantiated with explicit enharmonic spellings in each printed key. Minor ascent raises sixth/seventh; descent restores their natural minor forms. Printed key signatures retained, including one fewer flat than modern minor conventions. Figures and fingerings audited separately against each source row. — Native-source reading; inspect source crop." }, { "id": "IV.06-038-note-2", "blocks": [ "IV.06-038" ], "status": "needs-review", "reason": "The final dominant remains on the staff at A♯2; no lower octave has been substituted.", "originalReason": "Final dominant stays on staff at A#2; no lower-octave substitution made. — Native-source reading; inspect source crop." }, { "id": "IV.07-006-note-1", "blocks": [ "IV.07-006" ], "status": "needs-review", "reason": "The two printed octave choices for the dominant bass can be selected. Native-source reading; inspect the source crop.", "originalReason": "Two printed octave choices for the dominant bass are selectable. — Native-source reading; inspect source crop." }, { "id": "IV.07-026-note-1", "blocks": [ "IV.07-026" ], "status": "needs-review", "reason": "The source prose requires removing the upper leading note labelled A (B4) when that pitch class is in the bass. This is applied only in the relevant selectable variants; the other printed voices are retained. Native-source reading; inspect the source crop.", "originalReason": "Source prose requires removing upper leading-note A (B4) when that pitch class is in the bass; applied only in relevant selectable variants. Other printed voices retained. — Native-source reading; inspect source crop." }, { "id": "IV.08-013-note-1", "blocks": [ "IV.08-013" ], "status": "needs-review", "reason": "The first position’s fourth chord reads G4/D5/E♭5 in the native source; the displaced open notehead also appears in the independently inspected BNE impression. This candidate remains explicitly uncertain, without harmonic correction. The source compares these three-note positions with the following four-note example: the octave of each continuo note is omitted, as the printed instruction says. The first chords at A are distinct sixth-chord alternatives from the source, not mechanically copied. Repeated flats are normalized into a three-flat signature; the final leading B♮ is retained. Native-source reading; inspect the source crop.", "originalReason": "Native fourth chord of first position reads G4/D5/E-flat5; its displaced open-head geometry is also present in the independently inspected BNE impression. Candidate retained with scoped uncertainty, not harmonically repaired. Source compares these three-note placements to following four-note example: octave of each continuo note omitted, as printed instruction describes. First A chords are source-specific sixth alternatives, not mechanically copied. Repeated flat classes normalized to three-flat signature; final leading B-natural preserved. — Native-source reading; inspect source crop." }, { "id": "IV.08-013-note-2", "blocks": [ "IV.08-013" ], "status": "needs-review", "reason": "Each right-hand position and bass line is an alternative, not an extra simultaneous part. Every printed combination can be selected separately. Native-source reading; inspect the source crop.", "originalReason": "Each right-hand position and bass line is an alternative, not an additional simultaneous part. All printed combinations are separately selectable. — Native-source reading; inspect source crop." }, { "id": "IV.08-023-note-1", "blocks": [ "IV.08-023" ], "status": "needs-review", "reason": "The four-note right-hand voicings are retained; only three noteheads are clearly printed in the second position’s first chord. The heavily inked upper note in the third position’s second chord remains an A4 candidate. Worn low noteheads remain candidates based on their source positions; no missing voices are filled from theory. Native-source reading; inspect the source crop.", "originalReason": "Four-note right-hand voicings retained; first chord of second position has only three clearly printed heads. The over-inked top of the second chord in third position is A4 candidate. Worn low heads remain source-position candidates; no missing voices filled from theory. — Native-source reading; inspect source crop." }, { "id": "IV.08-023-note-2", "blocks": [ "IV.08-023" ], "status": "needs-review", "reason": "Each right-hand position and bass line is an alternative, not an extra simultaneous part. Every printed combination can be selected separately. Native-source reading; inspect the source crop.", "originalReason": "Each right-hand position and bass line is an alternative, not an additional simultaneous part. All printed combinations are separately selectable. — Native-source reading; inspect source crop." }, { "id": "IV.09-009-note-1", "blocks": [ "IV.09-009" ], "status": "needs-review", "reason": "The printed “ou” (“or”) in the fourth-degree column offers a great-sixth chord or tritone chord. The primary version selects the printed tritone; the alternative keeps the other printed voicing. Several pale open inner noteheads remain candidates read literally from their positions; inspect the source before treating them as definitive. Native-source reading; inspect the source crop.", "originalReason": "Explicit ou at fourth-note column offers grande-Sixte versus Tri-Ton: primary selects printed Tri-Ton, alternate retains the other printed voicing. Several pale open inner heads remain literal position candidates; inspect source before treating them as definitive. — Native-source reading; inspect source crop." }, { "id": "IV.09-019-note-1", "blocks": [ "IV.09-019" ], "status": "needs-review", "reason": "The G clef on the second line changes to a C clef on the first line in the last group of the first system and continues through the second system. Some upper open noteheads are pale, particularly the middle F4 candidate at the start of the second system. The source crop remains available for inspection. The source’s natural cancellations on G and F are retained explicitly. Native-source reading; inspect the source crop.", "originalReason": "Treble G2 changes to C1 in the last first-system group and continues in second system. Some upper open heads are pale, especially the first second-system middle F4 candidate; source crop retained for audit. Source natural cancellations G/F retained explicitly. — Native-source reading; inspect source crop." }, { "id": "IV.11-p403-note-1", "blocks": [ "IV.11-p403" ], "status": "needs-review", "reason": "Clefs, notehead types, accidentals and note values follow the source reading. Chord figures may appear below the staff; legible cue signs are silent reference notes. No numerical tempo is added to the score. The engraving is normalized; captions and the original document remain available for comparison.", "originalReason": "Les clefs, les familles de têtes, les altérations et les valeurs suivent la lecture du fac-similé. Les chiffres d’Accord peuvent apparaître sous la portée ; les Guidons lisibles sont des notes-repères muettes. Aucun tempo numérique n’est ajouté. — Gravure normalisée ; les légendes et le document original restent disponibles pour comparaison." }, { "id": "IV.11-p403-note-2", "blocks": [ "IV.11-p403" ], "status": "needs-review", "reason": "The three choices marked “or” are not played consecutively. The primary version keeps the first chord; the other two versions use the tritone chord alone or both chords as half notes. The printed three-flat signature is retained. These are explicit local alternatives in the source. Historical sharps that cancel a flat are engraved as modern naturals.", "originalReason": "Les trois choix marqués « ou » ne sont pas enchaînés. La version principale conserve le premier Accord ; les deux autres versions donnent le Tri-Ton seul ou les deux Accords en Blanches. L’armure imprimée de trois B-mols est conservée. — Alternatives locales explicites dans la source ; les Diezes historiques qui annulent un B-mol sont gravés comme des bécarres modernes." }, { "id": "IV.12-p404-note-1", "blocks": [ "IV.12-p404" ], "status": "needs-review", "reason": "Clefs, notehead types, accidentals and note values follow the source reading. Chord figures may appear below the staff; legible cue signs are silent reference notes. No numerical tempo is added to the score. The engraving is normalized; captions and the original document remain available for comparison.", "originalReason": "Les clefs, les familles de têtes, les altérations et les valeurs suivent la lecture du fac-similé. Les chiffres d’Accord peuvent apparaître sous la portée ; les Guidons lisibles sont des notes-repères muettes. Aucun tempo numérique n’est ajouté. — Gravure normalisée ; les légendes et le document original restent disponibles pour comparaison." }, { "id": "IV.12-p404-note-2", "blocks": [ "IV.12-p404" ], "status": "needs-review", "reason": "The three pairs are separate examples in A minor, D minor and G minor: tonic dominant followed by the sixth note. The upper clef is C on the first line. The comparison cells retain their printed order.", "originalReason": "Les trois paires sont des exemples distincts dans les Tons mineurs de La, Ré et Sol : Dominante tonique, puis Sixiéme Notte. La clef supérieure est Ut première ligne. — Les cellules comparatives sont conservées dans leur ordre imprimé." }, { "id": "IV.12-p405-note-1", "blocks": [ "IV.12-p405" ], "status": "needs-review", "reason": "Clefs, notehead types, accidentals and note values follow the source reading. Chord figures may appear below the staff; legible cue signs are silent reference notes. No numerical tempo is added to the score. The engraving is normalized; captions and the original document remain available for comparison.", "originalReason": "Les clefs, les familles de têtes, les altérations et les valeurs suivent la lecture du fac-similé. Les chiffres d’Accord peuvent apparaître sous la portée ; les Guidons lisibles sont des notes-repères muettes. Aucun tempo numérique n’est ajouté. — Gravure normalisée ; les légendes et le document original restent disponibles pour comparaison." }, { "id": "IV.12-p405-note-2", "blocks": [ "IV.12-p405" ], "status": "needs-review", "reason": "The 6 printed basses are alternatives. All remain visible in the primary engraving, but only one sounds with the upper part. Other basses can be selected as separate versions. This table compares different accompaniments to one upper part; they are not a simultaneous ensemble.", "originalReason": "Les 6 Basses imprimées sont des alternatives. Toutes restent visibles dans la gravure principale ; une seule sonne avec le Dessus. Les autres Basses se choisissent comme versions séparées. — Le tableau compare plusieurs accompagnements d’un même Dessus ; ils ne forment pas un ensemble simultané." }, { "id": "IV.13-p406-note-1", "blocks": [ "IV.13-p406" ], "status": "needs-review", "reason": "Clefs, notehead types, accidentals and note values follow the source reading. Chord figures may appear below the staff; legible cue signs are silent reference notes. No numerical tempo is added to the score. The engraving is normalized; captions and the original document remain available for comparison.", "originalReason": "Les clefs, les familles de têtes, les altérations et les valeurs suivent la lecture du fac-similé. Les chiffres d’Accord peuvent apparaître sous la portée ; les Guidons lisibles sont des notes-repères muettes. Aucun tempo numérique n’est ajouté. — Gravure normalisée ; les légendes et le document original restent disponibles pour comparaison." }, { "id": "IV.13-p406-note-2", "blocks": [ "IV.13-p406" ], "status": "needs-review", "reason": "Fourth group, first upper chord: its highest notehead is damaged. D5 remains the candidate, with G4 and B4. The trace is unclear; no other pitch was substituted to make the chord more regular.", "originalReason": "Quatrième groupe, premier Accord supérieur : la tête supérieure est endommagée. Ré5 est conservé comme candidat, avec Sol4 et Si4. — La trace est peu nette ; aucune autre hauteur n’a été substituée pour rendre l’Accord plus régulier." }, { "id": "IV.13-p408a-note-1", "blocks": [ "IV.13-p408a" ], "status": "needs-review", "reason": "Clefs, notehead types, accidentals and note values follow the source reading. Chord figures may appear below the staff; legible cue signs are silent reference notes. No numerical tempo is added to the score. The engraving is normalized; captions and the original document remain available for comparison.", "originalReason": "Les clefs, les familles de têtes, les altérations et les valeurs suivent la lecture du fac-similé. Les chiffres d’Accord peuvent apparaître sous la portée ; les Guidons lisibles sont des notes-repères muettes. Aucun tempo numérique n’est ajouté. — Gravure normalisée ; les légendes et le document original restent disponibles pour comparaison." }, { "id": "IV.13-p408a-note-2", "blocks": [ "IV.13-p408a" ], "status": "needs-review", "reason": "Cue A is read as A4. It remains silent in the original-printing version; the version “With the requested sound A” adds it to the chord as the following sentence instructs. This addition explicitly requested by the author is kept separate from the original engraving.", "originalReason": "Le Guidon A est lu La4. Il reste muet dans la lecture de l’impression originale ; la version « Avec le Son A demandé » l’ajoute à l’Accord conformément à la phrase qui suit l’exemple. — Ajout demandé explicitement par l’auteur, distingué de la gravure originale." }, { "id": "IV.13-p408b-note-1", "blocks": [ "IV.13-p408b" ], "status": "needs-review", "reason": "Clefs, notehead types, accidentals and note values follow the source reading. Chord figures may appear below the staff; legible cue signs are silent reference notes. No numerical tempo is added to the score. The engraving is normalized; captions and the original document remain available for comparison.", "originalReason": "Les clefs, les familles de têtes, les altérations et les valeurs suivent la lecture du fac-similé. Les chiffres d’Accord peuvent apparaître sous la portée ; les Guidons lisibles sont des notes-repères muettes. Aucun tempo numérique n’est ajouté. — Gravure normalisée ; les légendes et le document original restent disponibles pour comparaison." }, { "id": "IV.13-p408b-note-2", "blocks": [ "IV.13-p408b" ], "status": "needs-review", "reason": "“Idem” repeats the first chord. The final bass offers G3 or G♯3. The latter option carries a barred 5, explicitly identified as the diminished fifth by the text and chord legend. The two endings are selected separately; the crossed sign is not the numeral 8.", "originalReason": "« Idem » répète le premier Accord. La dernière Basse propose Sol3 ou Sol♯3 ; le signe de la seconde option est un 5 barré, expressément identifié à la fausse-Quinte par le texte et la légende des Accords. — Les deux arrivées sont choisies séparément ; le signe croisé n’est pas le chiffre 8." }, { "id": "IV.14-p410-note-1", "blocks": [ "IV.14-p410" ], "status": "needs-review", "reason": "Clefs, notehead types, accidentals and note values follow the source reading. Chord figures may appear below the staff; legible cue signs are silent reference notes. No numerical tempo is added to the score. The engraving is normalized; captions and the original document remain available for comparison.", "originalReason": "Les clefs, les familles de têtes, les altérations et les valeurs suivent la lecture du fac-similé. Les chiffres d’Accord peuvent apparaître sous la portée ; les Guidons lisibles sont des notes-repères muettes. Aucun tempo numérique n’est ajouté. — Gravure normalisée ; les légendes et le document original restent disponibles pour comparaison." }, { "id": "IV.14-p410-note-2", "blocks": [ "IV.14-p410" ], "status": "needs-review", "reason": "The 3 printed basses are alternatives. All remain visible in the primary engraving, but only one sounds with the upper part. Others are available as separate versions. The table compares accompaniments to the same upper part, not a simultaneous ensemble.", "originalReason": "Les 3 Basses imprimées sont des alternatives. Toutes restent visibles dans la gravure principale ; une seule sonne avec le Dessus. Les autres Basses se choisissent comme versions séparées. — Le tableau compare plusieurs accompagnements d’un même Dessus ; ils ne forment pas un ensemble simultané." }, { "id": "IV.14-p410-note-3", "blocks": [ "IV.14-p410" ], "status": "needs-review", "reason": "Diagonal strokes show harmonic voice-leading; they are not converted into sustained sounds. References H and J remain. An analytical stroke alone does not establish a tied duration.", "originalReason": "Les traits diagonaux désignent la conduite harmonique des voix ; ils ne sont pas convertis en prolongations sonores. Les repères H et J sont conservés. — Aucune durée tenue n’est déduite d’un simple trait analytique." }, { "id": "IV.15-p411-note-1", "blocks": [ "IV.15-p411" ], "status": "needs-review", "reason": "Clefs, notehead types, accidentals and note values follow the source reading. Chord figures may appear below the staff; legible cue signs are silent reference notes. No numerical tempo is added to the score. The engraving is normalized; captions and the original document remain available for comparison.", "originalReason": "Les clefs, les familles de têtes, les altérations et les valeurs suivent la lecture du fac-similé. Les chiffres d’Accord peuvent apparaître sous la portée ; les Guidons lisibles sont des notes-repères muettes. Aucun tempo numérique n’est ajouté. — Gravure normalisée ; les légendes et le document original restent disponibles pour comparaison." }, { "id": "IV.15-p411-note-2", "blocks": [ "IV.15-p411" ], "status": "needs-review", "reason": "Original labels: “Disson. min.” refers to F; “Disson. maj.” refers to B. The two dissonances are distinguished within the same seventh chord.", "originalReason": "Légendes originales : « Disson. min. » désigne Fa ; « Disson. maj. » désigne Si. — Les deux dissonances sont distinguées dans le même Accord de Septiéme." }, { "id": "IV.15-p413-note-1", "blocks": [ "IV.15-p413" ], "status": "needs-review", "reason": "Clefs, notehead types, accidentals and note values follow the source reading. Chord figures may appear below the staff; legible cue signs are silent reference notes. No numerical tempo is added to the score. The engraving is normalized; captions and the original document remain available for comparison.", "originalReason": "Les clefs, les familles de têtes, les altérations et les valeurs suivent la lecture du fac-similé. Les chiffres d’Accord peuvent apparaître sous la portée ; les Guidons lisibles sont des notes-repères muettes. Aucun tempo numérique n’est ajouté. — Gravure normalisée ; les légendes et le document original restent disponibles pour comparaison." }, { "id": "IV.15-p413-note-2", "blocks": [ "IV.15-p413" ], "status": "needs-review", "reason": "The nine printed basses are alternatives. All remain visible in the main engraving; only one sounds with the upper part. Other basses are selectable as separate versions. This table compares accompaniments of the same upper part; they do not form a simultaneous ensemble.", "originalReason": "Les 9 Basses imprimées sont des alternatives. Toutes restent visibles dans la gravure principale ; une seule sonne avec le Dessus. Les autres Basses se choisissent comme versions séparées. — Le tableau compare plusieurs accompagnements d’un même Dessus ; ils ne forment pas un ensemble simultané." }, { "id": "IV.15-p413-note-3", "blocks": [ "IV.15-p413" ], "status": "needs-review", "reason": "The G clef is printed on the first line, not the second. Its position was independently checked. Upper labels: “Leading note,” “Tonic,” “Major dissonance,” “Minor dissonance.” The clef is specific to this example; pitches are not transposed merely to suit the harmony.", "originalReason": "La clef de Sol est imprimée sur la première ligne, et non sur la seconde. Sa position a été vérifiée indépendamment. Légendes supérieures : « Notte sensib. », « Notte toniq. », « Disson. majeure. », « Disson. mineure. ». — Clef propre à cet exemple ; aucune transposition fondée sur la seule harmonie." }, { "id": "IV.15-p413-note-4", "blocks": [ "IV.15-p413" ], "status": "needs-review", "reason": "The double arrivals in basses 4, 5, 6, 8 and 9 are choices, displayed with a small silent note and offered as separate versions. In the sixth-degree version, F replaces E in the first upper chord, as the text directs. The dominant must not sound simultaneously with the sixth degree replacing it.", "originalReason": "Les arrivées doubles des Basses 4,5,6,8 et9 sont des choix, affichés par une petite note muette et proposés comme versions distinctes. Dans la version de la Sixiéme Notte, Fa remplace Mi dans le premier Accord supérieur, comme le prescrit le texte. — La Dominante ne doit pas sonner simultanément avec la Sixiéme Notte qui la remplace." }, { "id": "IV.15-p414-note-1", "blocks": [ "IV.15-p414" ], "status": "needs-review", "reason": "Clefs, notehead types, accidentals and note values follow the source reading. Chord figures may appear below the staff; legible cue signs are silent reference notes. No numerical tempo is added to the score. The engraving is normalized; captions and the original document remain available for comparison.", "originalReason": "Les clefs, les familles de têtes, les altérations et les valeurs suivent la lecture du fac-similé. Les chiffres d’Accord peuvent apparaître sous la portée ; les Guidons lisibles sont des notes-repères muettes. Aucun tempo numérique n’est ajouté. — Gravure normalisée ; les légendes et le document original restent disponibles pour comparaison." }, { "id": "IV.15-p414-note-2", "blocks": [ "IV.15-p414" ], "status": "needs-review", "reason": "F and B resolve to E and C. The resolution lines are analytical; the two pairs retain their respective diminished-fifth and tritone positions. The lines are not ties.", "originalReason": "Fa–Si se résolvent sur Mi–Ut. Les traits de résolution sont analytiques ; les deux paires conservent leurs positions respectives de fausse-Quinte et de Tri-Ton. — Les traits ne sont pas des liaisons de prolongation." }, { "id": "IV.15-031-note-1", "blocks": [ "IV.15-031" ], "status": "needs-review", "reason": "The French source repeats “pour pour”; the printed repetition is retained in the original French.", "originalReason": "pour pour — Répétition imprimée conservée." }, { "id": "IV.16-p417-note-1", "blocks": [ "IV.16-p417" ], "status": "needs-review", "reason": "Clefs, notehead types, accidentals and note values follow the source reading. Chord figures may appear below the staff; legible cue signs are silent reference notes. No numerical tempo is added to the score. The engraving is normalized; captions and the original document remain available for comparison.", "originalReason": "Les clefs, les familles de têtes, les altérations et les valeurs suivent la lecture du fac-similé. Les chiffres d’Accord peuvent apparaître sous la portée ; les Guidons lisibles sont des notes-repères muettes. Aucun tempo numérique n’est ajouté. — Gravure normalisée ; les légendes et le document original restent disponibles pour comparaison." }, { "id": "IV.16-p417-note-2", "blocks": [ "IV.16-p417" ], "status": "needs-review", "reason": "The upper clef is C on the first line. Naturals and other historical signs are interpreted at their written positions; chromatic changes are not replaced with a more convenient harmonic solution. The native source was read independently; historical cancellation signs are normalized in the engraving.", "originalReason": "La clef supérieure est Ut première ligne. Les bécarres et autres signes historiques sont interprétés à leur position écrite ; les changements chromatiques ne sont pas remplacés par une solution harmonique plus commode. — Lecture native indépendante ; les figures de cancellation historiques sont normalisées dans la gravure." }, { "id": "IV.17-p419-note-1", "blocks": [ "IV.17-p419" ], "status": "needs-review", "reason": "Clefs, notehead types, accidentals and note values follow the source reading. Chord figures may appear below the staff; legible cue signs are silent reference notes. No numerical tempo is added to the score. The engraving is normalized; captions and the original document remain available for comparison.", "originalReason": "Les clefs, les familles de têtes, les altérations et les valeurs suivent la lecture du fac-similé. Les chiffres d’Accord peuvent apparaître sous la portée ; les Guidons lisibles sont des notes-repères muettes. Aucun tempo numérique n’est ajouté. — Gravure normalisée ; les légendes et le document original restent disponibles pour comparaison." }, { "id": "IV.17-p419-note-2", "blocks": [ "IV.17-p419" ], "status": "needs-review", "reason": "The nine printed basses are alternatives. All remain visible in the main engraving; only one sounds with the upper part. The others can be selected as separate versions. The table compares different accompaniments of one upper part, not a simultaneous ensemble.", "originalReason": "Les 9 Basses imprimées sont des alternatives. Toutes restent visibles dans la gravure principale ; une seule sonne avec le Dessus. Les autres Basses se choisissent comme versions séparées. — Le tableau compare plusieurs accompagnements d’un même Dessus ; ils ne forment pas un ensemble simultané." }, { "id": "IV.17-p419-note-3", "blocks": [ "IV.17-p419" ], "status": "needs-review", "reason": "Second upper chord: the middle notehead is encoded as E5, but its printed cap leaves F5 possible. Third chord: the small mark near E5 is encoded as a candidate notehead; its condition does not entirely rule out a cue sign. An independent second reading of the first six chords leaves these two details uncertain despite geometric inspection.", "originalReason": "Deuxième Accord supérieur : la tête intermédiaire est encodée Mi5, mais le capuchon imprimé laisse subsister une lecture Fa5. Troisième Accord : la petite trace vers Mi5 est encodée comme tête de note candidate ; son état ne permet pas d’exclure entièrement un Guidon. — Seconde lecture indépendante des six premiers Accords : ces deux détails restent incertains malgré l’examen géométrique." }, { "id": "IV.17-p419-note-4", "blocks": [ "IV.17-p419" ], "status": "needs-review", "reason": "Semicircles mark dissonance preparation; lines mark resolution or chromatic motion. The retained arcs are analytical signs and do not merge note durations. A–R remain attached to their basses. The prose expressly explains these marks’ analytical function.", "originalReason": "Les demi-cercles indiquent la préparation de la Dissonance et les traits indiquent sa résolution ou la conduite chromatique. Les arcs conservés sont des signes analytiques ; ils ne fusionnent pas les durées des notes. Les repères A–R demeurent avec leurs Basses. — Le texte explique expressément la fonction analytique de ces marques." }, { "id": "IV.17-015-note-1", "blocks": [ "IV.17-015" ], "status": "needs-review", "reason": "Pagination: the source page is numbered 242 instead of 422.", "originalReason": "Pagination — La page porte 242 au lieu de 422 dans la source." }, { "id": "IV.17-p422-note-1", "blocks": [ "IV.17-p422" ], "status": "needs-review", "reason": "Clefs, notehead types, accidentals and note values follow the source reading. Chord figures may appear below the staff; legible cue signs are silent reference notes. No numerical tempo is added to the score. The engraving is normalized; captions and the original document remain available for comparison.", "originalReason": "Les clefs, les familles de têtes, les altérations et les valeurs suivent la lecture du fac-similé. Les chiffres d’Accord peuvent apparaître sous la portée ; les Guidons lisibles sont des notes-repères muettes. Aucun tempo numérique n’est ajouté. — Gravure normalisée ; les légendes et le document original restent disponibles pour comparaison." }, { "id": "IV.17-p423-note-1", "blocks": [ "IV.17-p423" ], "status": "needs-review", "reason": "Clefs, notehead types, accidentals and note values follow the source reading. Chord figures may appear below the staff; legible cue signs are silent reference notes. No numerical tempo is added to the score. The engraving is normalized; captions and the original document remain available for comparison.", "originalReason": "Les clefs, les familles de têtes, les altérations et les valeurs suivent la lecture du fac-similé. Les chiffres d’Accord peuvent apparaître sous la portée ; les Guidons lisibles sont des notes-repères muettes. Aucun tempo numérique n’est ajouté. — Gravure normalisée ; les légendes et le document original restent disponibles pour comparaison." }, { "id": "IV.17-p423-note-2", "blocks": [ "IV.17-p423" ], "status": "needs-review", "reason": "Third group, second upper-part column: the native reading retains G5 with A4 and C5. This upper notehead deserves another check, especially against the explanation of the sixth after the example; it has not been silently lowered. Harmonic plausibility alone cannot justify correcting a printed notehead.", "originalReason": "Troisième groupe, seconde colonne du Dessus : la lecture native conserve Sol5 avec La4 et Ut5. Cette tête supérieure mérite une seconde vérification, notamment au regard de l’explication de la Sixte donnée après l’exemple ; elle n’a pas été abaissée silencieusement. — La plausibilité de l’Accord ne suffit pas à corriger une tête imprimée." }, { "id": "IV.17-p424-note-1", "blocks": [ "IV.17-p424" ], "status": "needs-review", "reason": "Clefs, notehead types, accidentals and note values follow the source reading. Chord figures may appear below the staff; legible cue signs are silent reference notes. No numerical tempo is added to the score. The engraving is normalized; captions and the original document remain available for comparison.", "originalReason": "Les clefs, les familles de têtes, les altérations et les valeurs suivent la lecture du fac-similé. Les chiffres d’Accord peuvent apparaître sous la portée ; les Guidons lisibles sont des notes-repères muettes. Aucun tempo numérique n’est ajouté. — Gravure normalisée ; les légendes et le document original restent disponibles pour comparaison." }, { "id": "IV.17-p424-note-2", "blocks": [ "IV.17-p424" ], "status": "needs-review", "reason": "The pedal bass sounds in the main version; the fundamental bass remains visible but silent. The proof version replaces the pedal bass with the fundamental bass. Preparation arcs are distinct from ties that would extend durations. The author expressly distinguishes these readings; the two basses are not superimposed in the main version.", "originalReason": "La Basse du Point d’Orgue sonne dans la version principale ; la Basse-fondamentale reste visible et muette. La version de preuve remplace la Basse du Point d’Orgue par la Fondamentale. Les arcs de préparation sont distincts des liaisons qui prolongeraient une durée. — Deux lectures expressément distinguées par l’auteur ; les deux Basses ne sont pas superposées pour la lecture principale." }, { "id": "IV.17-p424-note-3", "blocks": [ "IV.17-p424" ], "status": "needs-review", "reason": "The abbreviated fundamental-bass clef in the second system is retained as an F clef on the fourth line. Its asymmetrical body and long stem match the F clef; the two right-hand diamonds are likewise omitted in the other verified copy. Independent comparison with the clef legend and second impression identifies a printed omission, not a transposition into C clef.", "originalReason": "La clef abrégée de la Basse-fondamentale au second système est conservée comme Fa quatrième ligne. Le corps asymétrique et sa longue hampe correspondent à la clef de Fa ; les deux diamants de droite sont omis également dans l’autre exemplaire vérifié. — Comparaison indépendante avec la légende des clefs et la seconde impression : omission imprimée, non transposition en clef d’Ut." }, { "id": "IV.17-p425-note-1", "blocks": [ "IV.17-p425" ], "status": "needs-review", "reason": "Clefs, notehead types, accidentals and note values follow the source reading. Chord figures may appear below the staff; legible cue signs are silent reference notes. No numerical tempo is added to the score. The engraving is normalized; captions and the original document remain available for comparison.", "originalReason": "Les clefs, les familles de têtes, les altérations et les valeurs suivent la lecture du fac-similé. Les chiffres d’Accord peuvent apparaître sous la portée ; les Guidons lisibles sont des notes-repères muettes. Aucun tempo numérique n’est ajouté. — Gravure normalisée ; les légendes et le document original restent disponibles pour comparaison." }, { "id": "IV.17-p425-note-2", "blocks": [ "IV.17-p425" ], "status": "needs-review", "reason": "The pedal bass sounds in the main version; the fundamental bass remains visible but silent. The proof version replaces the pedal bass with the fundamental bass. Preparation arcs are distinct from ties that would extend durations. The author expressly distinguishes these readings; the two basses are not superimposed in the main version.", "originalReason": "La Basse du Point d’Orgue sonne dans la version principale ; la Basse-fondamentale reste visible et muette. La version de preuve remplace la Basse du Point d’Orgue par la Fondamentale. Les arcs de préparation sont distincts des liaisons qui prolongeraient une durée. — Deux lectures expressément distinguées par l’auteur ; les deux Basses ne sont pas superposées pour la lecture principale." }, { "id": "IV.19-005-note-1", "blocks": [ "IV.19-005" ], "status": "needs-review", "reason": "Stacked and barred figures: vertical placement is represented with superscripts and subscripts, and the bar with a combining stroke. The supplement specifies bars omitted in this printing.", "originalReason": "Chiffres superposés et barrés — La disposition verticale est rendue par exposants/indices ; la barre est rendue par un trait combinant. Le Supplément précise les barres omises dans cette impression." }, { "id": "IV.19-p429-note-1", "blocks": [ "IV.19-p429" ], "status": "needs-review", "reason": "Clefs, notehead types, accidentals and note values follow the source reading. Chord figures may appear below the staff; legible cue signs are silent reference notes. No numerical tempo is added to the score. The engraving is normalized; captions and the original document remain available for comparison.", "originalReason": "Les clefs, les familles de têtes, les altérations et les valeurs suivent la lecture du fac-similé. Les chiffres d’Accord peuvent apparaître sous la portée ; les Guidons lisibles sont des notes-repères muettes. Aucun tempo numérique n’est ajouté. — Gravure normalisée ; les légendes et le document original restent disponibles pour comparaison." }, { "id": "IV.19-p429-note-2", "blocks": [ "IV.19-p429" ], "status": "needs-review", "reason": "G3 is a dotted quarter note. Figure 6 begins on the dot’s value, after the quarter-note duration, without changing the total note length. This timing is explicitly required by the text.", "originalReason": "Le Sol3 est une noire pointée. Le chiffre6 commence sur la valeur du point, après la noire, et ne change pas la durée totale de la note. — Placement temporel demandé explicitement par le texte." }, { "id": "IV.20-p430-note-1", "blocks": [ "IV.20-p430" ], "status": "needs-review", "reason": "Clefs, notehead types, accidentals and note values follow the source reading. Chord figures may appear below the staff; legible cue signs are silent reference notes. No numerical tempo is added to the score. The engraving is normalized; captions and the original document remain available for comparison.", "originalReason": "Les clefs, les familles de têtes, les altérations et les valeurs suivent la lecture du fac-similé. Les chiffres d’Accord peuvent apparaître sous la portée ; les Guidons lisibles sont des notes-repères muettes. Aucun tempo numérique n’est ajouté. — Gravure normalisée ; les légendes et le document original restent disponibles pour comparaison." }, { "id": "IV.20-p430-note-2", "blocks": [ "IV.20-p430" ], "status": "needs-review", "reason": "Pages 430 and 431 form one example. The continuous version is offered on the first page and preserves the written clef changes and ties. Final cue signs do not extend it with invented notes; no extra ending is added beyond the printed music.", "originalReason": "Les pages 430 et431 constituent un seul exemple. La version continue est proposée sur la première page ; elle conserve les changements de clef et les liaisons écrites. Les Guidons terminaux ne prolongent pas l’exemple par des notes inventées. — Aucune conclusion supplémentaire n’est ajoutée après les dernières notes imprimées." }, { "id": "IV.20-p430-note-3", "blocks": [ "IV.20-p430" ], "status": "needs-review", "reason": "The dense bass groups were compared in both impressions and with the source legend expressly identifying sixteenth and thirty-second notes. Straight staff rules are not counted as additional beams. The independent rhythm audit corroborates groups of sixteenths; one small value on page 430 remains a candidate.", "originalReason": "Les groupes serrés de la Basse ont été comparés dans les deux impressions et avec la légende qui nomme expressément les doubles et triples croches. Les traits droits des portées ne sont pas comptés comme des barres musicales supplémentaires. — Audit rythmique indépendant : groupes de doubles croches corroborés ; une seule petite valeur reste candidate en page 430." }, { "id": "IV.20-p430-note-4", "blocks": [ "IV.20-p430" ], "status": "needs-review", "reason": "Bass measure 2: C3 quarter, B2 quarter, then eight small notes. The first C3 in that group retains a candidate thirty-second value; the next seven are sixteenths. This literal candidate totals 3⅞ quarter notes against four in the upper parts. No rest fills the gap. The first C3 shows an apparent small third stroke in both impressions; its duration remains explicitly uncertain and is not corrected to fit the bar total.", "originalReason": "Deuxième mesure de la Basse : Ut3 noire, Si2 noire, puis huit petites notes. Le premier Ut3 de ce groupe conserve une triple croche candidate ; les sept suivantes sont des doubles croches. Le total littéral candidat est 3⅞ noires contre quatre dans les Parties supérieures ; aucun silence n’est ajouté pour combler cet écart. — Le premier Ut3 conserve une petite troisième trace apparente dans les deux impressions ; sa valeur reste explicitement incertaine, sans correction par le total de mesure." }, { "id": "IV.20-p431-note-1", "blocks": [ "IV.20-p431" ], "status": "needs-review", "reason": "Clefs, notehead types, accidentals and note values follow the source reading. Chord figures may appear below the staff; legible cue signs are silent reference notes. No numerical tempo is added to the score. The engraving is normalized; captions and the original document remain available for comparison.", "originalReason": "Les clefs, les familles de têtes, les altérations et les valeurs suivent la lecture du fac-similé. Les chiffres d’Accord peuvent apparaître sous la portée ; les Guidons lisibles sont des notes-repères muettes. Aucun tempo numérique n’est ajouté. — Gravure normalisée ; les légendes et le document original restent disponibles pour comparaison." }, { "id": "IV.20-p431-note-2", "blocks": [ "IV.20-p431" ], "status": "needs-review", "reason": "Pages 430 and 431 form one example. The continuous version is offered on the first page and preserves the written clef changes and ties. Final cue signs do not extend it with invented notes; no extra ending is added beyond the printed music.", "originalReason": "Les pages 430 et431 constituent un seul exemple. La version continue est proposée sur la première page ; elle conserve les changements de clef et les liaisons écrites. Les Guidons terminaux ne prolongent pas l’exemple par des notes inventées. — Aucune conclusion supplémentaire n’est ajoutée après les dernières notes imprimées." }, { "id": "IV.20-p431-note-3", "blocks": [ "IV.20-p431" ], "status": "needs-review", "reason": "The dense bass groups were compared in both impressions and with the source legend expressly identifying sixteenth and thirty-second notes. Straight staff rules are not counted as additional beams. The independent rhythm audit corroborates groups of sixteenths; one small value on page 430 remains a candidate.", "originalReason": "Les groupes serrés de la Basse ont été comparés dans les deux impressions et avec la légende qui nomme expressément les doubles et triples croches. Les traits droits des portées ne sont pas comptés comme des barres musicales supplémentaires. — Audit rythmique indépendant : groupes de doubles croches corroborés ; une seule petite valeur reste candidate en page 430." }, { "id": "IV.20-p431-note-4", "blocks": [ "IV.20-p431" ], "status": "needs-review", "reason": "The first measure has C3 quarter, C4 half, then four sixteenths. Measures 2 and 3 each contain sixteen sixteenths, confirmed against both impressions and the note-value legend. Groups C and D were independently checked; no filling notes or durations were added.", "originalReason": "La première mesure comporte Ut3 noire, Ut4 blanche, puis quatre doubles croches. Les deuxième et troisième mesures contiennent chacune seize doubles croches, confirmées par la comparaison des impressions et de la légende des valeurs. — Les groupes C et D ont été revus indépendamment ; aucune note ni durée de remplissage ajoutée." }, { "id": "supplement-466-major-note-1", "blocks": [ "supplement-466-major" ], "status": "needs-review", "reason": "Printed labels: Octave; Seventh or minor dissonance; Leading note or major dissonance formed by the dominant’s major third; Fifth; Dominant; Tonic or final note. Native source convention, discrepancy, or local uncertainty; not silently repaired.", "originalReason": "Légendes imprimées : Octave ; Septiéme ou Dissonance mineure ; Notte sensible ou Dissonance majeure formée de la Tierce majeure de la Dominante ; Quinte ; Dominante ; Notte Tonique ou Finale. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "supplement-466-major-note-2", "blocks": [ "supplement-466-major" ], "status": "needs-review", "reason": "Printed replacement for the page 57 example; the original remains separate. All five staves are retained. Native source convention, discrepancy, or local uncertainty; not silently repaired.", "originalReason": "Remplacement imprimé de l’exemple page57 ; l’original reste distinct. Les cinq portées sont conservées. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "supplement-466-minor-note-1", "blocks": [ "supplement-466-minor" ], "status": "needs-review", "reason": "Labels: Minor dissonance; Major dissonance; Minor third; Octave; Fundamental bass. Native source convention, discrepancy, or local uncertainty; not silently repaired.", "originalReason": "Légendes : Dissonance mineure ; Dissonance majeure ; Tierce mineure ; Octave ; Basse-Fondamentale. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "supplement-466-minor-note-2", "blocks": [ "supplement-466-minor" ], "status": "needs-review", "reason": "Printed flats on E5 and below the final bass are retained; no key signature is added. Native source convention, discrepancy, or local uncertainty; not silently repaired.", "originalReason": "Les bémols imprimés sur Mi5 et sous la basse finale sont conservés ; aucune armure n’est ajoutée. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "supplement-467-major-note-1", "blocks": [ "supplement-467-major" ], "status": "needs-review", "reason": "Printed labels: Octave; Seventh or minor dissonance; Leading note or major dissonance formed by the dominant’s major third; Fifth; Dominant; Tonic or final note. Native source convention, discrepancy, or local uncertainty; not silently repaired.", "originalReason": "Légendes imprimées : Octave ; Septiéme ou Dissonance mineure ; Notte sensible ou Dissonance majeure formée de la Tierce majeure de la Dominante ; Quinte ; Dominante ; Notte Tonique ou Finale. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "supplement-467-major-note-2", "blocks": [ "supplement-467-major" ], "status": "needs-review", "reason": "Literal reading of supplement page 3: printed fundamental bass moves G3 to C3. Native source convention, discrepancy, or local uncertainty; not silently repaired.", "originalReason": "Lecture littérale du supplément page3 : la Basse-fondamentale imprimée va de Sol3 à Ut3. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "supplement-467-minor-note-1", "blocks": [ "supplement-467-minor" ], "status": "needs-review", "reason": "Labels: Minor dissonance; Major dissonance; Octave; Fundamental bass. Native source convention, discrepancy, or local uncertainty; not silently repaired.", "originalReason": "Légendes : Dissonance mineure ; Dissonance majeure ; Octave ; Basse Fondamentale. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "supplement-467-minor-note-2", "blocks": [ "supplement-467-minor" ], "status": "needs-review", "reason": "The first G2 lies on the bottom line under an F clef on line 4. Its octave differs from the major example and is retained. Native source convention, discrepancy, or local uncertainty; not silently repaired.", "originalReason": "Le premier Sol2 de la Basse est sur la ligne inférieure de la clef de Fa quatrième ligne ; l’octave diffère de l’exemple majeur et reste conservée. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "supplement-468-major-note-1", "blocks": [ "supplement-468-major" ], "status": "needs-review", "reason": "The bracket joins added sixth and fifth: “Dissonance of a second between these two parts.” It is analytical, not a duration tie. Native source convention, discrepancy, or local uncertainty; not silently repaired.", "originalReason": "Le crochet réunit la Sixte ajoûtée et la Quinte : « Dissonance de Seconde entre ces deux Parties. » Ce signe est analytique et ne forme pas une liaison de durée. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "supplement-468-minor-note-1", "blocks": [ "supplement-468-minor" ], "status": "needs-review", "reason": "The bracket joins the first two parts: “Dissonance of a seventh between these two parts.” Native source convention, discrepancy, or local uncertainty; not silently repaired.", "originalReason": "Le crochet relie les deux premières parties : « Dissonance de Septiéme entre ces deux Parties. » — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "supplement-468-minor-note-2", "blocks": [ "supplement-468-minor" ], "status": "needs-review", "reason": "The initial bass F2 lies below the staff; its register is retained literally. Native source convention, discrepancy, or local uncertainty; not silently repaired.", "originalReason": "Le premier Fa2 de la Basse est sous la portée ; son registre est conservé littéralement. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "supplement-468-masson-note-1", "blocks": [ "supplement-468-masson" ], "status": "needs-review", "reason": "Printed labels: A; Dissonant sixth; Third. Native source convention, discrepancy, or local uncertainty; not silently repaired.", "originalReason": "Légendes imprimées : A ; Sixte dissonante ; Tierce. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "supplement-468-masson-note-2", "blocks": [ "supplement-468-masson" ], "status": "needs-review", "reason": "Upper staff uses C clef on line 1. Three printed voices are independent: B♭4–C5, held G4, and G3–A3. The final chord contains B♭3, G4, D5. Native source convention, discrepancy, or local uncertainty; not silently repaired.", "originalReason": "Clef d’Ut sur la première ligne dans la portée supérieure. Les trois voix imprimées y sont indépendantes : Si♭4–Ut5, Sol4 tenu, et Sol3–La3 ; l’accord final porte Si♭3, Sol4, Ré5. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "supplement-468-masson-note-3", "blocks": [ "supplement-468-masson" ], "status": "needs-review", "reason": "The fundamental bass is expressly added to demonstrate the inverted irregular cadence. It remains visible but silent in the primary reading; the analytical variant sounds it with all other voices. Native source convention, discrepancy, or local uncertainty; not silently repaired.", "originalReason": "La Basse-fondamentale est explicitement ajoutée pour faire connoître la Cadence irreguliere renversée ; elle demeure visible mais muette dans la lecture principale. La variante analytique la fait entendre avec toutes les autres voix. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "supplement-470-parfaites-note-1", "blocks": [ "supplement-470-parfaites" ], "status": "needs-review", "reason": "Bass uses C clef on line 4; both upper parts use G clef on line 2.", "originalReason": "La Basse est écrite en clef d’Ut quatrième ligne ; les deux Dessus en clef de Sol deuxième ligne. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "supplement-470-parfaites-note-2", "blocks": [ "supplement-470-parfaites" ], "status": "needs-review", "reason": "Figures identify each upper part’s intervals against bass. B marks prepared and F unprepared dissonance; diagonal strokes show movement and are not duration ties.", "originalReason": "Les chiffres désignent les intervalles formés par chaque Dessus avec la Basse. B marque la dissonance préparée, F la dissonance non préparée ; les traits obliques montrent sa progression. Ces traits analytiques ne sont pas des tenues. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "supplement-470-parfaites-note-3", "blocks": [ "supplement-470-parfaites" ], "status": "needs-review", "reason": "Curves over repeated pitches retain ties; no rest fills the opening half-measure.", "originalReason": "Les courbes entre les mêmes notes répétées conservent leurs tenues ; aucun silence ne complète la première demi-mesure. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "supplement-470-irregulieres-note-1", "blocks": [ "supplement-470-irregulieres" ], "status": "needs-review", "reason": "Clefs are inherited from the example’s left half: G2, G2, C4.", "originalReason": "Les clefs sont héritées de la moitié gauche de l’exemple : Sol2, Sol2, Ut4. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "supplement-470-irregulieres-note-2", "blocks": [ "supplement-470-irregulieres" ], "status": "needs-review", "reason": "The rising stroke shows dissonance resolving to the third. Only curves joining identical notes combine durations.", "originalReason": "Le trait ascendant entre les notes dissonantes montre leur résolution vers la Tierce ; seules les courbes sur deux notes identiques réunissent leurs durées. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "supplement-081-note-1", "blocks": [ "supplement-081" ], "status": "needs-review", "reason": "The two printed diagonal strokes are represented by direction arrows ↘ ↗; consult the source.", "originalReason": "↘ ↗ — Les deux traits obliques imprimés sont représentés ici par des flèches de direction ; voir la source." }, { "id": "supplement-472-p71-note-1", "blocks": [ "supplement-472-p71" ], "status": "needs-review", "reason": "The vertical caption permits the first four parts to exchange upper and bass roles. Fundamental bass remains a separate analytical layer, sounded in a variant.", "originalReason": "Les quatre premières parties peuvent servir réciproquement de Dessus ou de Basse, selon la légende verticale. La Basse-fondamentale reste une couche analytique distincte ; la variante la fait entendre. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "supplement-472-p71-note-2", "blocks": [ "supplement-472-p71" ], "status": "needs-review", "reason": "The small guide below first continuo A3 at Z is read E3 from its position; its head is narrow in this impression.", "originalReason": "Le petit guidon sous le premier La3 de la Basse-continuë (Z) est lu Mi3 d’après sa position ; sa tête reste étroite dans cette impression. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "supplement-472-p71-note-3", "blocks": [ "supplement-472-p71" ], "status": "needs-review", "reason": "Unaltered B2 in continuo measure 10 remains distinct from the preceding B♭2. Historical continuation of the flat is possible; no alteration is added from harmony alone.", "originalReason": "Le Si2 non altéré de la dixième mesure de Basse-continuë est conservé distinct du Si♭2 précédent. Une prolongation historique du bémol reste possible ; aucune altération n’est ajoutée d’après la seule harmonie. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "supplement-472-p71-note-4", "blocks": [ "supplement-472-p71" ], "status": "needs-review", "reason": "Small figures are independently transcribed; compact slashed 5s are distinguished from upright 8s. Isolated accidentals and stacked figures at Z still need source verification.", "originalReason": "Les petits chiffres sont transcrits indépendamment ; les 5 barrés compacts sont distingués des 8 verticaux. Les altérations isolées et les empilements de Z restent à vérifier sur la source. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "supplement-097-note-1", "blocks": [ "supplement-097" ], "status": "needs-review", "reason": "Figures are stacked: 4 above 9 replaces 4 above 2.", "originalReason": "4 / 9 ; 4 / 2 — Chiffres superposés dans la source : 4 au-dessus de 9, remplaçant 4 au-dessus de 2." }, { "id": "supplement-472-p80-note-1", "blocks": [ "supplement-472-p80" ], "status": "needs-review", "reason": "The two small guide notes indicate C5 and A4. They remain silent in the primary version; a variant substitutes their destinations.", "originalReason": "Les deux petites notes de renvoi indiquent respectivement Ut5 et La4. Elles sont silencieuses dans la lecture principale ; une variante substitue les destinations des guidons. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "supplement-472-p80-note-2", "blocks": [ "supplement-472-p80" ], "status": "needs-review", "reason": "The two examples remain separate, as in the source.", "originalReason": "Les deux exemples sont distincts, comme les portées séparées de la source. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "supplement-473-p87-note-1", "blocks": [ "supplement-473-p87" ], "status": "needs-review", "reason": "Upper guides indicate C5 and E5 above written G4; lower guide indicates G4 above written E4 under C3 clef. All remain silent.", "originalReason": "Les deux guidons supérieurs indiquent Ut5 et Mi5 au-dessus du Sol4 écrit ; le guidon inférieur indique Sol4 au-dessus du Mi4 écrit en clef d’Ut troisième ligne. Tous restent silencieux. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "supplement-473-p88-note-1", "blocks": [ "supplement-473-p88" ], "status": "needs-review", "reason": "F clef on line 3: the two lozenges are centered on the middle line. F4, E4, B3, and C4 guides are distinct from sounded notes and remain silent.", "originalReason": "Clef de Fa troisième ligne : centre des deux lozenges sur la ligne médiane. Les guidons Fa4, Mi4, Si3 et Ut4 sont distincts des notes écrites et restent silencieux. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "supplement-473-p88-note-2", "blocks": [ "supplement-473-p88" ], "status": "needs-review", "reason": "The enlarged facsimile includes the complete upper figure 7.", "originalReason": "Le fac-similé agrandi inclut le chiffre7 supérieur complet. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "supplement-473-p92-note-1", "blocks": [ "supplement-473-p92" ], "status": "needs-review", "reason": "Notes marked A resolve the implied seventh figured in the bass.", "originalReason": "Les notes marquées A doivent sauver la Septiéme sous-entenduë, chiffrée dans la Basse. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "supplement-473-p92-note-2", "blocks": [ "supplement-473-p92" ], "status": "needs-review", "reason": "The small guide in the third section is read C4 below A4 and remains silent. Two-quarter-note endings are retained without added rests.", "originalReason": "Le petit guidon de la troisième portion est lu Ut4 sous le La4 ; il demeure silencieux. Les conclusions de deux noires sont conservées sans pauses ajoutées. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "supplement-473-p92-note-3", "blocks": [ "supplement-473-p92" ], "status": "needs-review", "reason": "The slashed 5 in the third section remains distinct from 6-flat in the preceding section.", "originalReason": "Le signe5 barré de la troisième portion reste distinct de6 bémol dans la portion précédente. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "supplement-474-p115-note-1", "blocks": [ "supplement-474-p115" ], "status": "needs-review", "reason": "The corrected guide indicates F5 above written D5. The added part marked for deletion is not reproduced in this corrected excerpt.", "originalReason": "Le guidon corrigé indique Fa5 au-dessus du Ré5 écrit. La partie ajoutée à retrancher n’est pas reproduite dans cet extrait corrigé. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "supplement-474-p148-note-1", "blocks": [ "supplement-474-p148" ], "status": "needs-review", "reason": "Reading in F clef on line 4: C4, G3, C3, G2, E3. The small guide after E3 remains silent.", "originalReason": "Lecture par la clef de Fa quatrième ligne : Ut4, Sol3, Ut3, Sol2, Mi3. Le petit guidon après Mi3 reste silencieux. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "supplement-474-p158-note-1", "blocks": [ "supplement-474-p158" ], "status": "needs-review", "reason": "Pre-clef C5 notes indicate the key and remain silent; they do not form a melody.", "originalReason": "Les Ut5 avant les clefs sont des repères de Ton, conservés comme notes silencieuses ; ils ne forment pas une mélodie. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "supplement-474-p158-note-2", "blocks": [ "supplement-474-p158" ], "status": "needs-review", "reason": "The minor signature literally prints E♭5, B♭4, and E♭4. Its third sign is on the bottom line, not A4’s space. The BNE impression of Supplement page 10 confirms it. No A♭ is added to impose a modern signature.", "originalReason": "La signature mineure imprime littéralement Mi♭5, Si♭4 et Mi♭4 : le troisième signe est sur la ligne inférieure, non sur l’espace de La4. L’impression BNE du Supplément page10 confirme ce placement. Aucun La♭ n’est ajouté pour imposer une armure moderne. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "supplement-475-mouvement-note-1", "blocks": [ "supplement-475-mouvement" ], "status": "needs-review", "reason": "Parenthesized notes above the staff identify each beat’s unit: quarter at the first change, half at the second. They are not additional melody notes.", "originalReason": "La note entre parenthèses au-dessus de la portée désigne l’unité de chaque Temps : noire au premier changement, blanche au second. Ces repères ne sont pas des notes supplémentaires de la mélodie. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "supplement-475-mouvement-note-2", "blocks": [ "supplement-475-mouvement" ], "status": "needs-review", "reason": "Pre-clef C5 with the major-mode sign remains separate from the sung sequence. No absolute tempo is invented.", "originalReason": "Le repère Ut5 avec le signe du Mode majeur avant la clef demeure distinct de la suite chantée. Aucun tempo absolu n’est inventé. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "supplement-476-majeurs-note-1", "blocks": [ "supplement-476-majeurs" ], "status": "needs-review", "reason": "Order of sharps and flats after the clef indicating mode transposition. The twelve tonics are isolated references.", "originalReason": "Ordre des Diezes et des B-mols qui doivent être mis après la Clef pour marquer la Transposition des Modes. Les douze toniques sont des références isolées. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "supplement-476-majeurs-note-2", "blocks": [ "supplement-476-majeurs" ], "status": "needs-review", "reason": "Accidentals retain their octave positions. F major prints two B-flats, B♭3 and B♭2; the visible doubling is not reduced to one sign.", "originalReason": "Les positions d’octave des altérations sont conservées. La ligne Fa majeur imprime deux Si♭, Si♭3 et Si♭2 ; ce redoublement visible n’est pas réduit à une seule marque. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "supplement-476-mineurs-note-1", "blocks": [ "supplement-476-mineurs" ], "status": "needs-review", "reason": "Twelve tonics and all accidentals retain printed order and octaves in F clef on line 4.", "originalReason": "Les douze toniques et toutes les marques d’altération sont conservées dans l’ordre imprimé, avec leurs octaves dans la clef de Fa quatrième ligne. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "supplement-476-mineurs-note-2", "blocks": [ "supplement-476-mineurs" ], "status": "needs-review", "reason": "The table distinguishes unaltered A minor from D minor with B♭, following the supplement’s explanation. No old-version signature is substituted.", "originalReason": "La table distingue le modèle La mineur sans altération du Ré mineur avec Si♭, conformément à l’explication du supplément ; aucune armure de l’ancienne version n’est substituée. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "supplement-477-p165-note-1", "blocks": [ "supplement-477-p165" ], "status": "needs-review", "reason": "Eight intervals are read directly in F clef on line 4. Each interval’s two sounds are simultaneous.", "originalReason": "Les huit intervalles sont lus directement en clef de Fa quatrième ligne. Les deux sons de chaque intervalle sont simultanés. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "supplement-477-p165-note-2", "blocks": [ "supplement-477-p165" ], "status": "needs-review", "reason": "The natural in the third interval restores G3. Other sharps and flats remain literal.", "originalReason": "Le B-quarre du troisième intervalle remet Sol3 à son ordre naturel ; les dièses et bémols des autres intervalles sont conservés littéralement. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "supplement-477-p167-note-1", "blocks": [ "supplement-477-p167" ], "status": "needs-review", "reason": "Four clear heads give C3, D3, F3, A3 in F clef on line 4.", "originalReason": "Quatre têtes lisibles donnent Ut3, Ré3, Fa3, La3 dans la clef de Fa quatrième ligne. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "supplement-477-p167-note-2", "blocks": [ "supplement-477-p167" ], "status": "needs-review", "reason": "A small upper ring lies near C4 without a ledger line, although the nearby figure 7 suggests another interpretation. Whether it is a note or textual sign remains unresolved; no fifth sound is invented. The facsimile preserves the complete mark.", "originalReason": "Le petit anneau supérieur se trouve près de la position Ut4, sans ligne supplémentaire, alors que le chiffre7 voisin suggérerait une autre lecture. Son statut de note ou de signe textuel reste indéterminé ; aucun cinquième son n’est inventé. Le fac-similé conserve intégralement ce signe. — Native source convention, discrepancy or local uncertainty; not silently repaired." }, { "id": "supplement-194-note-1", "blocks": [ "supplement-194" ], "status": "needs-review", "reason": "Printed page number 271 is retained. The correction concerns the beginning of Book III, page 171.", "originalReason": "271 — Numéro imprimé conservé ; la correction concerne le début du livre III, page 171." }, { "id": "supplement-478-p222-note-1", "blocks": [ "supplement-478-p222" ], "status": "needs-review", "reason": "All six independently printed staves are retained, including the separate sixth part, continuo bass and fundamental bass. No voice is reconstructed from theory. The third staff’s fifth measure contains C5 half, C4 half and D4 whole. At J, the worn head favors A4 whole followed by G4; this remains a candidate based on its source position. The initial C4 over C3 remains an octave despite the sixth-part caption; the interval is not repaired. Heavy horizontal source grouping brackets are represented as direction brackets, not slurs. A/B: irregular cadences in which the sixth is added to the perfect chord on note A. Native-source reading; inspect the source crop.", "originalReason": "All six independently printed staves retained, including separate sixth part, continuo and fundamental bass. No voice reconstructed from theory. Third staff fifth measure contains C5 half, C4 half, D4 whole. At J its worn head favors A4 whole, followed by G4; scoped native-position candidate. Initial C4 over C3 remains an octave despite the sixth-part caption; no interval repair. Heavy horizontal source grouping brackets represented by direction brackets, not musical slurs. A/B: Cadences irregulieres où la Sixte est ajoûtée à l’Accord parfait de la Notte A. — Native-source reading; inspect source crop." }, { "id": "supplement-478-p231-note-1", "blocks": [ "supplement-478-p231" ], "status": "needs-review", "reason": "Two isolated zigzag signs between the first A2/G3 dyad match cue signs at C3 and E3. They are encoded as visible silent cues, not sounding chord members or an arpeggiation stroke. An independent native-source comparison agrees. Native-source reading; inspect the source crop.", "originalReason": "Two isolated zigzag signs between first A2/G3 dyad match guidons at C3 and E3. Encoded as visible silent cue additions, not sounded chord members or an arpeggiation stroke. Independent native comparison by root concurs. — Native-source reading; inspect source crop." }, { "id": "supplement-479-p234-note-1", "blocks": [ "supplement-479-p234" ], "status": "needs-review", "reason": "Two literal octave/register dyads; the second upper note is D3 with printed 4♯. No register correction is made. Native-source reading; inspect the source crop.", "originalReason": "Two literal octave/register dyads; second upper note D3 with printed 4#; no register repair. — Native-source reading; inspect source crop." }, { "id": "supplement-250-note-1", "blocks": [ "supplement-250" ], "status": "needs-review", "reason": "The printed reference “page 25” is retained; it conflicts with the pagination of the cited chapter.", "originalReason": "p. 25 — Numéro imprimé conservé ; ce renvoi présente une discordance avec la pagination du chapitre cité." }, { "id": "supplement-479-p293-note-1", "blocks": [ "supplement-479-p293" ], "status": "needs-review", "reason": "F clef on the third line. Converging diagonal strokes between the first two upper notes and between chord A and the following chord are shown as voice-convergence directions, not dynamics. The original region contains all noteheads; an expanded crop confirms the first chord’s ledger-line E4. Native-source reading; inspect the source crop.", "originalReason": "F clef on third line. Converging diagonal strokes between the first two upper notes and between the A chord and following chord are shown as voice-convergence directions; they are not dynamics. Original region contains all heads; expanded crop confirms ledger E4 of first chord. — Native-source reading; inspect source crop." }, { "id": "supplement-480-p382-note-1", "blocks": [ "supplement-480-p382" ], "status": "needs-review", "reason": "The added F is explicitly present below G: four round whole-note heads. Native-source reading; inspect the source crop.", "originalReason": "The supplied Fa is explicitly present below Sol; four round whole-note heads. — Native-source reading; inspect source crop." }, { "id": "supplement-480-p399-note-1", "blocks": [ "supplement-480-p399" ], "status": "needs-review", "reason": "The printed correction places the C clef on the first line throughout. Only the first three measures are shown. The third measure’s first bass figure is “9 or 7” with 5; the wording preserves the alternative figures without inventing extra notes. Native-source reading; inspect the source crop.", "originalReason": "Printed correction places C clef on first line throughout. First three measures only. Third measure first bass figure is 9 ou 7 with 5; words preserve conditional figuring without inventing extra notes. — Native-source reading; inspect source crop." }, { "id": "supplement-480-p400-note-1", "blocks": [ "supplement-480-p400" ], "status": "needs-review", "reason": "The middle C5 notehead is angular and open in the impression, between D5 and A4. It is retained as a printed chord member. Native-source reading; inspect the source crop.", "originalReason": "Middle C5 head is angular/open in the impression, between D5 and A4; retained as printed chord member. — Native-source reading; inspect source crop." }, { "id": "supplement-481-p424-note-1", "blocks": [ "supplement-481-p424" ], "status": "needs-review", "reason": "The printed arch joins the two D5 noteheads. The lower F4 is rearticulated; no unprinted tie is supplied. Native-source reading; inspect the source crop.", "originalReason": "Printed arch joins the two D5 heads. Lower F4 is rearticulated; no unprinted tie supplied. — Native-source reading; inspect source crop." } ], "source_pages": [ { "pdf_page": 1, "label": "PDF 1", "source_image": "source-pages/bnf-001.png" }, { "pdf_page": 2, "label": "PDF 2", "source_image": "source-pages/bnf-002.png", "blank": true }, { "pdf_page": 3, "label": "PDF 3", "source_image": "source-pages/bnf-003.png" }, { "pdf_page": 4, "label": "PDF 4", "source_image": "source-pages/bnf-004.png" }, { "pdf_page": 5, "label": "PDF 5", "source_image": "source-pages/bnf-005.png" }, { "pdf_page": 6, "label": "PDF 6", "source_image": "source-pages/bnf-006.png" }, { "pdf_page": 7, "label": "PDF 7", "source_image": "source-pages/bnf-007.png" }, { "pdf_page": 8, "label": "PDF 8", "source_image": "source-pages/bnf-008.png" }, { "pdf_page": 9, "label": "PDF 9", "source_image": "source-pages/bnf-009.png" }, { "pdf_page": 10, "label": "PDF 10", "source_image": "source-pages/bnf-010.png" }, { "pdf_page": 11, "label": "PDF 11", "source_image": "source-pages/bnf-011.png" }, { "pdf_page": 12, "label": "PDF 12", "source_image": "source-pages/bnf-012.png" }, { "pdf_page": 13, "label": "PDF 13", "source_image": "source-pages/bnf-013.png" }, { "pdf_page": 14, "label": "PDF 14", "source_image": "source-pages/bnf-014.png" }, { "pdf_page": 15, "label": "PDF 15", "source_image": "source-pages/bnf-015.png" }, { "pdf_page": 16, "label": "PDF 16", "source_image": "source-pages/bnf-016.png" }, { "pdf_page": 17, "label": "PDF 17", "source_image": "source-pages/bnf-017.png" }, { "pdf_page": 18, "label": "PDF 18", "source_image": "source-pages/bnf-018.png" }, { "pdf_page": 19, "label": "PDF 19", "source_image": "source-pages/bnf-019.png" }, { "pdf_page": 20, "label": "PDF 20", "source_image": "source-pages/bnf-020.png" }, { "pdf_page": 21, "label": "PDF 21", "source_image": "source-pages/bnf-021.png" }, { "pdf_page": 22, "label": "PDF 22", "source_image": "source-pages/bnf-022.png" }, { "pdf_page": 23, "label": "PDF 23", "source_image": "source-pages/bnf-023.png" }, { "pdf_page": 24, "label": "PDF 24", "source_image": "source-pages/bnf-024.png" }, { "pdf_page": 25, "label": "PDF 25", "source_image": "source-pages/bnf-025.png" }, { "pdf_page": 26, "label": "PDF 26", "source_image": "source-pages/bnf-026.png" }, { "pdf_page": 27, "label": "PDF 27", "source_image": "source-pages/bnf-027.png" }, { "pdf_page": 28, "label": "PDF 28", "source_image": "source-pages/bnf-028.png" }, { "pdf_page": 29, "label": "PDF 29", "source_image": "source-pages/bnf-029.png" }, { "pdf_page": 30, "label": "PDF 30", "source_image": "source-pages/bnf-030.png" }, { "pdf_page": 31, "label": "PDF 31", "source_image": "source-pages/bnf-031.png" }, { "pdf_page": 32, "label": "PDF 32", "source_image": "source-pages/bnf-032.png" }, { "pdf_page": 33, "label": "PDF 33", "source_image": "source-pages/bnf-033.png" }, { "pdf_page": 34, "label": "PDF 34", "source_image": "source-pages/bnf-034.png" }, { "pdf_page": 35, "label": "PDF 35", "source_image": "source-pages/bnf-035.png" }, { "pdf_page": 36, "label": "PDF 36", "source_image": "source-pages/bnf-036.png" }, { "pdf_page": 37, "label": "PDF 37", "source_image": "source-pages/bnf-037.png" }, { "pdf_page": 38, "label": "PDF 38", "source_image": "source-pages/bnf-038.png" }, { "pdf_page": 39, "label": "PDF 39", "source_image": "source-pages/bnf-039.png" }, { "pdf_page": 40, "label": "PDF 40", "source_image": "source-pages/bnf-040.png" }, { "pdf_page": 41, "label": "PDF 41", "source_image": "source-pages/bnf-041.png" }, { "pdf_page": 42, "label": "PDF 42", "source_image": "source-pages/bnf-042.png" }, { "pdf_page": 43, "label": "PDF 43", "source_image": "source-pages/bnf-043.png" }, { "pdf_page": 44, "label": "PDF 44", "source_image": "source-pages/bnf-044.png" }, { "pdf_page": 45, "label": "PDF 45", "source_image": "source-pages/bnf-045.png" }, { "pdf_page": 46, "label": "PDF 46", "source_image": "source-pages/bnf-046.png" }, { "pdf_page": 47, "label": "PDF 47", "source_image": "source-pages/bnf-047.png" }, { "pdf_page": 48, "label": "PDF 48", "source_image": "source-pages/bnf-048.png" }, { "pdf_page": 49, "label": "PDF 49", "source_image": "source-pages/bnf-049.png" }, { "pdf_page": 50, "label": "PDF 50", "source_image": "source-pages/bnf-050.png" }, { "pdf_page": 51, "label": "PDF 51", "source_image": "source-pages/bnf-051.png" }, { "pdf_page": 52, "label": "PDF 52", "source_image": "source-pages/bnf-052.png" }, { "pdf_page": 53, "label": "PDF 53", "source_image": "source-pages/bnf-053.png" }, { "pdf_page": 54, "label": "PDF 54", "source_image": "source-pages/bnf-054.png" }, { "pdf_page": 55, "label": "PDF 55", "source_image": "source-pages/bnf-055.png" }, { "pdf_page": 56, "label": "PDF 56", "source_image": "source-pages/bnf-056.png" }, { "pdf_page": 57, "label": "PDF 57", "source_image": "source-pages/bnf-057.png" }, { "pdf_page": 58, "label": "PDF 58", "source_image": "source-pages/bnf-058.png" }, { "pdf_page": 59, "label": "PDF 59", 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