f. 81

en un sino dos semitonos como si dixesemos en fefaut fa y luego un semitono maior mas alto de fefaut mi el qual se señala dentro en fefaut y con esta señal de mi la qual esta puesta en lugar de este b quadrado de manera que para hazer el diatesaron proceder segun que boetio dize proçederemos en quatro bozes desta manera como si dixesemos de elami a alamire mi fa a fefaut y luego en el mismo fefaut con esta señal de semitono [maior] mas alto scilicet que qiere dezir mi fa a gesolreut: y luego un semitono maior con la misma señal scilicet de mi fa a alamire los quales semitonos son cinco scilicet dos maiores y tres menores que es [marg: nota] un dyatesaron. Nota que en este genero el semitono maior es cantable segun que pareçe en el pasado exenplo y en otros muchos. mas [algo] intonable qiero dezir que no se puede [bien] intonar aon que se cante y mas el uso de la tal intonation puede ser tanto frequentada que [marg: ojo:-] se intone perfectamente ⁕ [frase tachada: exemplo de- pr- de el dicho genero. mas] es aon de notar que la composision de quatro partes en este genero es de mucha [palabra borrada seguida de frases borradas. ¿Quizás todavía se pueda leer en el ms original‽] dificultad ansi por los interualos que el genero demanda no se poderen siempre guardar. Porque cosa fuerte seria auer de cantar 4 partes o bozes proçediendo siempre por semitono y semitono y tres semitonos ora sean diferentes ora en un interualo. y no menos es dificultoso hallar tantas diuersidades de pasos que en dos composisiones no se ençierren la major parte de ellos. Es aon de notar que segun boetio no se proçede en el cromatico sino por semitono y semitono y por terçera menor incompuesta como re fa o mi sol: mas io tengo que se debe proceder por çinquo semitonos. Y esto es lo que suenan las palabras de boetio que dizen el cromatico apartandose de la natural intençio, y decendiendo en mas ma- [palabras cortadas por el encuadernador] por semitono y semitono y por tres semitonos: esto, hablando de los generos

in one but in two semitones, as if in fefaut we were to say fa and then mi at a major semitone higher than fefaut, which would be indicated before fefaut with this mi sign , which can be in the place of that b quadrado so that the diatesaron [fourth] progresses in accordance with that which Boethius says, i.e., that we progress in four bozes as if we went from elami to alamire in this manner, saying mi, fa, at fefaut; and then from the same fefaut we would move up an ascending [major] semitone with its sign that requires mi fa to be said at gesolreut; and then another major semitone with the same sign of by saying mi fa to alamire whose semitones are five, i.e., two major and three minor, which makes a fourth. [marg: note] Note that in this genre the major semitone is cantable [singable] as it appears in the above example and in many others. But it is a bit difficult to tune, I mean that it cannot be tuned even if sung, although it can be sung perfectly in tune through frequent practice ⁕ [crossed-out sentence: exemplo de- pr- de el dicho genero. mas]. [marg: attention] It should also be noted that composing in four parts in this genre is very difficult, so that the intervals that the genre demands cannot always be preserved. Because it would be hard to have to sing 4 parts or voices always proceeding by semitone, semitone, and three semitones, [regardless of] whether they are discrete or in an interval. And it is no less difficult to find such a diversity of pasos [steps]: two compositions would contain most of them. It should also be noted that, according to Boethius, in the chromatic [genre] one does not proceed except by semitone and semitone, and by noncomposite minor third, such as re fa o mi sol: but I think that one should proceed by five semitones. And so the words of Boethius describe the chromatic genre departing from the natural intention [i.e. notes unaltered by accidentals] and descending by more ma- [cut off words by the bookbinder] by semitone and semitone and by three semitones; these, in regard to the genres,