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fol. 23r

Book two, chapter one: On the art of counterpoint

…sobre el canto llano de color atras [f. 23] puesto.

Exemplo de como pasan seis minimas en un conpas, con las falsas que se sufren.

[Ex. 12a-d] Exemplo

…the plainchant in black notation above.

Example: how six minims are placed on a measure, with the allowed dissonances.

[Ex. 12a-d] Example

…sur le plain-chant en notes carrées ci-dessus.

Exemple : comment passent six minimes sur un temps, avec les dissonances autorisées.

[Ex. 12a-d] Exemple

28 Ex. 12a

28 Example 12a, p. I-16 – labeled, with ficta
28 Example 12a, p. I-16 – labeled, with ficta
28 Example 12a, p. I-16 (MP3). MIDI
28 Example 12a (MP3). Recorders (VP)

29 Ex. 12b

29 Example 12b, p. I-16 – labeled, with ficta
29 Example 12b, p. I-16 – labeled, with ficta
29 Example 12b, p. I-16 (MP3). MIDI
29 Example 12b (MP3). Recorders (VP)

30 Ex. 12c

30 Example 12c, p. I-16 – labeled, with ficta
30 Example 12c, p. I-16 – labeled, with ficta
30 Example 12c, p. I-16 (MP3). MIDI
30 Example 12c (MP3). Recorders (VP)

31 Ex. 12d

31 Example 12d, p. I-16 – labeled. This example starts at the end of fol. 23 (first staff) and continues on fol. 23v (second staff)
31 Example 12d, p. I-16 – labeled. This example starts at the end of fol. 23 (first staff) and continues on fol. 23v (second staff)
31 Example 12d, p. I-16 (MP3). MIDI
31 Example 12d (MP3). Recorders (VP)
Ch. 1
fol. 23v
Ch. 1
fol. 22v