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fol. 28v

Book two, chapter one: On the art of counterpoint

Puedese aon echar otra manera de contrapunto, en el qual los pasos fugados sean cortos y muy ligados uno con otro, como se vera abaxo. El qual contrapunto, aonque no sea muy sabroso, es gracioso y suficiente.

[Ex. 23a-c] Exemplo

Yet another kind of counterpoint can be made, with short and closely spaced imitative motives, as will be seen below; this counterpoint, while not very tasty, is nevertheless graceful and adequate.

[Ex. 23a-c] Example[^*]

On peut encore faire une autre sorte de contrepoint, dans lequel les motifs fugués soient brefs et très liés les uns aux autres, comme on le verra ci-dessous ; ce contrepoint, sans être très savoureux, est cependant gracieux et satisfaisant.

[Ex. 23a-c] Exemple

66 Ex. 23a

66 Example 23a, p. I-38 – labeled, with ficta
66 Example 23a, p. I-38 – labeled, with ficta
66 Example 23a, p. I-38 (MP3). MIDI
66 Example 23a (MP3). Recorders (VP)

67 Ex. 23b

67 Example 23b, p. I-39 – labeled, with ficta
67 Example 23b, p. I-39 – labeled, with ficta
67 Example 23b, p. I-39 (MP3). MIDI
67 Example 23b (MP3). Recorders (VP)

68 Ex. 23c

68 Example 23c, p. I-40 – labeled, with ficta
68 Example 23c, p. I-40 – labeled, with ficta
68 Example 23c, p. I-40 (MP3). MIDI
68 Example 23c (MP3). Recorders (VP)

[^*]: [Only the first of the three staves of Example 23c is notated at the bottom of folio 28v. The remaining two staves, as well as Example 23d, appear at the top of folio 29 in the manuscript.—Tr.]

Ch. 1
fol. 29r
Ch. 1
fol. 28r