fol. 34v
Book two, chapter one: On the art of counterpoint
…En las minimas sincopadas algunas dan falsas que acometen [f. 34v] clausula en la primera cabeça del conpas, otras a la 2ª minima, otras a la 3ª (que es la 2ª cabeça), otras a la quarta. Y en esta manera son dadas en los semibreves sincopados con pausa de seminima, segun que todo arriba pareçe.
[Marg. Del contrapunto al conpas de proportion]
Pues avemos dicho la manera que se deve tener en echar el contrapunto al conpas comun y la gracia que en lo echar se deve tener, y de otras cosas que en el se pueden hazer, las quales lo mismo son en el conpas de las proporciones inequalitatis, veamos que ayre segun el conpas le conviene a la proporçion.
Exemplo [Conpas de proporçion]
[Ex. 34a-c]
…Some of the syncopated minims make dissonances that attack [f. 34v] the cadence on the first beat of the bar, others on the second minim, others on the third (i.e. on the second beat), and others on the fourth.[^*] And this is how they are placed with syncopated minims preceded by a semiminim rest, as shown earlier.
[Marg. On counterpoint in proportion measure [i.e., in triple time]]
Having shown how to make counterpoint in common time [measure], and how to achieve gracefulness in doing so, as well as other things that can be done which are also valid for the measure of unequal proportion, let us now see which style [ayre] is most suitable for the measure of proportion [triple time].
[Ex. 34a-c] Example [proportion measure [triple time]]
…Certaines des minimes syncopées font des dissonances qui attaquent la [f. 34v] cadence sur le premier temps de la mesure, d’autres sur la deuxième minime, d’autres sur la troisième (c’est-à-dire sur le deuxième temps), et d’autres sur la quatrième. Et c’est ainsi qu’on fait les cadences avec les semi-brèves syncopées avec pause de semi-minime, selon ce qui est présenté ci-dessus.
[ Marg. Du contrepoint à la mesure de proportion]
Après avoir dit de quelle manière on devait faire le contrepoint en mesure commune, et la grâce qu’on doit y mettre en le faisant, ainsi que les autres choses que l’on peut y mettre, qui sont également valables pour la mesure de proportion inégale, voyons à présent quelle mélodie convient à la mesure de proportion.
Exemple [Mesure de proportion]
[Ex. 34a-c]
112 Ex. 34c[^**]
[^*]: [Although Lusitano’s description of syncopated minims that “make dissonances that attack the cadence” on the four parts of the measure seems to refer to examples 33a–d in fol. 34r, on those examples, dissonances always appear on the first beat with the exception of the second minim in ex. 33c. However, they do appear on the next set of examples in this folio (34a–d), albeit most of the time belonging to a semibreve’s two minims instead of as single ones. As these examples are in triple time, the four possible dissonance placements discussed by Lusitano would instead be six here, though.‽—Tr.]
[^**]: [Only the first of the two staves of Example 34c is notated at the bottom of fol. 34v. The second stave appears at the top of fol. 35r in the manuscript.—Tr.]