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Correction notes encoded in separate corrected version."],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"5c29e855ff5221b6572abb4dba610d2ca8cb78f558dfa3a4ecddee7d00e79172","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-003","downloads":[],"xmlSha256":"5c29e855ff5221b6572abb4dba610d2ca8cb78f558dfa3a4ecddee7d00e79172","integrity":"matched","parts":2,"voices":2,"notes":22,"measures":10,"parser":{"status":"supported","warnings":[],"events":22,"normalizations":[]},"preview":{"path":"previews/edition-48-a-corrected.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"60fe313e57f5046756a8fce6fef1d182284c019f04d3bba23e0019e0e6d05836","playback":true,"corpusLinks":[{"corpusId":"species:gap_006","status":"closing-duration","evidence":{"editionId":"edition:48-a-corrected","xmlSha256":"5c29e855ff5221b6572abb4dba610d2ca8cb78f558dfa3a4ecddee7d00e79172","owners":["48-a"],"sourcePages":[48],"agreement":0.909091,"exact":false,"closingDurationOnly":true,"partMap":[1,2],"corpusEvents":22,"editionEvents":22,"sharedEvents":20,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[40,62,4],1]],"editionOnly":[[[40,62,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[40,62,4],1]],"editionOnly":[[[40,62,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:48-a-corrected"],"coverage":null,"xmlSha256":"5c29e855ff5221b6572abb4dba610d2ca8cb78f558dfa3a4ecddee7d00e79172"}},{"id":"edition:49-a","collection":"edition","title":"Example 49-a","page":49,"topic":"First lesson. On note against note.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/49-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/49-a.png","sha256":"b83226a8f3bddbdb545836aa1a61f686968c30970ad8fb0bc6d6f112c53661e8","label":"Source crop · printed p. 49","local":false}],"owners":["49-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. I shall explain. Because in that case two fifths follow one another in succession, one of which is expressed, or open, while the other is covered, or hidden. I shall now show in an example how the latter becomes manifest through diminution.","latin":"Aloys. Dicam. Quia eo casu duæ Quintæ continenter se sequuntur, quarum una expressa, seu aperta est, altera verò cooperta, seu abscondita est, quam ultimam per diminutionem palàm fieri, nunc monstrabo in exemplo.","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"98ab153a3e7c5e4961b736b55f8954a51f465ebaa056e64b9483288b31bfbd3c","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-004","downloads":[],"xmlSha256":"98ab153a3e7c5e4961b736b55f8954a51f465ebaa056e64b9483288b31bfbd3c","integrity":"matched","parts":2,"voices":2,"notes":10,"measures":2,"parser":{"status":"supported","warnings":[],"events":10,"normalizations":[]},"preview":{"path":"previews/edition-49-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"af5f958d41fe3f82c124bde432549a969fd9e90fd9765737ad4ad86324a91478","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"98ab153a3e7c5e4961b736b55f8954a51f465ebaa056e64b9483288b31bfbd3c"}},{"id":"edition:50-a","collection":"edition","title":"Example 50-a","page":50,"topic":"First lesson. On note against note.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/50-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/50-a.png","sha256":"1c6210c759ce9b6361de0c10b3d19f26caa968028671c50fa03fa8308c9e0d85","label":"Source crop · printed p. 50","local":false}],"owners":["50-a"],"state":"recorded-review","editionStatus":"verified","context":"This freedom to make a diminution cannot be taken away from a skilled singer, especially one singing alone. The same must be understood of the progression from an octave to a fifth by similar motion, in which case, for the same reason, two fifths would follow one another immediately, as the following example shows.","latin":"Quæ diminutionem faciendi facultas perito Cantori adimi non potest, maximè voce solâ cantanti; quod idem intelligendum est de progressu Octavæ ad Quintam per motum rectum, quo casu ob eandem rationem duas Quintas immediatè se sequi contingeret, ut sequens exemplum monstrat.","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"9d9c51efe9334a370201268703d57f3191bc7554db58009cc8c4aa518dd55f29","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-005","downloads":[],"xmlSha256":"9d9c51efe9334a370201268703d57f3191bc7554db58009cc8c4aa518dd55f29","integrity":"matched","parts":2,"voices":2,"notes":22,"measures":4,"parser":{"status":"supported","warnings":[],"events":22,"normalizations":[]},"preview":{"path":"previews/edition-50-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"b298b908928203e9980c19546c205151318e4902bc8f7cede48044c61e396e6e","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"9d9c51efe9334a370201268703d57f3191bc7554db58009cc8c4aa518dd55f29"}},{"id":"edition:50-b","collection":"edition","title":"Example 50-b","page":50,"topic":"First lesson. On note against note.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/50-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/50-b.png","sha256":"c53381c86b52eb126f8d1dfbc1efc23e8b4852ea97d649d07eba8468b89acb1c","label":"Source crop · printed p. 50","local":false}],"owners":["50-b"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. Because it does not have the consonance of a fifth, and therefore cannot constitute a mode, as we shall explain more fully in its proper place. Let us look at an example.","latin":"Aloys. Quia quintam Consonantiam non habet, nec adeò tonum constituere potest, ut suo loco fusiùs dicemus; videamus exemplum.","issues":["Source dyad on one staff represented as two parts sharing the source clef."],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"d267466537c602da2aa1f292d9883998553198e37ce6d55ffdf02c0a9c37b442","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-006","downloads":[],"xmlSha256":"d267466537c602da2aa1f292d9883998553198e37ce6d55ffdf02c0a9c37b442","integrity":"matched","parts":2,"voices":2,"notes":2,"measures":1,"parser":{"status":"supported","warnings":[],"events":2,"normalizations":[]},"preview":{"path":"previews/edition-50-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"39c5891a9bc8e19310eb594482e0ed339959f7d982e669d02fa49c0981206816","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"d267466537c602da2aa1f292d9883998553198e37ce6d55ffdf02c0a9c37b442"}},{"id":"edition:50-c","collection":"edition","title":"Example 50-c","page":50,"topic":"First lesson. On note against note.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/50-c.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/50-c.png","sha256":"bd699d2cd1c96e19f357cac472b4df0db4312d3440ccbaaedbf013cfff6cfaca","label":"Source crop · printed p. 50","local":false}],"owners":["50-c"],"state":"recorded-review","editionStatus":"verified","context":"Joseph. Can this false fifth not be made into a consonant fifth by adding either a flat to the lower note or a sharp to the upper one, as in this example?","latin":"Joseph. Non potest ex ista Quinta falsa effici Quinta consonans, adjungendo vel Notæ inferiori ♭, vel superiori Diesin ♯, ut in hoc exemplo?","issues":["Two source dyads represented as simultaneous parts."],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"ef71775ede8b1f6c17bb37d279c234738c3356817ae7cffd157732ff953dc9b6","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-008","downloads":[],"xmlSha256":"ef71775ede8b1f6c17bb37d279c234738c3356817ae7cffd157732ff953dc9b6","integrity":"matched","parts":2,"voices":2,"notes":4,"measures":2,"parser":{"status":"supported","warnings":[],"events":4,"normalizations":[]},"preview":{"path":"previews/edition-50-c.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"888d010b0008290be9323201842dd32c5a39334bdd65a1532b9c41e160be01a6","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"ef71775ede8b1f6c17bb37d279c234738c3356817ae7cffd157732ff953dc9b6"}},{"id":"edition:51-a","collection":"edition","title":"Example 51-a","page":51,"topic":"First lesson. On note against note.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/51-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/51-a.png","sha256":"6f0987a3e471908c99b050519e1fbcc77b2f20540cdc1c63d3fdc96f4ddba3d8","label":"Source crop · printed p. 51","local":false}],"owners":["51-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. A very great difference indeed. For the varying position of the semitones in each octave also gives rise to a different manner of melodic composition, but that does not concern you now. Come, then, resume your exercise and construct counterpoint above the cantus firmus which I am now about to prescribe for you on E.","latin":"Aloys. Est vel maximè. Etenim propter varium situm semitoniorum cujusvis Octavæ dispar etiam oritur modulandi ratio, sed quæ nunc ad te non attinet. Age ergo, tuumque exercitium resumendo, construito Contrapunctum super Cantum firmum, quem tibi modò in E. præscripturus sum.","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"a4d5eb1708bc913f38dfe7847a6fef8ada7e8f47abf0de3246e3123b8352caf3","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-009","downloads":[],"xmlSha256":"a4d5eb1708bc913f38dfe7847a6fef8ada7e8f47abf0de3246e3123b8352caf3","integrity":"matched","parts":2,"voices":2,"notes":20,"measures":9,"parser":{"status":"supported","warnings":[],"events":20,"normalizations":[]},"preview":{"path":"previews/edition-51-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"ab75bd631253b301f5a44f06183def014b13d9e5522314d1e47aac944be40288","playback":true,"corpusLinks":[{"corpusId":"species:gap_011","status":"closing-duration","evidence":{"editionId":"edition:51-a","xmlSha256":"a4d5eb1708bc913f38dfe7847a6fef8ada7e8f47abf0de3246e3123b8352caf3","owners":["51-a"],"sourcePages":[51],"agreement":0.9,"exact":false,"closingDurationOnly":true,"partMap":[1,2],"corpusEvents":20,"editionEvents":20,"sharedEvents":18,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[36,76,4],1]],"editionOnly":[[[36,76,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[36,64,4],1]],"editionOnly":[[[36,64,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:51-a"],"coverage":null,"xmlSha256":"a4d5eb1708bc913f38dfe7847a6fef8ada7e8f47abf0de3246e3123b8352caf3"}},{"id":"edition:51-b-original","collection":"edition","title":"Example 51-b-original","page":51,"topic":"First lesson. On note against note.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/51-b-original.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/51-b.png","sha256":"db7c57443d86bec2139e6a3c7a86ba212cb61649cee85c755e4eedfca57dd89b","label":"Source crop · printed p. 51","local":false}],"owners":["51-b"],"state":"recorded-review","editionStatus":"verified","context":"You have done it exactly right. Now, with the cantus firmus placed in the upper part, compose the counterpoint below in the tenor.","latin":"Ad amussim fecisti. Nunc posito Cantu firmo in parte superiori, infrà in Tenore confice Contrapunctum.","issues":["Forbidden F3–B3 tritone preserved; adjacent correction C4 encoded separately."],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"722ae71c720abf61fec37706b9a6c909a25c74cb38adf6b12b1d068937bd86d4","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-010","downloads":[],"xmlSha256":"722ae71c720abf61fec37706b9a6c909a25c74cb38adf6b12b1d068937bd86d4","integrity":"matched","parts":2,"voices":2,"notes":20,"measures":9,"parser":{"status":"supported","warnings":[],"events":20,"normalizations":[]},"preview":{"path":"previews/edition-51-b-original.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"e970f473be132fdf36f87612c2f22b79f66cdb7dfafa89f06e1c555c55541528","playback":true,"corpusLinks":[],"relationship":"alternate-reading","material":{"group":"alternate-reading","reason":"Another encoding of a source crop already linked to a corpus exercise; retained separately.","relatedEditionIds":["edition:51-b-corrected"],"coverage":null,"xmlSha256":"722ae71c720abf61fec37706b9a6c909a25c74cb38adf6b12b1d068937bd86d4"}},{"id":"edition:51-b-corrected","collection":"edition","title":"Example 51-b-corrected","page":51,"topic":"First lesson. 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Nunc posito Cantu firmo in parte superiori, infrà in Tenore confice Contrapunctum.","issues":["Forbidden F3–B3 tritone preserved; adjacent correction C4 encoded separately."],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"4b9718c40f39224d4a61af002c644deb0f6d54dbba67b3fbba947a81f6c57a49","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-010","downloads":[],"xmlSha256":"4b9718c40f39224d4a61af002c644deb0f6d54dbba67b3fbba947a81f6c57a49","integrity":"matched","parts":2,"voices":2,"notes":20,"measures":9,"parser":{"status":"supported","warnings":[],"events":20,"normalizations":[]},"preview":{"path":"previews/edition-51-b-corrected.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"76e14f296240c03936754de2a947fcded9043d5916a62c0310ed37a0d4d49363","playback":true,"corpusLinks":[{"corpusId":"species:gap_012","status":"closing-duration","evidence":{"editionId":"edition:51-b-corrected","xmlSha256":"4b9718c40f39224d4a61af002c644deb0f6d54dbba67b3fbba947a81f6c57a49","owners":["51-b"],"sourcePages":[51],"agreement":0.9,"exact":false,"closingDurationOnly":true,"partMap":[1,2],"corpusEvents":20,"editionEvents":20,"sharedEvents":18,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[36,64,4],1]],"editionOnly":[[[36,64,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[36,64,4],1]],"editionOnly":[[[36,64,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:51-b-corrected"],"coverage":null,"xmlSha256":"4b9718c40f39224d4a61af002c644deb0f6d54dbba67b3fbba947a81f6c57a49"}},{"id":"edition:52-a","collection":"edition","title":"Example 52-a","page":52,"topic":"First lesson. On note against note.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/52-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/52-a.png","sha256":"c5dded32052cb39c317b6d46b73cf4f15708c24e9d7bf5f290c079593fcdf753","label":"Source crop · printed p. 52","local":false}],"owners":["52-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. Do not take badly an error which you could not avoid because you had not yet been warned about it; nor should you torment yourself in advance with fear of composition for more voices, for practice will gradually make you much more circumspect and fluent. I do not doubt that you have often heard that familiar saying: “mi against fa is the devil in music.” This is what you did by proceeding from the sixth note, fa, to the seventh, mi, by the leap of a major fourth, or tritone, an interval difficult to sing and unpleasant to hear, which must never be used in counterpoint. Be of good cheer, and proceed from the mode on E to the mode on F.","latin":"Aloys. Noli molestè ferre errorem, quem, quia nondum admonitus fuisti, evitare non poteras: nec anticipatò cruciari velis timore de plurium vocum compositione; quia usus paulatim multò te circumspectiorem, facilioremque reddet. Non dubito, quin sæpiùs audiveris tritum illud sermone proverbium: mi contra fa, est diabolus in Musica, quod fecisti procedendo de sexta Nota fa, ad septimam mi per saltum Quartæ majoris, sive Tritoni, quem cantu difficilem, atque malè sonantem in Contrapuncto adhibere nefas est. Fac bono animo sis, & de tono E. procede ad tonum F.","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"ff7f0f7d69877f95f4c9edb0c2f5e706321e19ac1072dfcefc8c976a0997f94b","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-011","downloads":[],"xmlSha256":"ff7f0f7d69877f95f4c9edb0c2f5e706321e19ac1072dfcefc8c976a0997f94b","integrity":"matched","parts":2,"voices":2,"notes":24,"measures":11,"parser":{"status":"supported","warnings":[],"events":24,"normalizations":[]},"preview":{"path":"previews/edition-52-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"32d80e8aa4f41f0746d1a4be9118746ade93e6d07d329f9fe43fa59cb62d674f","playback":true,"corpusLinks":[{"corpusId":"species:gap_013","status":"closing-duration","evidence":{"editionId":"edition:52-a","xmlSha256":"ff7f0f7d69877f95f4c9edb0c2f5e706321e19ac1072dfcefc8c976a0997f94b","owners":["52-a"],"sourcePages":[52],"agreement":0.916667,"exact":false,"closingDurationOnly":true,"partMap":[1,2],"corpusEvents":24,"editionEvents":24,"sharedEvents":22,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[44,65,4],1]],"editionOnly":[[[44,65,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[44,53,4],1]],"editionOnly":[[[44,53,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:52-a"],"coverage":null,"xmlSha256":"ff7f0f7d69877f95f4c9edb0c2f5e706321e19ac1072dfcefc8c976a0997f94b"}},{"id":"edition:52-b","collection":"edition","title":"Example 52-b","page":52,"topic":"First lesson. On note against note.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/52-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/52-b.png","sha256":"3874242d0b8236e0efff27bd5533095f57ebfd692134f064176be956c708ad69","label":"Source crop · printed p. 52","local":false}],"owners":["52-b"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. Nothing else, indeed, except that the different clefs should become ever more familiar to you. Here, however, note that neighboring clefs should always be joined, so that simple consonances may more easily be distinguished from compound ones. Now place a bass below the cantus firmus, and form the counterpoint in it.","latin":"Aloys. Nihil quidem aliud, quàm ut differentes claves semper tibi familiariùs innotescant. Ubi tamen animadvertendum est, proximas claves semper conjungendas esse, ut ratio Consonantiarum simplicium à compositis faciliùs discerni possit. Nunc posito Basso infrà Cantum firmum, in eo formetur Contrapunctum.","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"ffdc527620cf31963a2af9ac01d5a79ba101f32f8084f8982f254e46f9c2d802","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-012","downloads":[],"xmlSha256":"ffdc527620cf31963a2af9ac01d5a79ba101f32f8084f8982f254e46f9c2d802","integrity":"matched","parts":2,"voices":2,"notes":24,"measures":11,"parser":{"status":"supported","warnings":[],"events":24,"normalizations":[]},"preview":{"path":"previews/edition-52-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"844d7cf0a131cc607152b3d106089ce36f0a3993db7536c53b8333bfac59dd69","playback":true,"corpusLinks":[{"corpusId":"species:gap_014","status":"closing-duration","evidence":{"editionId":"edition:52-b","xmlSha256":"ffdc527620cf31963a2af9ac01d5a79ba101f32f8084f8982f254e46f9c2d802","owners":["52-b"],"sourcePages":[52],"agreement":0.916667,"exact":false,"closingDurationOnly":true,"partMap":[1,2],"corpusEvents":24,"editionEvents":24,"sharedEvents":22,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[44,53,4],1]],"editionOnly":[[[44,53,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[44,53,4],1]],"editionOnly":[[[44,53,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:52-b"],"coverage":null,"xmlSha256":"ffdc527620cf31963a2af9ac01d5a79ba101f32f8084f8982f254e46f9c2d802"}},{"id":"edition:53-a-original","collection":"edition","title":"Example 53-a-original","page":53,"topic":"First lesson. On note against note.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/53-a-original.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/53-a.png","sha256":"ce79e80da32dc004c26aba17f1c2022b428542d4277225c078e299b317cd9c70","label":"Source crop · printed p. 53","local":false}],"owners":["53-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. You did this with excellent attention to the rules, especially in treating the cantus firmus in this case as the lower part and foundation, and measuring the consonances above it. Let us proceed to the mode on G.","latin":"Aloys. Optimâ observantiâ id fecisti: maximè quod Cantum firmum hoc casu tanquam partem inferiorem pro fundamento statuens, super eo rationem Consonantiarum dimensus fueris. Pergamus ad tonum G.","issues":["Original major-sixth leap and battuta octave preserved. Nearby correction noteheads encoded separately."],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"403c5aebdc0846ab1caceeaa7071e61cf5797f26fb7c3bc7a0b895062abc4eb8","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-013","downloads":[],"xmlSha256":"403c5aebdc0846ab1caceeaa7071e61cf5797f26fb7c3bc7a0b895062abc4eb8","integrity":"matched","parts":2,"voices":2,"notes":28,"measures":13,"parser":{"status":"supported","warnings":[],"events":28,"normalizations":[]},"preview":{"path":"previews/edition-53-a-original.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"1b621e70e8cc87b00b456dd905c9dea7ba5bbdbbf0ce46a5e670770097a51ffe","playback":true,"corpusLinks":[],"relationship":"alternate-reading","material":{"group":"alternate-reading","reason":"Another encoding of a source crop already linked to a corpus exercise; retained separately.","relatedEditionIds":["edition:53-a-corrected"],"coverage":null,"xmlSha256":"403c5aebdc0846ab1caceeaa7071e61cf5797f26fb7c3bc7a0b895062abc4eb8"}},{"id":"edition:53-a-corrected","collection":"edition","title":"Example 53-a-corrected","page":53,"topic":"First lesson. On note against note.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/53-a-corrected.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/53-a.png","sha256":"ce79e80da32dc004c26aba17f1c2022b428542d4277225c078e299b317cd9c70","label":"Source crop · printed p. 53","local":false}],"owners":["53-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. You did this with excellent attention to the rules, especially in treating the cantus firmus in this case as the lower part and foundation, and measuring the consonances above it. Let us proceed to the mode on G.","latin":"Aloys. Optimâ observantiâ id fecisti: maximè quod Cantum firmum hoc casu tanquam partem inferiorem pro fundamento statuens, super eo rationem Consonantiarum dimensus fueris. Pergamus ad tonum G.","issues":["Original major-sixth leap and battuta octave preserved. Nearby correction noteheads encoded separately."],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"6194fea1a07d97c282c18500681ee5e7e5808d8e12628604ec30cafa436e27da","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-013","downloads":[],"xmlSha256":"6194fea1a07d97c282c18500681ee5e7e5808d8e12628604ec30cafa436e27da","integrity":"matched","parts":2,"voices":2,"notes":28,"measures":13,"parser":{"status":"supported","warnings":[],"events":28,"normalizations":[]},"preview":{"path":"previews/edition-53-a-corrected.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"6b40b72ea4dbc72eb396163a150b88260c383dc40b04bd946090c368b279ba5a","playback":true,"corpusLinks":[{"corpusId":"species:gap_015","status":"closing-duration","evidence":{"editionId":"edition:53-a-corrected","xmlSha256":"6194fea1a07d97c282c18500681ee5e7e5808d8e12628604ec30cafa436e27da","owners":["53-a"],"sourcePages":[53],"agreement":0.928571,"exact":false,"closingDurationOnly":true,"partMap":[1,2],"corpusEvents":28,"editionEvents":28,"sharedEvents":26,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[52,67,4],1]],"editionOnly":[[[52,67,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[52,55,4],1]],"editionOnly":[[[52,55,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:53-a-corrected"],"coverage":null,"xmlSha256":"6194fea1a07d97c282c18500681ee5e7e5808d8e12628604ec30cafa436e27da"}},{"id":"edition:53-b","collection":"edition","title":"Example 53-b","page":53,"topic":"First lesson. On note against note.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/53-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/53-b.png","sha256":"51bfd2b0c254dd247784f07337d5dfe7a583048c3f65df0e51fc34935bd65979","label":"Source crop · printed p. 53","local":false}],"owners":["53-b"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. You seem impatient to me; nevertheless, I am greatly pleased by your eagerness not to depart from the rules. But how do you expect to avoid those small matters about which you have not yet received a precept? From the ninth note to the tenth you used the leap of a major sixth, which is forbidden in counterpoint, a kind of composition in which everything must be very easy to sing. Then, from the tenth note to the eleventh, you proceeded from a tenth to an octave with the parts converging—that is, with the lower part ascending and the upper part descending by step. This octave, called an Octava Battuta by the Italians and Thesis by the Greeks, is forbidden because it falls at the beginning of the beat. Yet, having investigated this matter long and thoroughly, I have been unable to discover either the reason for the fault or the distinction explaining why the octave of this","latin":"Aloys. Impatiens mihi videris; summoperè tamen delector hoc tuo à regulis non declinandi ardore. Quomodo autem evitare cupis illas minutias, de quibus præceptum nondum habuisti? De Nota nona ad decimam adhibuisti saltum Sextæ majoris, qui in Contrapuncto, in quo Compositionis genere omnia cantu facillima esse debent, prohibitus est. Deinde de decima Nota ad undecimam progressus es de Decima in Octavam conjunctis partibus, id est, parte inferiori ascendendo, & parte superiori descendendo gradatim se movente, quæ Octava ab Italis Octava Battuta, à Græcis Thesis nuncupata, quia in principio tactûs venit, prohibetur. Verùm ego hujus rei causâ diu multumque scrutatus, neque vitii rationem, neque disparitatem reperire potui, cur hujus","issues":["Source two-voice interval diagram on a shared soprano staff encoded as two parts."],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"4f728c8fd8f44c3adf7b3df62a8ee13813005361f0addea617b8fe530144b0d5","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-014","downloads":[],"xmlSha256":"4f728c8fd8f44c3adf7b3df62a8ee13813005361f0addea617b8fe530144b0d5","integrity":"matched","parts":2,"voices":2,"notes":4,"measures":1,"parser":{"status":"supported","warnings":[],"events":4,"normalizations":[]},"preview":{"path":"previews/edition-53-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"01d15d665e058139e716c7cb78de58b704dfa3beff78e5ba6bd71fb04fe2ae70","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"4f728c8fd8f44c3adf7b3df62a8ee13813005361f0addea617b8fe530144b0d5"}},{"id":"edition:53-c","collection":"edition","title":"Example 53-c","page":53,"topic":"First lesson. On note against note.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/53-c.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/53-c.png","sha256":"3c34bdffff2903baee03ebce2189208f1214ef3f41f944a02e7fd6933ab21dd6","label":"Source crop · printed p. 53","local":false}],"owners":["53-c"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. You seem impatient to me; nevertheless, I am greatly pleased by your eagerness not to depart from the rules. But how do you expect to avoid those small matters about which you have not yet received a precept? From the ninth note to the tenth you used the leap of a major sixth, which is forbidden in counterpoint, a kind of composition in which everything must be very easy to sing. Then, from the tenth note to the eleventh, you proceeded from a tenth to an octave with the parts converging—that is, with the lower part ascending and the upper part descending by step. This octave, called an Octava Battuta by the Italians and Thesis by the Greeks, is forbidden because it falls at the beginning of the beat. Yet, having investigated this matter long and thoroughly, I have been unable to discover either the reason for the fault or the distinction explaining why the octave of this","latin":"Aloys. Impatiens mihi videris; summoperè tamen delector hoc tuo à regulis non declinandi ardore. Quomodo autem evitare cupis illas minutias, de quibus præceptum nondum habuisti? De Nota nona ad decimam adhibuisti saltum Sextæ majoris, qui in Contrapuncto, in quo Compositionis genere omnia cantu facillima esse debent, prohibitus est. Deinde de decima Nota ad undecimam progressus es de Decima in Octavam conjunctis partibus, id est, parte inferiori ascendendo, & parte superiori descendendo gradatim se movente, quæ Octava ab Italis Octava Battuta, à Græcis Thesis nuncupata, quia in principio tactûs venit, prohibetur. Verùm ego hujus rei causâ diu multumque scrutatus, neque vitii rationem, neque disparitatem reperire potui, cur hujus","issues":["Source interval diagram encoded as two parts."],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"b4548f6a6e220e2252e775b78b38513b7324e61018f457df2eddc0d020e96dc2","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-015","downloads":[],"xmlSha256":"b4548f6a6e220e2252e775b78b38513b7324e61018f457df2eddc0d020e96dc2","integrity":"matched","parts":2,"voices":2,"notes":4,"measures":1,"parser":{"status":"supported","warnings":[],"events":4,"normalizations":[]},"preview":{"path":"previews/edition-53-c.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"d64df16e1f8ddba958396b295b1996c760c0631e525a69e2a0d35d389dc8b396","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"b4548f6a6e220e2252e775b78b38513b7324e61018f457df2eddc0d020e96dc2"}},{"id":"edition:53-d","collection":"edition","title":"Example 53-d","page":53,"topic":"First lesson. On note against note.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/53-d.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/53-d.png","sha256":"884bd22645503f0e86ca30822b6eaccafaa265e704b5226bd00be7bff918aa5d","label":"Source crop · printed p. 53","local":false}],"owners":["53-d"],"state":"recorded-review","editionStatus":"verified","context":"since the octave in both examples is reached by contrary motion. A different view must be taken of a unison produced in the same way,","latin":"cùm utriusque paradigmatis Octava motu contrario perficiatur. Alia ratio habenda est Unisoni, eodem modo producti,","issues":["Converging unison diagram encoded as two parts."],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"5d9e6cd2204d22c240c5d22e5573a4372021bf19214284b4863fab2ebdec0957","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-016","downloads":[],"xmlSha256":"5d9e6cd2204d22c240c5d22e5573a4372021bf19214284b4863fab2ebdec0957","integrity":"matched","parts":2,"voices":2,"notes":4,"measures":1,"parser":{"status":"supported","warnings":[],"events":4,"normalizations":[]},"preview":{"path":"previews/edition-53-d.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"08d1668d0790e69b22693b94c8e60d4af8423dcb0e5bb47d1badcd12a292efc2","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"5d9e6cd2204d22c240c5d22e5573a4372021bf19214284b4863fab2ebdec0957"}},{"id":"edition:54-a","collection":"edition","title":"Example 54-a","page":54,"topic":"First lesson. On note against note.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/54-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/54-a.png","sha256":"ff3c5580c79b306385f9a318adbd2d369ac99294e1885b1d6e27a23ba54e32ad","label":"Source crop · printed p. 54","local":false}],"owners":["54-a"],"state":"recorded-review","editionStatus":"verified","context":"To return, however, to the octave mentioned above, which is called battuta, I leave you free either to avoid it or to use it, for it matters little. But if the parts converge by a leap from some more distant consonance into an octave, I think this should not be tolerated even in composition for several voices. For example:","latin":"Ut autem revertar ad Octavam superiùs allatam, quæ battuta dicitur, liberum arbitrium vel evitandi vel adhibendi tibi relinquo; parùm enim interest. Quod si autem de remotiore quadam Consonantiâ per saltum lapsus conjunctim in Octavam fiat, nec in Compositione plurium vocum tolerandum puto. E. G.","issues":["Two separate bad progressions separated by double bars in the source; retained as successive measures."],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"a8f5a86bebcba3334da471373afa532f302576a29f2c8e914dcb12cb5f9f2f38","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-017","downloads":[],"xmlSha256":"a8f5a86bebcba3334da471373afa532f302576a29f2c8e914dcb12cb5f9f2f38","integrity":"matched","parts":2,"voices":2,"notes":8,"measures":2,"parser":{"status":"supported","warnings":[],"events":8,"normalizations":[]},"preview":{"path":"previews/edition-54-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"5ac543cc6bc5962d1d20f0dc03eea5033995744aec23ad61785e51e944a2e601","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"a8f5a86bebcba3334da471373afa532f302576a29f2c8e914dcb12cb5f9f2f38"}},{"id":"edition:54-b","collection":"edition","title":"Example 54-b","page":54,"topic":"First lesson. On note against note.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/54-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/54-b.png","sha256":"1080172153b6129e8994ba1ef74a7033811fea0a24452d4e3ed98f34d2e342cb","label":"Source crop · printed p. 54","local":false}],"owners":["54-b"],"state":"recorded-review","editionStatus":"verified","context":"I wish this to be understood with still greater force of the unison as well. For example:","latin":"Quod à potiore de unisono quoque intelligendum esse cupio. E. G.","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"80d00f3678638461f472ee591998e0f80f3584ac1e3bf669712e190ae8f3f28d","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-018","downloads":[],"xmlSha256":"80d00f3678638461f472ee591998e0f80f3584ac1e3bf669712e190ae8f3f28d","integrity":"matched","parts":2,"voices":2,"notes":8,"measures":2,"parser":{"status":"supported","warnings":[],"events":8,"normalizations":[]},"preview":{"path":"previews/edition-54-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"ba29d3106cc5bc790a4740abae2080c01102812dd2b09efa31b80e76bc998c92","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"80d00f3678638461f472ee591998e0f80f3584ac1e3bf669712e190ae8f3f28d"}},{"id":"edition:54-c","collection":"edition","title":"Example 54-c","page":54,"topic":"First lesson. On note against note.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/54-c.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/54-c.png","sha256":"91aa6643b60d638cb665106900fdffc2537380b26ca631604096681a45addd67","label":"Source crop · printed p. 54","local":false}],"owners":["54-c"],"state":"recorded-review","editionStatus":"verified","context":"In composition for eight voices, similar leaps will scarcely be avoidable, especially in the basses and in the parts that take their place, as will be explained in its proper place. It still remains to place the counterpoint of the last example in the lower part.","latin":"In Compositione octo vocum similes saltus maximè in Bassis, inque partibus, quæ eorum vices funguntur, vix evitari poterunt, ut suo loco dicetur. Restat adhuc ultimi exempli Contrapunctum in parte inferiori ponendum.","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"fcef92c25f1b3c19282a9f4211cc44a816f20a850b82361367a1ca4e2554c971","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-019","downloads":[],"xmlSha256":"fcef92c25f1b3c19282a9f4211cc44a816f20a850b82361367a1ca4e2554c971","integrity":"matched","parts":2,"voices":2,"notes":28,"measures":13,"parser":{"status":"supported","warnings":[],"events":28,"normalizations":[]},"preview":{"path":"previews/edition-54-c.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"c96c92535338d85bb4e97effff4de78f47702c5f6b83b20d4e32c92c0cea3233","playback":true,"corpusLinks":[{"corpusId":"species:gap_021","status":"closing-duration","evidence":{"editionId":"edition:54-c","xmlSha256":"fcef92c25f1b3c19282a9f4211cc44a816f20a850b82361367a1ca4e2554c971","owners":["54-c"],"sourcePages":[54],"agreement":0.928571,"exact":false,"closingDurationOnly":true,"partMap":[1,2],"corpusEvents":28,"editionEvents":28,"sharedEvents":26,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[52,55,4],1]],"editionOnly":[[[52,55,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[52,55,4],1]],"editionOnly":[[[52,55,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:54-c"],"coverage":null,"xmlSha256":"fcef92c25f1b3c19282a9f4211cc44a816f20a850b82361367a1ca4e2554c971"}},{"id":"edition:55-a","collection":"edition","title":"Example 55-a","page":55,"topic":"First lesson. On note against note.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/55-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/55-a.png","sha256":"c0623662ac3fc5445ab88d30103fda92e9889283fb4b1433b40eeea014b2f4b3","label":"Source crop · printed p. 55","local":false}],"owners":["55-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. You have made an excellent observation. I now think that every stumbling block has been removed. Proceed, then, to the two remaining modes, A and C.","latin":"Aloys. Optimam adhibuisti observationem. Nunc omnem offensionis lapidem sublatum esse arbitror. Perge ergo ad A. & C. duos superstites Tonos.","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"b34846fc1288e855936383ff6d31f165e016eb6d94fe772569cdc405e5fecb24","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-020","downloads":[],"xmlSha256":"b34846fc1288e855936383ff6d31f165e016eb6d94fe772569cdc405e5fecb24","integrity":"matched","parts":2,"voices":2,"notes":24,"measures":11,"parser":{"status":"supported","warnings":[],"events":24,"normalizations":[]},"preview":{"path":"previews/edition-55-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"a68b113ee7f60d16ce80921dea40005390c8e479f25d18375029426313bbb6b8","playback":true,"corpusLinks":[{"corpusId":"species:gap_022","status":"closing-duration","evidence":{"editionId":"edition:55-a","xmlSha256":"b34846fc1288e855936383ff6d31f165e016eb6d94fe772569cdc405e5fecb24","owners":["55-a"],"sourcePages":[55],"agreement":0.916667,"exact":false,"closingDurationOnly":true,"partMap":[1,2],"corpusEvents":24,"editionEvents":24,"sharedEvents":22,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[44,69,4],1]],"editionOnly":[[[44,69,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[44,57,4],1]],"editionOnly":[[[44,57,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:55-a"],"coverage":null,"xmlSha256":"b34846fc1288e855936383ff6d31f165e016eb6d94fe772569cdc405e5fecb24"}},{"id":"edition:55-b","collection":"edition","title":"Example 55-b","page":55,"topic":"First lesson. On note against note.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/55-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/55-b.png","sha256":"a596d0215ce48062bae807bd52e55a2b60a694e55317b479d5370738c2c78b53","label":"Source crop · printed p. 55","local":false}],"owners":["55-b"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. You have made an excellent observation. I now think that every stumbling block has been removed. Proceed, then, to the two remaining modes, A and C.","latin":"Aloys. Optimam adhibuisti observationem. Nunc omnem offensionis lapidem sublatum esse arbitror. Perge ergo ad A. & C. duos superstites Tonos.","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"e95823122822dc6cd53b718819e2764a1170a82144f53e8c3238b0c22ca5220b","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-021","downloads":[],"xmlSha256":"e95823122822dc6cd53b718819e2764a1170a82144f53e8c3238b0c22ca5220b","integrity":"matched","parts":2,"voices":2,"notes":24,"measures":11,"parser":{"status":"supported","warnings":[],"events":24,"normalizations":[]},"preview":{"path":"previews/edition-55-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"153f05ab2b30c40865562766299b81b3beb4454e5b2c0cd733f17e042d16c50e","playback":true,"corpusLinks":[{"corpusId":"species:gap_023","status":"closing-duration","evidence":{"editionId":"edition:55-b","xmlSha256":"e95823122822dc6cd53b718819e2764a1170a82144f53e8c3238b0c22ca5220b","owners":["55-b"],"sourcePages":[55],"agreement":0.916667,"exact":false,"closingDurationOnly":true,"partMap":[1,2],"corpusEvents":24,"editionEvents":24,"sharedEvents":22,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[44,57,4],1]],"editionOnly":[[[44,57,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[44,57,4],1]],"editionOnly":[[[44,57,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:55-b"],"coverage":null,"xmlSha256":"e95823122822dc6cd53b718819e2764a1170a82144f53e8c3238b0c22ca5220b"}},{"id":"edition:56-a-1","collection":"edition","title":"Example 56-a-1","page":56,"topic":"Second lesson, or the second species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/56-a-1.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/56-a.png","sha256":"7e1cc6fce75a33a508a06279c66362113ed213c7db0893b6203d52a1b021a00a","label":"Source crop · printed p. 56","local":false}],"owners":["56-a"],"state":"recorded-review","editionStatus":"verified","context":"Before I undertake to explain this second species of counterpoint, it must first be understood that we are at present working in duple time, whose beat or measure consists of two equal parts: one in the lowering of the hand, the other in its raising. The lowering of the hand is called Thesis in Greek, and its raising Arshis; for greater convenience I have decided to use these two words henceforth in this exercise. This second species is made by placing two minims against one semibreve. One of them, falling on the thesis, must always be consonant; the other, on the arsis, may also be dissonant if it moves by step from the preceding note to the following one. But if it proceeds by leap, it must necessarily be consonant. In this species of counterpoint a dissonance can occur only through diminution, that is, by filling the intervening space between two notes a third apart. For example:","latin":"Antequam hanc secundam Contrapuncti Speciem explicandam aggrediar, præsciendum est, nos in præsentiarum in Tempore binario versari, cujus tactus sive mensura duabus partibus æqualibus constat, quarum una in depressione, altera in elevatione manûs consistit. Depressio manûs græcè Thesis, elevatio autem Arshis appellatur, quibus duobus vocabulis pro majori commoditate hoc in Exercitio deinceps nobis utendum duxi. Species ista secunda fit, quando duæ minimæ contra unam semibrevem ponuntur, quarum una in Thesi veniens, semper consonans sit, necesse est, altera verò in Arshi, si de Nota præcedenti in sequentem gradatim moveatur, etiam dissonans esse poterit; si autem per saltum labatur, necessariò Consonans esse debet. Potest autem hac in Contrapuncti Specie dissonantia non aliter habere locum, quàm per diminutionem, id est, implendo illud spatium intermedium, quod intercedit duas Notas per saltum Tertiæ distantes. E. G.","issues":["Shared-staff comparison represented as two parts."],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"a957cbdb7a99cc731d9d79e6a47982df20852fa56a530e384a1b358dbbc9937d","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-022","downloads":[],"xmlSha256":"a957cbdb7a99cc731d9d79e6a47982df20852fa56a530e384a1b358dbbc9937d","integrity":"matched","parts":2,"voices":2,"notes":7,"measures":2,"parser":{"status":"supported","warnings":[],"events":7,"normalizations":[]},"preview":{"path":"previews/edition-56-a-1.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"503dfbcb5ee6734e1c32c4558ae2c1044ea10dfd8459caea2bb9f47d26296219","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"a957cbdb7a99cc731d9d79e6a47982df20852fa56a530e384a1b358dbbc9937d"}},{"id":"edition:56-a-2","collection":"edition","title":"Example 56-a-2","page":56,"topic":"Second lesson, or the second species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/56-a-2.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/56-a.png","sha256":"7e1cc6fce75a33a508a06279c66362113ed213c7db0893b6203d52a1b021a00a","label":"Source crop · printed p. 56","local":false}],"owners":["56-a"],"state":"recorded-review","editionStatus":"verified","context":"Before I undertake to explain this second species of counterpoint, it must first be understood that we are at present working in duple time, whose beat or measure consists of two equal parts: one in the lowering of the hand, the other in its raising. The lowering of the hand is called Thesis in Greek, and its raising Arshis; for greater convenience I have decided to use these two words henceforth in this exercise. This second species is made by placing two minims against one semibreve. One of them, falling on the thesis, must always be consonant; the other, on the arsis, may also be dissonant if it moves by step from the preceding note to the following one. But if it proceeds by leap, it must necessarily be consonant. In this species of counterpoint a dissonance can occur only through diminution, that is, by filling the intervening space between two notes a third apart. For example:","latin":"Antequam hanc secundam Contrapuncti Speciem explicandam aggrediar, præsciendum est, nos in præsentiarum in Tempore binario versari, cujus tactus sive mensura duabus partibus æqualibus constat, quarum una in depressione, altera in elevatione manûs consistit. Depressio manûs græcè Thesis, elevatio autem Arshis appellatur, quibus duobus vocabulis pro majori commoditate hoc in Exercitio deinceps nobis utendum duxi. Species ista secunda fit, quando duæ minimæ contra unam semibrevem ponuntur, quarum una in Thesi veniens, semper consonans sit, necesse est, altera verò in Arshi, si de Nota præcedenti in sequentem gradatim moveatur, etiam dissonans esse poterit; si autem per saltum labatur, necessariò Consonans esse debet. Potest autem hac in Contrapuncti Specie dissonantia non aliter habere locum, quàm per diminutionem, id est, implendo illud spatium intermedium, quod intercedit duas Notas per saltum Tertiæ distantes. E. G.","issues":["Shared-staff comparison represented as two parts."],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"aac672ffaa4e9874eec7e58e396577e6929eb32eab40c19719bbd80912416685","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-022","downloads":[],"xmlSha256":"aac672ffaa4e9874eec7e58e396577e6929eb32eab40c19719bbd80912416685","integrity":"matched","parts":2,"voices":2,"notes":9,"measures":2,"parser":{"status":"supported","warnings":[],"events":9,"normalizations":[]},"preview":{"path":"previews/edition-56-a-2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"8489c22cbb9c164680da96640bcc86047bb79f2727db2ba18e1c448fdf6dac1c","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"aac672ffaa4e9874eec7e58e396577e6929eb32eab40c19719bbd80912416685"}},{"id":"edition:56-a-3","collection":"edition","title":"Example 56-a-3","page":56,"topic":"Second lesson, or the second species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/56-a-3.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/56-a.png","sha256":"7e1cc6fce75a33a508a06279c66362113ed213c7db0893b6203d52a1b021a00a","label":"Source crop · printed p. 56","local":false}],"owners":["56-a"],"state":"recorded-review","editionStatus":"verified","context":"Before I undertake to explain this second species of counterpoint, it must first be understood that we are at present working in duple time, whose beat or measure consists of two equal parts: one in the lowering of the hand, the other in its raising. The lowering of the hand is called Thesis in Greek, and its raising Arshis; for greater convenience I have decided to use these two words henceforth in this exercise. This second species is made by placing two minims against one semibreve. One of them, falling on the thesis, must always be consonant; the other, on the arsis, may also be dissonant if it moves by step from the preceding note to the following one. But if it proceeds by leap, it must necessarily be consonant. In this species of counterpoint a dissonance can occur only through diminution, that is, by filling the intervening space between two notes a third apart. For example:","latin":"Antequam hanc secundam Contrapuncti Speciem explicandam aggrediar, præsciendum est, nos in præsentiarum in Tempore binario versari, cujus tactus sive mensura duabus partibus æqualibus constat, quarum una in depressione, altera in elevatione manûs consistit. Depressio manûs græcè Thesis, elevatio autem Arshis appellatur, quibus duobus vocabulis pro majori commoditate hoc in Exercitio deinceps nobis utendum duxi. Species ista secunda fit, quando duæ minimæ contra unam semibrevem ponuntur, quarum una in Thesi veniens, semper consonans sit, necesse est, altera verò in Arshi, si de Nota præcedenti in sequentem gradatim moveatur, etiam dissonans esse poterit; si autem per saltum labatur, necessariò Consonans esse debet. Potest autem hac in Contrapuncti Specie dissonantia non aliter habere locum, quàm per diminutionem, id est, implendo illud spatium intermedium, quod intercedit duas Notas per saltum Tertiæ distantes. E. G.","issues":["Shared-staff comparison represented as two parts."],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"167ff153af62129851bf2b4729e5a91d0bf3a8e9ddc951b3c503ab95b1f358e9","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-022","downloads":[],"xmlSha256":"167ff153af62129851bf2b4729e5a91d0bf3a8e9ddc951b3c503ab95b1f358e9","integrity":"matched","parts":2,"voices":2,"notes":5,"measures":1,"parser":{"status":"supported","warnings":[],"events":5,"normalizations":[]},"preview":{"path":"previews/edition-56-a-3.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"2aa74cad13acbfeed47492c7c94b24f568bd433dbbcc18296ecec20e5a6942c1","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"167ff153af62129851bf2b4729e5a91d0bf3a8e9ddc951b3c503ab95b1f358e9"}},{"id":"edition:57-a-1","collection":"edition","title":"Example 57-a-1","page":57,"topic":"Second lesson, or the second species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/57-a-1.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/57-a.png","sha256":"80c9d2c16450d31ae76b4ef6237f63218b383b8af8a972bd9c01cd8befbfa7da","label":"Source crop · printed p. 57","local":false}],"owners":["57-a"],"state":"needs-review","editionStatus":"needs-review","context":"Aloysius. Most certainly, except for the penultimate measure. In this species its first note must have a fifth and its second a major sixth if the cantus firmus, or chant melody, is in the lower part. But if the cantus firmus is in the upper part, the first note of the penultimate measure should have a fifth, and the second a minor third. An example will make the matter clear.","latin":"Aloys. Vel maximè; præter penultimum tactum, cujus in hac Specie Nota prima Quintam, secunda Sextam majorem habere debet, si Cantus firmus, sive Choralis in parte inferiori existat: si verò Cantus firmus in parte superiori fuerit, prima Nota penultimi tactûs Quintam, secunda verò Tertiam minorem habeat. Exemplum rem claram exhibebit.","issues":["Upper final breve is smeared/overprinted; D4 reading follows visible lower notehead and cadence but needs independent high-resolution confirmation."],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"d9b37b34cf1b48a07019bb89f9b939751be622cf833db81b9c5823693cc15c65","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-023","downloads":[],"xmlSha256":"d9b37b34cf1b48a07019bb89f9b939751be622cf833db81b9c5823693cc15c65","integrity":"matched","parts":2,"voices":2,"notes":5,"measures":1,"parser":{"status":"supported","warnings":[],"events":5,"normalizations":[]},"preview":{"path":"previews/edition-57-a-1.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"5a183612d9c4184d96addd4489c326f723213de379f83d360e967ce1be7d39bc","playback":false,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"d9b37b34cf1b48a07019bb89f9b939751be622cf833db81b9c5823693cc15c65"}},{"id":"edition:57-a-2","collection":"edition","title":"Example 57-a-2","page":57,"topic":"Second lesson, or the second species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/57-a-2.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/57-a.png","sha256":"80c9d2c16450d31ae76b4ef6237f63218b383b8af8a972bd9c01cd8befbfa7da","label":"Source crop · printed p. 57","local":false}],"owners":["57-a"],"state":"needs-review","editionStatus":"needs-review","context":"Aloysius. Most certainly, except for the penultimate measure. In this species its first note must have a fifth and its second a major sixth if the cantus firmus, or chant melody, is in the lower part. But if the cantus firmus is in the upper part, the first note of the penultimate measure should have a fifth, and the second a minor third. An example will make the matter clear.","latin":"Aloys. Vel maximè; præter penultimum tactum, cujus in hac Specie Nota prima Quintam, secunda Sextam majorem habere debet, si Cantus firmus, sive Choralis in parte inferiori existat: si verò Cantus firmus in parte superiori fuerit, prima Nota penultimi tactûs Quintam, secunda verò Tertiam minorem habeat. Exemplum rem claram exhibebit.","issues":["Upper final breve is smeared/overprinted; D4 reading follows visible lower notehead and cadence but needs independent high-resolution confirmation."],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"a07b110a1208d224e2452fe362b20ad761c861871664971f5595af8f9f5ea057","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-023","downloads":[],"xmlSha256":"a07b110a1208d224e2452fe362b20ad761c861871664971f5595af8f9f5ea057","integrity":"matched","parts":2,"voices":2,"notes":5,"measures":1,"parser":{"status":"supported","warnings":[],"events":5,"normalizations":[]},"preview":{"path":"previews/edition-57-a-2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"975c73cf90cf1c70de9767c768dca47e86c3559e45410e73823e37ccd82b1f92","playback":false,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"a07b110a1208d224e2452fe362b20ad761c861871664971f5595af8f9f5ea057"}},{"id":"edition:57-b","collection":"edition","title":"Example 57-b","page":57,"topic":"Second lesson, or the second species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/57-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/57-b.png","sha256":"a44ba797e8974dc6184f6466faf5c8831dc5e2cb791985fa861133c642e1b36d","label":"Source crop · printed p. 57","local":false}],"owners":["57-b"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. Do as well as you can; I shall take nothing amiss. Correction will easily dispel the darkness of uncertainty.","latin":"Aloys. Fac ut poteris; nihil molestè feram; correctio obscuritatis tenebras facilè dissipabit.","issues":["Intentional source faults at measures 9 and 10 retained."],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"7faef0ddf3ae16ff82dd10d302e400bab77bdf4e66c67ab7b95bc0d16f7020ce","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-024","downloads":[],"xmlSha256":"7faef0ddf3ae16ff82dd10d302e400bab77bdf4e66c67ab7b95bc0d16f7020ce","integrity":"matched","parts":2,"voices":2,"notes":32,"measures":10,"parser":{"status":"supported","warnings":[],"events":32,"normalizations":[]},"preview":{"path":"previews/edition-57-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"2c4657c18ecad246e7845a37a22583417ac9ed9f5369426da8d062fa1477defa","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"7faef0ddf3ae16ff82dd10d302e400bab77bdf4e66c67ab7b95bc0d16f7020ce"}},{"id":"edition:58-a","collection":"edition","title":"Example 58-a","page":58,"topic":"Second lesson, or the second species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/58-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/58-a.png","sha256":"c6caee6b3fefcb442de5b10061c6c9c635b606d1e3aa73132a16cbb6980a031e","label":"Source crop · printed p. 58","local":false}],"owners":["58-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. You reason correctly, for there are two errors with one and the same explanation. I am not surprised that you do not know it, since you have not yet been taught it. Note, then, that a leap of a third cannot make either two fifths or two octaves permissible, because the intervening note on the arsis is treated almost as though it had not been added. Owing to its short value and the smallness of the interval, it cannot modify the sound enough to prevent the relation of two fifths or octaves from being perceived by the ear. Let us examine the preceding examples, beginning at the eighth measure.","latin":"Aloys. Rectè ratiocinaris, sunt enim duo errores, quorum una, & eadem est ratio, quam ignorare te, nondum scilicet edoctum, haud miror. Notandum ergo est, quod saltus Tertiæ neque duas Quintas, neque duas Octavas salvare possit; quia nota illa intermedia in Arshi veniens, quasi pro non adjecta habetur, eò quod ob exiguitatem valoris, parvitatemque spatii sonum ità temperare non valeat, quin duarum Quintarum, vel Octavarum ratio auribus percipiatur. Videamus priora exempla à tactu octavo incipiendo.","issues":["Final upper measure has only the printed half note; no balancing rest invented."],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"96954cfbc3d093a8c529a0a6882cf70d50e5d64a6223df98a43140d898c33f4c","hints":{"unequal_parts":[["3","P1",2,4]]}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-025","downloads":[],"xmlSha256":"96954cfbc3d093a8c529a0a6882cf70d50e5d64a6223df98a43140d898c33f4c","integrity":"matched","parts":2,"voices":2,"notes":8,"measures":3,"parser":{"status":"supported","warnings":[],"events":8,"normalizations":[]},"preview":{"path":"previews/edition-58-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"404b0c01e3062ec3b5e03010bfbfe019ed344baf8c69c086009375ad37eb50c2","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"96954cfbc3d093a8c529a0a6882cf70d50e5d64a6223df98a43140d898c33f4c"}},{"id":"edition:58-b","collection":"edition","title":"Example 58-b","page":58,"topic":"Second lesson, or the second species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/58-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/58-b.png","sha256":"5e92ead4c716da05de1ab475fcee9932b45d3c8ec64bca3473583941f3f4f364","label":"Source crop · printed p. 58","local":false}],"owners":["58-b"],"state":"recorded-review","editionStatus":"verified","context":"For if that intervening note, or the note on the arsis, is treated as not having been added, it is clear that those cases plainly take the following form.","latin":"Etenim si Nota illa intermedia, vel in Arshi existens, pro non adjecta habetur, Hypotheses illas apertè sic se habere perspicuum est.","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"a9ae357afbb1b0ffc781e1ea3cffddc6f303a1931d9c83b64763dab577371456","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-026","downloads":[],"xmlSha256":"a9ae357afbb1b0ffc781e1ea3cffddc6f303a1931d9c83b64763dab577371456","integrity":"matched","parts":2,"voices":2,"notes":6,"measures":3,"parser":{"status":"supported","warnings":[],"events":6,"normalizations":[]},"preview":{"path":"previews/edition-58-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"9b3501c0f0d6b821542eb136b67cc58119c41802b33ecc503f890be9a0e229e6","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"a9ae357afbb1b0ffc781e1ea3cffddc6f303a1931d9c83b64763dab577371456"}},{"id":"edition:58-c","collection":"edition","title":"Example 58-c","page":58,"topic":"Second lesson, or the second species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/58-c.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/58-c.png","sha256":"4cb86d6b660c2f7bc73b0f28b8db44d2774577bbf6d1461eb7dc2875cb6321ea","label":"Source crop · printed p. 58","local":false}],"owners":["58-c"],"state":"recorded-review","editionStatus":"verified","context":"The same judgment must be made concerning octaves.","latin":"Idem Judicium ferendum est de Octavis.","issues":["Two compared versions separated by double bars in source."],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"654a8b39cde5b12a4db5adbe62e33a980f9c0e7709a47e232ad0d08cd344905e","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-027","downloads":[],"xmlSha256":"654a8b39cde5b12a4db5adbe62e33a980f9c0e7709a47e232ad0d08cd344905e","integrity":"matched","parts":2,"voices":2,"notes":14,"measures":6,"parser":{"status":"supported","warnings":[],"events":14,"normalizations":[]},"preview":{"path":"previews/edition-58-c.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"4e80636a684836e03f650f2167ef97759d31fc1410b353e078916606000ce829","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"654a8b39cde5b12a4db5adbe62e33a980f9c0e7709a47e232ad0d08cd344905e"}},{"id":"edition:58-d","collection":"edition","title":"Example 58-d","page":58,"topic":"Second lesson, or the second species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/58-d.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/58-d.png","sha256":"51958553123f0357d54efea5a3f394436fb5c873e3f1b3f602957ba5d5bbdbec","label":"Source crop · printed p. 58","local":false}],"owners":["58-d"],"state":"recorded-review","editionStatus":"verified","context":"A different view must be taken of a leap spanning a larger interval—for example, a fourth, fifth, or sixth. In this case the distance from the first note to the second seems to make the ear forget, as it were, the sound of the first note on the thesis in relation to the second note likewise on the thesis. Let us examine the preceding example of octaves, whose succession is made permissible by the intervening leap of a fourth.","latin":"Alia ratio habenda est saltûs majori spatio constantis. E. G. Quartæ, Quintæ, Sextæ: quo casu distantia de prima Nota ad secundam quasi oblivionem auribus afferre videtur soni Notæ primæ in Thesi, ad Notam secundam pari modo in Thesi existentem. Videamus superiùs exemplum de Octavis, quarum consecutio saltu Quartæ intervenientis salvatur.","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"1a3ea7f047fc21ee76994fcf606ea1674a3760c7b9a0f32f9dbee5102c421211","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-028","downloads":[],"xmlSha256":"1a3ea7f047fc21ee76994fcf606ea1674a3760c7b9a0f32f9dbee5102c421211","integrity":"matched","parts":2,"voices":2,"notes":8,"measures":3,"parser":{"status":"supported","warnings":[],"events":8,"normalizations":[]},"preview":{"path":"previews/edition-58-d.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"e58d2ff19385a60d265285fe563996c0d2c38876915257601b6bf9fb5b59cad9","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"1a3ea7f047fc21ee76994fcf606ea1674a3760c7b9a0f32f9dbee5102c421211"}},{"id":"edition:59-a","collection":"edition","title":"Example 59-a","page":59,"topic":"Second lesson, or the second species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/59-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/59-a.png","sha256":"ed2a2839b9d36af309d3b6b8087c33b423add1f1e607c4f9e9f6138413368669","label":"Source crop · printed p. 59","local":false}],"owners":["59-a"],"state":"recorded-review","editionStatus":"verified","context":"For the same reason, that leap of a fourth is why I did not mark the progression from the third measure to the fourth in your preceding exercise as an error; for if the intervening note were disregarded, the case would take this form.","latin":"Qui saltus Quartæ pari ratione causa est, cur præcedentis Lectionis tuæ tertium tactum ad quartum nullâ erroris notâ signaverim; quia non habitâ ratione illius Notæ intermediæ Hypothesis sic se haberet.","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"fe81782b27e529dc90b72abca70055ce7b5dcff09079e8a88c834422e1fbb8ad","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-029","downloads":[],"xmlSha256":"fe81782b27e529dc90b72abca70055ce7b5dcff09079e8a88c834422e1fbb8ad","integrity":"matched","parts":2,"voices":2,"notes":4,"measures":2,"parser":{"status":"supported","warnings":[],"events":4,"normalizations":[]},"preview":{"path":"previews/edition-59-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"9921737c130cc2a8f9232a487a8118723c12c63b0c2a1b55ec52ac10865c5bc4","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"fe81782b27e529dc90b72abca70055ce7b5dcff09079e8a88c834422e1fbb8ad"}},{"id":"edition:59-b","collection":"edition","title":"Example 59-b","page":59,"topic":"Second lesson, or the second species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/59-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/59-b.png","sha256":"02fa10cdca8f1fb5c728bb5d4df2e6052d406a523009a6a901d107784d16eebd","label":"Source crop · printed p. 59","local":false}],"owners":["59-b"],"state":"recorded-review","editionStatus":"verified","context":"This progression is contrary to the rule which says: from an imperfect to a perfect consonance by contrary motion. The leap of a fourth removes this error in the following way:","latin":"Qui progressus contra regulam est, quæ dicit: de imperfecta ad perfectam per motum contrarium; quem errorem aufert saltus Quartæ hac ratione:","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"9756f675350fb4c730a6ddb52ebe7cc204186014dbe7bacb5940ead75c712673","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-030","downloads":[],"xmlSha256":"9756f675350fb4c730a6ddb52ebe7cc204186014dbe7bacb5940ead75c712673","integrity":"matched","parts":2,"voices":2,"notes":5,"measures":2,"parser":{"status":"supported","warnings":[],"events":5,"normalizations":[]},"preview":{"path":"previews/edition-59-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"31fce11a595aaf6ed2c45831e865e3ec560bc1685b756ef4e365695e709ec356","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"9756f675350fb4c730a6ddb52ebe7cc204186014dbe7bacb5940ead75c712673"}},{"id":"edition:59-c","collection":"edition","title":"Example 59-c","page":59,"topic":"Second lesson, or the second species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/59-c.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/59-c.png","sha256":"5f263c6bccd8848abc727d17db7f732f0518ef14a7dc1c899daab2eb5ffb6ed8","label":"Source crop · printed p. 59","local":false}],"owners":["59-c"],"state":"recorded-review","editionStatus":"verified","context":"Let your preceding exercise now be corrected.","latin":"Corrigatur modò præcedens tua Lectio.","issues":["Misprint, bar 3: the plate prints the second half note as C4, but the interval figure under it is 3, a third above the cantus E4, which is G4. This main reading plays G4; the “As printed” reading keeps C4."],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback.","October 2026: collated note by note with Mark Gotham's species corpus (github.com/MarkGotham/species), an independent transcription of this same UNC Chapel Hill scan (IMSLP #286170). Disputed notes were read in this colour scan and in the corpus's 1-bit rendering of it, which drops pencil and light smudges. The print has C4."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"c0239e206bc5e080eeab3b20a8985f865d47bb7976fcccab047df2a33b873029","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-031","downloads":[{"label":"As printed (bar 3: C4)","url":"../fux-counter/musicxml/59-c-as-printed.musicxml"}],"xmlSha256":"c0239e206bc5e080eeab3b20a8985f865d47bb7976fcccab047df2a33b873029","integrity":"matched","parts":2,"voices":2,"notes":32,"measures":10,"parser":{"status":"supported","warnings":[],"events":32,"normalizations":[]},"preview":{"path":"previews/edition-59-c.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"d9d56fd1a2b24d940a55fa5be718c297af14ccac1d5bea1a32c613faee6def53","playback":true,"corpusLinks":[{"corpusId":"species:gap_033","status":"closing-duration","evidence":{"editionId":"edition:59-c","xmlSha256":"c0239e206bc5e080eeab3b20a8985f865d47bb7976fcccab047df2a33b873029","owners":["59-c"],"sourcePages":[59],"agreement":0.9375,"exact":false,"closingDurationOnly":true,"partMap":[1,2],"corpusEvents":32,"editionEvents":32,"sharedEvents":30,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[40,74,4],1]],"editionOnly":[[[40,74,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[40,62,4],1]],"editionOnly":[[[40,62,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:59-c"],"coverage":null,"xmlSha256":"c0239e206bc5e080eeab3b20a8985f865d47bb7976fcccab047df2a33b873029"}},{"id":"edition:60-a-1","collection":"edition","title":"Example 60-a-1","page":60,"topic":"Second lesson, or the second species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/60-a-1.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/60-a.png","sha256":"d9f75b4be2fb0184e0914a8323f8514c090fc7849160a29c2fdbea204301ec58","label":"Source crop · printed p. 60","local":false}],"owners":["60-a"],"state":"needs-review","editionStatus":"needs-review","context":"I now see that you retain well enough what has been said thus far. Before you undertake this same exercise with the counterpoint in the lower part, however, I shall set before you certain observations that will make the task easier and are very useful to know. The first is that a rest of half a measure may be placed instead of the first note. The second is that if the two parts happen to be so close and so tightly joined that one scarcely knows where to go, and you have no opportunity by contrary motion to proceed, this can be achieved by the leap of a minor sixth—which is permitted—or of an octave, as in the following examples:","latin":"Jam video, hucusque dicta satis memoriâ te tenere. Antequam autem hanc ipsam Lectionem cum Contrapuncto in inferiori parte componendam aggrediaris, quædam animadvertenda pro majori facilitate, scitu perquàm utilia tibi proponam. Primum est, quod loco primæ Notæ pausa medii tactûs valoris poni possit. Secundum, si ambas partes ita vicinè, itaque conjunctim reperiri contingat, ut vix sciatur, quorsum eundum, nec facultas tibi sit, per motum contrarium progrediendi, id effici posse per saltum Sextæ minoris, (qui licitus est) vel Octavæ, ut in exemplis sequentibus:","issues":["Unbarred analytical reduction has one upper whole note against three lower whole notes. Literal source durations retained, so playback alignment in this reduction needs review."],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"14292b888cf209a872c9d14780a54165be84a0fe3bccc9b6ec492fb94115f695","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-032","downloads":[],"xmlSha256":"14292b888cf209a872c9d14780a54165be84a0fe3bccc9b6ec492fb94115f695","integrity":"matched","parts":2,"voices":2,"notes":12,"measures":4,"parser":{"status":"supported","warnings":[],"events":12,"normalizations":[]},"preview":{"path":"previews/edition-60-a-1.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"1c7bded97a5cbd2fbc564e9a3474256d3a42ae7903335b690ca71e5051e743da","playback":false,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"14292b888cf209a872c9d14780a54165be84a0fe3bccc9b6ec492fb94115f695"}},{"id":"edition:60-a-2","collection":"edition","title":"Example 60-a-2","page":60,"topic":"Second lesson, or the second species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/60-a-2.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/60-a.png","sha256":"d9f75b4be2fb0184e0914a8323f8514c090fc7849160a29c2fdbea204301ec58","label":"Source crop · printed p. 60","local":false}],"owners":["60-a"],"state":"needs-review","editionStatus":"needs-review","context":"I now see that you retain well enough what has been said thus far. Before you undertake this same exercise with the counterpoint in the lower part, however, I shall set before you certain observations that will make the task easier and are very useful to know. The first is that a rest of half a measure may be placed instead of the first note. The second is that if the two parts happen to be so close and so tightly joined that one scarcely knows where to go, and you have no opportunity by contrary motion to proceed, this can be achieved by the leap of a minor sixth—which is permitted—or of an octave, as in the following examples:","latin":"Jam video, hucusque dicta satis memoriâ te tenere. Antequam autem hanc ipsam Lectionem cum Contrapuncto in inferiori parte componendam aggrediaris, quædam animadvertenda pro majori facilitate, scitu perquàm utilia tibi proponam. Primum est, quod loco primæ Notæ pausa medii tactûs valoris poni possit. Secundum, si ambas partes ita vicinè, itaque conjunctim reperiri contingat, ut vix sciatur, quorsum eundum, nec facultas tibi sit, per motum contrarium progrediendi, id effici posse per saltum Sextæ minoris, (qui licitus est) vel Octavæ, ut in exemplis sequentibus:","issues":["Unbarred analytical reduction has one upper whole note against three lower whole notes. Literal source durations retained, so playback alignment in this reduction needs review."],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"3ea3ac67b37bc8abca7469ac9feec166c3a51dfaa74997b9144524e20f9ff5ca","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-032","downloads":[],"xmlSha256":"3ea3ac67b37bc8abca7469ac9feec166c3a51dfaa74997b9144524e20f9ff5ca","integrity":"matched","parts":2,"voices":2,"notes":12,"measures":4,"parser":{"status":"supported","warnings":[],"events":12,"normalizations":[]},"preview":{"path":"previews/edition-60-a-2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"835fb13367f30fa8b8efb1808223188b0ecaaa7386e81f998e5911b2f7378e7b","playback":false,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"3ea3ac67b37bc8abca7469ac9feec166c3a51dfaa74997b9144524e20f9ff5ca"}},{"id":"edition:60-b","collection":"edition","title":"Example 60-b","page":60,"topic":"Second lesson, or the second species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/60-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/60-b.png","sha256":"79c89663533105eaa5dc0cf2911873d1868a65bb7d401b881c96a4cfe475d7ed","label":"Source crop · printed p. 60","local":false}],"owners":["60-b"],"state":"recorded-review","editionStatus":"verified","context":"Now proceed and construct the counterpoint of the preceding exercise in the lower part.","latin":"Jam perge, & præcedentis Lectionis Contrapunctum in parte inferiori construe.","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"455ef25b820a999be201a252687dcd740c011db74423bb49ba9e99932c41f2a5","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-033","downloads":[],"xmlSha256":"455ef25b820a999be201a252687dcd740c011db74423bb49ba9e99932c41f2a5","integrity":"matched","parts":2,"voices":2,"notes":31,"measures":10,"parser":{"status":"supported","warnings":[],"events":31,"normalizations":[]},"preview":{"path":"previews/edition-60-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"5e24ebf39aaec85bc536270725d9e7d2d472c2ff45a5651ac5e8f405a90a4185","playback":true,"corpusLinks":[{"corpusId":"species:gap_035","status":"closing-duration","evidence":{"editionId":"edition:60-b","xmlSha256":"455ef25b820a999be201a252687dcd740c011db74423bb49ba9e99932c41f2a5","owners":["60-b"],"sourcePages":[60],"agreement":0.935484,"exact":false,"closingDurationOnly":true,"partMap":[1,2],"corpusEvents":31,"editionEvents":31,"sharedEvents":29,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[40,62,4],1]],"editionOnly":[[[40,62,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[40,62,4],1]],"editionOnly":[[[40,62,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:60-b"],"coverage":null,"xmlSha256":"455ef25b820a999be201a252687dcd740c011db74423bb49ba9e99932c41f2a5"}},{"id":"edition:60-c","collection":"edition","title":"Example 60-c","page":60,"topic":"Second lesson, or the second species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/60-c.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/60-c.png","sha256":"db91aa606f117cfd4480e445fa40b90b4092121b750f16d4f48aa289a6f21396","label":"Source crop · printed p. 60","local":false}],"owners":["60-c"],"state":"recorded-review","editionStatus":"verified","context":"Now take up again all the cantus firmi prescribed in the first species of counterpoint, and go through the remaining five modes, constructing the counterpoint both above and below.","latin":"Nunc resumendo omnes Cantus firmos in prima Contrapuncti Specie præscriptos, percurre reliquos quinque tonos, superiùs, inferiùsque Contrapunctum fabricando.","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"c3082572f50dcfd27eaf121306fd3ac86507f96c90d0c511756e1147a07d0489","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-034","downloads":[],"xmlSha256":"c3082572f50dcfd27eaf121306fd3ac86507f96c90d0c511756e1147a07d0489","integrity":"matched","parts":2,"voices":2,"notes":28,"measures":9,"parser":{"status":"supported","warnings":[],"events":28,"normalizations":[]},"preview":{"path":"previews/edition-60-c.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"fddb22f88ee28b3a7f22f77ab20c5609b85ff63dd7b609fa761a7c4eb622df59","playback":true,"corpusLinks":[{"corpusId":"species:gap_036","status":"closing-duration","evidence":{"editionId":"edition:60-c","xmlSha256":"c3082572f50dcfd27eaf121306fd3ac86507f96c90d0c511756e1147a07d0489","owners":["60-c"],"sourcePages":[60],"agreement":0.928571,"exact":false,"closingDurationOnly":true,"partMap":[1,2],"corpusEvents":28,"editionEvents":28,"sharedEvents":26,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[36,76,4],1]],"editionOnly":[[[36,76,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[36,64,4],1]],"editionOnly":[[[36,64,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:60-c"],"coverage":null,"xmlSha256":"c3082572f50dcfd27eaf121306fd3ac86507f96c90d0c511756e1147a07d0489"}},{"id":"edition:60-d","collection":"edition","title":"Example 60-d","page":60,"topic":"Second lesson, or the second species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/60-d.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/60-d.png","sha256":"1b969126161ad71425b3a750a051d533c04380d4b678563610d4cc70629f3f27","label":"Source crop · printed p. 60","local":false}],"owners":["60-d"],"state":"recorded-review","editionStatus":"verified","context":"Now take up again all the cantus firmi prescribed in the first species of counterpoint, and go through the remaining five modes, constructing the counterpoint both above and below.","latin":"Nunc resumendo omnes Cantus firmos in prima Contrapuncti Specie præscriptos, percurre reliquos quinque tonos, superiùs, inferiùsque Contrapunctum fabricando.","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"ab23d5bf8dc8f9aebef1e82e24393067d93146f0d9bdf8eb7ab58b9dca2594a1","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-035","downloads":[],"xmlSha256":"ab23d5bf8dc8f9aebef1e82e24393067d93146f0d9bdf8eb7ab58b9dca2594a1","integrity":"matched","parts":2,"voices":2,"notes":28,"measures":9,"parser":{"status":"supported","warnings":[],"events":28,"normalizations":[]},"preview":{"path":"previews/edition-60-d.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"7048876f8a55bb51d19ec9f8641d127417a83a6e5e78cc39f6f9904edfd7e0a6","playback":true,"corpusLinks":[{"corpusId":"species:gap_037","status":"closing-duration","evidence":{"editionId":"edition:60-d","xmlSha256":"ab23d5bf8dc8f9aebef1e82e24393067d93146f0d9bdf8eb7ab58b9dca2594a1","owners":["60-d"],"sourcePages":[60],"agreement":0.928571,"exact":false,"closingDurationOnly":true,"partMap":[1,2],"corpusEvents":28,"editionEvents":28,"sharedEvents":26,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[36,64,4],1]],"editionOnly":[[[36,64,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[36,64,4],1]],"editionOnly":[[[36,64,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:60-d"],"coverage":null,"xmlSha256":"ab23d5bf8dc8f9aebef1e82e24393067d93146f0d9bdf8eb7ab58b9dca2594a1"}},{"id":"edition:61-a","collection":"edition","title":"Example 61-a","page":61,"topic":"Second lesson, or the second species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/61-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/61-a.png","sha256":"c9955fbb62d3d7f2f97ff2921c019cc2d2d591e13bef86406b492102fbf639a5","label":"Source crop · printed p. 61","local":false}],"owners":["61-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. I am extremely pleased by this observation of yours. Proceed now, and pursue the remaining four modes with the same exercise.","latin":"Aloys. Summopere mihi placet hæc tua observatio. Perge nunc, reliquosque quatuor tonos pari exercitio prosequere.","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"3174875a9b10098572db92b721861450a4cc92f1d77b92102b7a7dfcd0d22e76","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-036","downloads":[],"xmlSha256":"3174875a9b10098572db92b721861450a4cc92f1d77b92102b7a7dfcd0d22e76","integrity":"matched","parts":2,"voices":2,"notes":34,"measures":11,"parser":{"status":"supported","warnings":[],"events":34,"normalizations":[]},"preview":{"path":"previews/edition-61-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"b18f0ea94d274ef12eae6f9cccc91ec0159f969314f6de64a6df83c1151ef77a","playback":true,"corpusLinks":[{"corpusId":"species:gap_038","status":"closing-duration","evidence":{"editionId":"edition:61-a","xmlSha256":"3174875a9b10098572db92b721861450a4cc92f1d77b92102b7a7dfcd0d22e76","owners":["61-a"],"sourcePages":[61],"agreement":0.941176,"exact":false,"closingDurationOnly":true,"partMap":[1,2],"corpusEvents":34,"editionEvents":34,"sharedEvents":32,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[44,65,4],1]],"editionOnly":[[[44,65,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[44,53,4],1]],"editionOnly":[[[44,53,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:61-a"],"coverage":null,"xmlSha256":"3174875a9b10098572db92b721861450a4cc92f1d77b92102b7a7dfcd0d22e76"}},{"id":"edition:61-b","collection":"edition","title":"Example 61-b","page":61,"topic":"Second lesson, or the second species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/61-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/61-b.png","sha256":"2d3971b415fd8e218eec9b4f26a1f0444ecb9d2d5d1e72f35d6468111ab731a8","label":"Source crop · printed p. 61","local":false}],"owners":["61-b"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. I am extremely pleased by this observation of yours. Proceed now, and pursue the remaining four modes with the same exercise.","latin":"Aloys. Summopere mihi placet hæc tua observatio. Perge nunc, reliquosque quatuor tonos pari exercitio prosequere.","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"a2fe34701d06ac75661ef85ca5ddc9bc9e9db8f080b7339ddf855eff2df95f3d","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-037","downloads":[],"xmlSha256":"a2fe34701d06ac75661ef85ca5ddc9bc9e9db8f080b7339ddf855eff2df95f3d","integrity":"matched","parts":2,"voices":2,"notes":34,"measures":11,"parser":{"status":"supported","warnings":[],"events":34,"normalizations":[]},"preview":{"path":"previews/edition-61-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"daeed0d281fd399d83355f9a5842c6417e04140d6950cecfd7188a2ec24250cb","playback":true,"corpusLinks":[{"corpusId":"species:gap_039","status":"closing-duration","evidence":{"editionId":"edition:61-b","xmlSha256":"a2fe34701d06ac75661ef85ca5ddc9bc9e9db8f080b7339ddf855eff2df95f3d","owners":["61-b"],"sourcePages":[61],"agreement":0.941176,"exact":false,"closingDurationOnly":true,"partMap":[1,2],"corpusEvents":34,"editionEvents":34,"sharedEvents":32,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[44,53,4],1]],"editionOnly":[[[44,53,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[44,53,4],1]],"editionOnly":[[[44,53,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:61-b"],"coverage":null,"xmlSha256":"a2fe34701d06ac75661ef85ca5ddc9bc9e9db8f080b7339ddf855eff2df95f3d"}},{"id":"edition:61-c","collection":"edition","title":"Example 61-c","page":61,"topic":"Second lesson, or the second species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/61-c.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/61-c.png","sha256":"e0b765d4c17665bae7ce3894e65f01915ed9d62309e8cfcaaa4658de6869f7a0","label":"Source crop · printed p. 61","local":false}],"owners":["61-c"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. I am extremely pleased by this observation of yours. Proceed now, and pursue the remaining four modes with the same exercise.","latin":"Aloys. Summopere mihi placet hæc tua observatio. Perge nunc, reliquosque quatuor tonos pari exercitio prosequere.","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"d3fbd9c686c79db1c80015309ff807e144ee1e269c2425bb2ccdfa8402ba64de","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-038","downloads":[],"xmlSha256":"d3fbd9c686c79db1c80015309ff807e144ee1e269c2425bb2ccdfa8402ba64de","integrity":"matched","parts":2,"voices":2,"notes":40,"measures":13,"parser":{"status":"supported","warnings":[],"events":40,"normalizations":[]},"preview":{"path":"previews/edition-61-c.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"15c8b0ee5d2d7b1ed764f61a4abeb77b0e11076015d89ee2ab6ad47a85ade4b6","playback":true,"corpusLinks":[{"corpusId":"species:gap_040","status":"closing-duration","evidence":{"editionId":"edition:61-c","xmlSha256":"d3fbd9c686c79db1c80015309ff807e144ee1e269c2425bb2ccdfa8402ba64de","owners":["61-c"],"sourcePages":[61],"agreement":0.95,"exact":false,"closingDurationOnly":true,"partMap":[1,2],"corpusEvents":40,"editionEvents":40,"sharedEvents":38,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[52,67,4],1]],"editionOnly":[[[52,67,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[52,55,4],1]],"editionOnly":[[[52,55,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:61-c"],"coverage":null,"xmlSha256":"d3fbd9c686c79db1c80015309ff807e144ee1e269c2425bb2ccdfa8402ba64de"}},{"id":"edition:61-d","collection":"edition","title":"Example 61-d","page":61,"topic":"Second lesson, or the second species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/61-d.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/61-d.png","sha256":"f4b65dfa4fc7fc70adfc8ebed648270a469e6cffb2027e46f208cf176d327e83","label":"Source crop · printed p. 61","local":false}],"owners":["61-d"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. I am extremely pleased by this observation of yours. Proceed now, and pursue the remaining four modes with the same exercise.","latin":"Aloys. Summopere mihi placet hæc tua observatio. Perge nunc, reliquosque quatuor tonos pari exercitio prosequere.","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"2dfbc66b23b7fad638d82f8b3eda4503147a529e5e7388cc4a17739e9f4ea853","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-039","downloads":[],"xmlSha256":"2dfbc66b23b7fad638d82f8b3eda4503147a529e5e7388cc4a17739e9f4ea853","integrity":"matched","parts":2,"voices":2,"notes":40,"measures":13,"parser":{"status":"supported","warnings":[],"events":40,"normalizations":[]},"preview":{"path":"previews/edition-61-d.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"820abb3603d5dff2ca8d7009f2cc999eb8d53874effdc80ef6d088da2d0978a1","playback":true,"corpusLinks":[{"corpusId":"species:gap_041","status":"closing-duration","evidence":{"editionId":"edition:61-d","xmlSha256":"2dfbc66b23b7fad638d82f8b3eda4503147a529e5e7388cc4a17739e9f4ea853","owners":["61-d"],"sourcePages":[61],"agreement":0.95,"exact":false,"closingDurationOnly":true,"partMap":[1,2],"corpusEvents":40,"editionEvents":40,"sharedEvents":38,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[52,55,4],1]],"editionOnly":[[[52,55,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[52,55,4],1]],"editionOnly":[[[52,55,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:61-d"],"coverage":null,"xmlSha256":"2dfbc66b23b7fad638d82f8b3eda4503147a529e5e7388cc4a17739e9f4ea853"}},{"id":"edition:62-a","collection":"edition","title":"Example 62-a","page":62,"topic":"Second lesson, or the second species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/62-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/62-a.png","sha256":"83429a8612266275c8426653e0a7438427ac57c63d519e2b90152f3fecadf585","label":"Source crop · printed p. 62","local":false}],"owners":["62-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. I am extremely pleased by this observation of yours. Proceed now, and pursue the remaining four modes with the same exercise.","latin":"Aloys. Summopere mihi placet hæc tua observatio. Perge nunc, reliquosque quatuor tonos pari exercitio prosequere.","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"c1a9eb8765b706fcb6fb743382f3f0ee0da6d32633e8f4b3b0f23225c72a48e8","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-040","downloads":[],"xmlSha256":"c1a9eb8765b706fcb6fb743382f3f0ee0da6d32633e8f4b3b0f23225c72a48e8","integrity":"matched","parts":2,"voices":2,"notes":31,"measures":10,"parser":{"status":"supported","warnings":[],"events":31,"normalizations":[]},"preview":{"path":"previews/edition-62-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"bdeb84f0864aee1744af25cd9f8c1436564989747f88fdaea0eeb24cf344c5f8","playback":true,"corpusLinks":[{"corpusId":"species:gap_042","status":"closing-duration","evidence":{"editionId":"edition:62-a","xmlSha256":"c1a9eb8765b706fcb6fb743382f3f0ee0da6d32633e8f4b3b0f23225c72a48e8","owners":["62-a"],"sourcePages":[62],"agreement":0.935484,"exact":false,"closingDurationOnly":true,"partMap":[1,2],"corpusEvents":31,"editionEvents":31,"sharedEvents":29,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[40,69,4],1]],"editionOnly":[[[40,69,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[40,57,4],1]],"editionOnly":[[[40,57,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:62-a"],"coverage":null,"xmlSha256":"c1a9eb8765b706fcb6fb743382f3f0ee0da6d32633e8f4b3b0f23225c72a48e8"}},{"id":"edition:62-b","collection":"edition","title":"Example 62-b","page":62,"topic":"Second lesson, or the second species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/62-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/62-b.png","sha256":"3b57702ae1d0b284482de85efb053b2d7436f72e94c23ee11e82d432d8989fb7","label":"Source crop · printed p. 62","local":false}],"owners":["62-b"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. I am extremely pleased by this observation of yours. Proceed now, and pursue the remaining four modes with the same exercise.","latin":"Aloys. Summopere mihi placet hæc tua observatio. Perge nunc, reliquosque quatuor tonos pari exercitio prosequere.","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"418bcf531d24df1def9eba84af62cddc8a4fb110d1fb98e86d3cb300bc5bb346","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-041","downloads":[],"xmlSha256":"418bcf531d24df1def9eba84af62cddc8a4fb110d1fb98e86d3cb300bc5bb346","integrity":"matched","parts":2,"voices":2,"notes":34,"measures":11,"parser":{"status":"supported","warnings":[],"events":34,"normalizations":[]},"preview":{"path":"previews/edition-62-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"fa292b62917086fd0fec617683df79bcb2065eb5a7672daf1409ab6a2c03237e","playback":true,"corpusLinks":[{"corpusId":"species:gap_043","status":"closing-duration","evidence":{"editionId":"edition:62-b","xmlSha256":"418bcf531d24df1def9eba84af62cddc8a4fb110d1fb98e86d3cb300bc5bb346","owners":["62-b"],"sourcePages":[62],"agreement":0.941176,"exact":false,"closingDurationOnly":true,"partMap":[1,2],"corpusEvents":34,"editionEvents":34,"sharedEvents":32,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[44,57,4],1]],"editionOnly":[[[44,57,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[44,57,4],1]],"editionOnly":[[[44,57,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:62-b"],"coverage":null,"xmlSha256":"418bcf531d24df1def9eba84af62cddc8a4fb110d1fb98e86d3cb300bc5bb346"}},{"id":"edition:62-c","collection":"edition","title":"Example 62-c","page":62,"topic":"Second lesson, or the second species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/62-c.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/62-c.png","sha256":"43a7b83fc51655ac00152f35d0210157a70e595fdc0d86613f1444fd16fd1ae5","label":"Source crop · printed p. 62","local":false}],"owners":["62-c"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. I am extremely pleased by this observation of yours. Proceed now, and pursue the remaining four modes with the same exercise.","latin":"Aloys. Summopere mihi placet hæc tua observatio. Perge nunc, reliquosque quatuor tonos pari exercitio prosequere.","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"1726e009c7c6edc76be8287694ce9188ecdcc61a5a02b73c5546447db17eac8b","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-042","downloads":[],"xmlSha256":"1726e009c7c6edc76be8287694ce9188ecdcc61a5a02b73c5546447db17eac8b","integrity":"matched","parts":2,"voices":2,"notes":34,"measures":11,"parser":{"status":"supported","warnings":[],"events":34,"normalizations":[]},"preview":{"path":"previews/edition-62-c.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"db11eba5194417a5dcb612e512cd37486dd2cc5f797f85d94f90db0755574943","playback":true,"corpusLinks":[{"corpusId":"species:gap_044","status":"closing-duration","evidence":{"editionId":"edition:62-c","xmlSha256":"1726e009c7c6edc76be8287694ce9188ecdcc61a5a02b73c5546447db17eac8b","owners":["62-c"],"sourcePages":[62],"agreement":0.941176,"exact":false,"closingDurationOnly":true,"partMap":[1,2],"corpusEvents":34,"editionEvents":34,"sharedEvents":32,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[44,72,4],1]],"editionOnly":[[[44,72,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[44,60,4],1]],"editionOnly":[[[44,60,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:62-c"],"coverage":null,"xmlSha256":"1726e009c7c6edc76be8287694ce9188ecdcc61a5a02b73c5546447db17eac8b"}},{"id":"edition:62-d","collection":"edition","title":"Example 62-d","page":62,"topic":"Second lesson, or the second species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/62-d.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/62-d.png","sha256":"77c38240eb69b02f7f74cc81b2b93ad898a2894e385b0c5c0e6f4e3499d9eb85","label":"Source crop · printed p. 62","local":false}],"owners":["62-d"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. I am extremely pleased by this observation of yours. Proceed now, and pursue the remaining four modes with the same exercise.","latin":"Aloys. Summopere mihi placet hæc tua observatio. Perge nunc, reliquosque quatuor tonos pari exercitio prosequere.","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"d04018bc936302c786db2a24536fad3f51a2dfb439770b51922b7044cb06ca83","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-043","downloads":[],"xmlSha256":"d04018bc936302c786db2a24536fad3f51a2dfb439770b51922b7044cb06ca83","integrity":"matched","parts":2,"voices":2,"notes":34,"measures":11,"parser":{"status":"supported","warnings":[],"events":34,"normalizations":[]},"preview":{"path":"previews/edition-62-d.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"612e1d500617fdd68e239881e32f0eea88e4f924a542b48dd62d5a046a5638f5","playback":true,"corpusLinks":[{"corpusId":"species:gap_045","status":"closing-duration","evidence":{"editionId":"edition:62-d","xmlSha256":"d04018bc936302c786db2a24536fad3f51a2dfb439770b51922b7044cb06ca83","owners":["62-d"],"sourcePages":[62],"agreement":0.941176,"exact":false,"closingDurationOnly":true,"partMap":[1,2],"corpusEvents":34,"editionEvents":34,"sharedEvents":32,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[44,60,4],1]],"editionOnly":[[[44,60,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[44,60,4],1]],"editionOnly":[[[44,60,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:62-d"],"coverage":null,"xmlSha256":"d04018bc936302c786db2a24536fad3f51a2dfb439770b51922b7044cb06ca83"}},{"id":"edition:63-a","collection":"edition","title":"Example 63-a","page":63,"topic":"Second lesson, or the second species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/63-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/63-a.png","sha256":"3070a78d0ac26759e37a9962f6befb70f7b5af238006b994a0c9d9602001792a","label":"Source crop · printed p. 63","local":false}],"owners":["63-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. I am wonderfully glad to see you so perceptive, and I urge you again and again to strive, with the care and perseverance you have begun to show, to overcome the weight of the difficulty. Do not allow yourself either to be overwhelmed by the harshness of the burden or to be drawn away from diligent study by flattering thoughts that you already know much. By doing this you will gradually perceive, with joy, a light arising in the darkness and the veil of obscurity being partly lifted for you. Here we should also speak of triple time, in which three notes are placed against one. But because the matter is easy and therefore of little difficulty, I do not think it worthwhile to establish a separate lesson for it. It will soon be evident that a few examples suffice for understanding it.","latin":"Aloys. Mirum in modum lætor, qui te tam sagacem videam, teque etiam, atque etiam hortor, ut incepto, & attentionis, & constantiæ studio difficultatis gravitatem superare nitaris, neque te oneris asperitate opprimi, neque blanditiis, velut jam multa calleas, ab assiduitate Studii abstrahi patiare. Quo facto paulatim in tenebris lumen exoriri, & aliqua ex parte caliginis velum tibi sublatum iri senties, ac gaudebis. Hîc quoque dicendum esset de Tempore Ternario, ubi tres Notæ contra unam ponuntur. Quia autem ob rei facilitatem parvi est momenti res, operæ pretium non arbitror, peculiarem eâ causâ Lectionem statuere. Pauca exempla ad hujus rei intelligentiam sufficere modò compertum erit.","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"49bdcd9fb4a434f72d4605f0efd4cc606d0f42abc52169280ad583cb333964fc","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-044","downloads":[],"xmlSha256":"49bdcd9fb4a434f72d4605f0efd4cc606d0f42abc52169280ad583cb333964fc","integrity":"matched","parts":2,"voices":2,"notes":16,"measures":4,"parser":{"status":"supported","warnings":[],"events":16,"normalizations":[]},"preview":{"path":"previews/edition-63-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"26e644f7b4322c5c3ecc0bf42756903e489a169e572228f6d944e93a909d1694","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"49bdcd9fb4a434f72d4605f0efd4cc606d0f42abc52169280ad583cb333964fc"}},{"id":"edition:64-a","collection":"edition","title":"Example 64-a","page":64,"topic":"Third lesson. On the third species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/64-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/64-a.png","sha256":"a87f83dc340b100fd1df0866f6563c71ac636e5bdd53f9ff524a4bfa91a55958","label":"Source crop · printed p. 64","local":false}],"owners":["64-a"],"state":"recorded-review","editionStatus":"verified","context":"The third species of counterpoint is a composition of four semiminims against one semibreve. First, note that if five semiminims follow one another continuously by step, either ascending or descending, the first must be consonant, and the second may be dissonant. The third must again be consonant. The fourth may be dissonant if the fifth is consonant, as in the examples:","latin":"Tertia Contrapuncti Species est quatuor semiminimarum contra unam semibrevem Compositio. Ubi principiò animadvertendum est, quod, si quinque semiminimas vel ascendendo, vel descendendo continuò gradatim se sequi contingat, prima Consonans esse debeat, secunda dissonans esse possit. Tertia denuò Consonans sit, necesse est. Quarta dissonans esse poterit, si quinta Consonantia fuerit; ut in exemplis:","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"90b71847ae730cbb06f7856df27484cc848a16b9af987de9b8670fa46e34bc85","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-045","downloads":[],"xmlSha256":"90b71847ae730cbb06f7856df27484cc848a16b9af987de9b8670fa46e34bc85","integrity":"matched","parts":2,"voices":2,"notes":21,"measures":6,"parser":{"status":"supported","warnings":[],"events":21,"normalizations":[]},"preview":{"path":"previews/edition-64-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"bdb64621d6b68c3f48bf52300311e245ee9c41e2bad11977fd77e655e32b6593","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"90b71847ae730cbb06f7856df27484cc848a16b9af987de9b8670fa46e34bc85"}},{"id":"edition:64-b","collection":"edition","title":"Example 64-b","page":64,"topic":"Third lesson. On the third species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/64-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/64-b.png","sha256":"5bff819e92f52e26f0c2fc8df25420700749485c2f2a79063f04b1cd600bcf19","label":"Source crop · printed p. 64","local":false}],"owners":["64-b"],"state":"recorded-review","editionStatus":"verified","context":"There is, however, a first exception in the case where the second and fourth notes happen to be consonances; in that case the third note may be a dissonance, as in the following examples:","latin":"Fallit autem primò in Hypothesi, ubi secundam & quartam Notam Consonantias esse contingit, quo in casu tertia Nota dissonantia esse poterit; ut in sequentibus exemplis:","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"0005fd2c86175c9367e493d932c9a10d9adbf529c2ec6e963d56078e3b4aae71","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-046","downloads":[],"xmlSha256":"0005fd2c86175c9367e493d932c9a10d9adbf529c2ec6e963d56078e3b4aae71","integrity":"matched","parts":2,"voices":2,"notes":30,"measures":6,"parser":{"status":"supported","warnings":[],"events":30,"normalizations":[]},"preview":{"path":"previews/edition-64-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"221b1e4ef7597dc82637ae2b268c5ea49a876c9339a55e07cdf21b2c07ba578a","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"0005fd2c86175c9367e493d932c9a10d9adbf529c2ec6e963d56078e3b4aae71"}},{"id":"edition:64-c","collection":"edition","title":"Example 64-c","page":64,"topic":"Third lesson. On the third species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/64-c.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/64-c.png","sha256":"8bfc16ab3c9896fc5c77e338a171a2612e80be39e19f17f670e762d5e8167b80","label":"Source crop · printed p. 64","local":false}],"owners":["64-c"],"state":"recorded-review","editionStatus":"verified","context":"Here the third note of all the examples is consonant, and this is called diminution of the leap of a third. To make the truth of this matter clear, these examples must be reduced to their substance in the following way:","latin":"Ubi omnium Paradigmatum tertia Nota Consonans est, & diminutio saltûs tertiæ vocatur. Ut autem hujus rei veritas patefiat, exempla hæc ad substantiam revocanda sunt, hac ratione:","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"ccd54dcfa4db227616e07272f4c422660696ca1524c5d3f5aaa5dd2fc925ef25","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-047","downloads":[],"xmlSha256":"ccd54dcfa4db227616e07272f4c422660696ca1524c5d3f5aaa5dd2fc925ef25","integrity":"matched","parts":2,"voices":2,"notes":24,"measures":6,"parser":{"status":"supported","warnings":[],"events":24,"normalizations":[]},"preview":{"path":"previews/edition-64-c.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"f59685e44208d89221f9446641c955bc79447329a20120dbadda8c2e7e711c73","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"ccd54dcfa4db227616e07272f4c422660696ca1524c5d3f5aaa5dd2fc925ef25"}},{"id":"edition:65-a","collection":"edition","title":"Example 65-a","page":65,"topic":"Third lesson. On the third species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/65-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/65-a.png","sha256":"6546037d00ef3607c301711b1593b7c6fd1f39e0fe18089e0f4ac9e75d5d051b","label":"Source crop · printed p. 65","local":false}],"owners":["65-a"],"state":"recorded-review","editionStatus":"verified","context":"A second case in which the common rule is departed from is the changed note, called Cambiata by the Italians, where from the second, dissonant note the progression is made by leap into a consonance, as may be seen in the following examples.","latin":"Secunda Hypothesis est, ubi à communi regula deflectitur, Nota cambita, ab Italis Cambiata nuncupata, ubi de Nota secunda dissonante per saltum fit progressus in Consonantiam, ut in sequentibus exemplis videndum est.","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"eca80add194240d46a7739d73d51897cf281daa2d9d36471e6e81427c58d68a5","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-048","downloads":[],"xmlSha256":"eca80add194240d46a7739d73d51897cf281daa2d9d36471e6e81427c58d68a5","integrity":"matched","parts":2,"voices":2,"notes":14,"measures":4,"parser":{"status":"supported","warnings":[],"events":14,"normalizations":[]},"preview":{"path":"previews/edition-65-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"7ed390274ec7711a975512beb444afb62c73d92c6fa1355a859b1df55162405c","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"eca80add194240d46a7739d73d51897cf281daa2d9d36471e6e81427c58d68a5"}},{"id":"edition:65-b","collection":"edition","title":"Example 65-b","page":65,"topic":"Third lesson. On the third species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/65-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/65-b.png","sha256":"dd8da4537bd462751d83cb14beb849c3066c014a252e0be9d6d67a747f9c8bea","label":"Source crop · printed p. 65","local":false}],"owners":["65-b"],"state":"recorded-review","editionStatus":"verified","context":"Strictly speaking, that leap of a third from the second note to the third ought to occur from the first note to the second; in that case the second note would form the consonance of a sixth, in this way:","latin":"Saltus ille tertiæ de secunda Nota in tertiam esse deberet de rigore de prima Nota ad secundam; in quo casu secunda Nota sextam Consonantiam efficeret, hac ratione:","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"13bf151f476e1f32289c31908b413e0daffac2e3ae8fc0bab1ceea6670374a75","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-049","downloads":[],"xmlSha256":"13bf151f476e1f32289c31908b413e0daffac2e3ae8fc0bab1ceea6670374a75","integrity":"matched","parts":2,"voices":2,"notes":14,"measures":2,"parser":{"status":"supported","warnings":[],"events":14,"normalizations":[]},"preview":{"path":"previews/edition-65-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"987350e663017baecb9656c24d34cbe86f511153b615ad2133aaeb6d308be93a","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"13bf151f476e1f32289c31908b413e0daffac2e3ae8fc0bab1ceea6670374a75"}},{"id":"edition:65-c","collection":"edition","title":"Example 65-c","page":65,"topic":"Third lesson. On the third species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/65-c.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/65-c.png","sha256":"aac84725680431da20eaeb31b950611514f5012d9daee58278ac9ac5a3429a1a","label":"Source crop · printed p. 65","local":false}],"owners":["65-c"],"state":"recorded-review","editionStatus":"verified","context":"In that case, if diminution were made from the first note to the second, the result would be as follows:","latin":"In qua Hypothesi, si de prima Nota ad secundam diminutio fieret, res ità se haberet:","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"644b87403c239e48561314a05d3e7ac74c6546bf2ac0db89d865252b468bc90b","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-050","downloads":[],"xmlSha256":"644b87403c239e48561314a05d3e7ac74c6546bf2ac0db89d865252b468bc90b","integrity":"matched","parts":2,"voices":2,"notes":16,"measures":4,"parser":{"status":"supported","warnings":[],"events":16,"normalizations":[]},"preview":{"path":"previews/edition-65-c.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"063e4d1d2f573673554217e806adc5344972ff5585268afac1c36824fe1d0ecd","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"644b87403c239e48561314a05d3e7ac74c6546bf2ac0db89d865252b468bc90b"}},{"id":"edition:66-a","collection":"edition","title":"Example 66-a","page":66,"topic":"Third lesson. On the third species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/66-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/66-a.png","sha256":"e1f78030c33d423b406e562d3170f3894c611c35dd4f6004cf33122853ebff91","label":"Source crop · printed p. 66","local":false}],"owners":["66-a"],"state":"recorded-review","editionStatus":"verified","context":"It remains finally to show how the penultimate measure, which usually presents more difficulty than the others, is to be constructed. If the cantus firmus is in the lower part, it must be arranged in the following way.","latin":"Ultimum restat monstrare, quomodo penultimus tactus, qui, ut plurimùm cæteris plus difficultatis habet, conficiendus sit; qui, si Cantus firmus in inferiori sit parte, hac ratione constitutus esse debet.","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"0ac553bc68a580c5f2b108d50d180caf8073e3b2f612cf73ab01cdb4efa864ec","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-051","downloads":[],"xmlSha256":"0ac553bc68a580c5f2b108d50d180caf8073e3b2f612cf73ab01cdb4efa864ec","integrity":"matched","parts":2,"voices":2,"notes":14,"measures":4,"parser":{"status":"supported","warnings":[],"events":14,"normalizations":[]},"preview":{"path":"previews/edition-66-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"3273313ac153a30c86a6967f6a83ec674f2df245c940f17b50e33c422d94dee0","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"0ac553bc68a580c5f2b108d50d180caf8073e3b2f612cf73ab01cdb4efa864ec"}},{"id":"edition:66-b","collection":"edition","title":"Example 66-b","page":66,"topic":"Third lesson. On the third species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/66-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/66-b.png","sha256":"f0c1ef72463f52b8e60cb78077434c6cdd2697db85fabf2de45900e70f7c73bf","label":"Source crop · printed p. 66","local":false}],"owners":["66-b"],"state":"recorded-review","editionStatus":"verified","context":"But if the cantus firmus is in the upper part, it is to be constructed in the following way.","latin":"Si autem Cantus firmus in superiori sit parte, sequenti modo faciendus erit.","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"d334f47f423ddaf74f54c5ad70523b7ae4f51710ab257034e0dd447d66f3131b","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-052","downloads":[],"xmlSha256":"d334f47f423ddaf74f54c5ad70523b7ae4f51710ab257034e0dd447d66f3131b","integrity":"matched","parts":2,"voices":2,"notes":7,"measures":2,"parser":{"status":"supported","warnings":[],"events":7,"normalizations":[]},"preview":{"path":"previews/edition-66-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"44e6256edc37dcc0b871c38b91ef33778be8d424cf279e862a7813f82d227411","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"d334f47f423ddaf74f54c5ad70523b7ae4f51710ab257034e0dd447d66f3131b"}},{"id":"edition:66-c","collection":"edition","title":"Example 66-c","page":66,"topic":"Third lesson. On the third species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/66-c.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/66-c.png","sha256":"613b0677ee41576ec117482780a93090092a35b1e8e39361207c269c108177d0","label":"Source crop · printed p. 66","local":false}],"owners":["66-c"],"state":"recorded-review","editionStatus":"verified","context":"Knowing these things, then, and what has already been said about the other species, I hope that composition in this species will be easy for you. But I wish to warn you again and again to take particular account of the following measure if you wish to encounter no obstacle as you proceed. Set to work, then, taking all the cantus firmi prescribed in the first lesson in that order.","latin":"His ergo cognitis, & iis, quæ de aliis Speciebus jam dicta sunt, facilem tibi futuram spero hujus Speciei Compositionem: sed iterum, atque iterum admonitum te volo, ut sequentis tactûs vel maximè rationem habeas, si nullum in progrediendo obicem offendere cupis. Ergo Opus aggrediare, omnes in prima Lectione præscriptos Cantus firmos eo ordine persequendo.","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"9c2608b8ab589d51e4568323d753307ccaf208adfa4bd27c4af2d17816afadbc","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-053","downloads":[],"xmlSha256":"9c2608b8ab589d51e4568323d753307ccaf208adfa4bd27c4af2d17816afadbc","integrity":"matched","parts":2,"voices":2,"notes":52,"measures":11,"parser":{"status":"supported","warnings":[],"events":52,"normalizations":[]},"preview":{"path":"previews/edition-66-c.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"806566df585919a02932fbef27eec73bb71d852eefaf0399c1891ec4f6ddb4f6","playback":true,"corpusLinks":[{"corpusId":"species:gap_055","status":"closing-duration","evidence":{"editionId":"edition:66-c","xmlSha256":"9c2608b8ab589d51e4568323d753307ccaf208adfa4bd27c4af2d17816afadbc","owners":["66-c"],"sourcePages":[66],"agreement":0.961538,"exact":false,"closingDurationOnly":true,"partMap":[1,2],"corpusEvents":52,"editionEvents":52,"sharedEvents":50,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[40,74,4],1]],"editionOnly":[[[40,74,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[40,62,4],1]],"editionOnly":[[[40,62,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:66-c"],"coverage":null,"xmlSha256":"9c2608b8ab589d51e4568323d753307ccaf208adfa4bd27c4af2d17816afadbc"}},{"id":"edition:67-a","collection":"edition","title":"Example 67-a","page":67,"topic":"Third lesson. 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Set to work, then, taking all the cantus firmi prescribed in the first lesson in that order.","latin":"His ergo cognitis, & iis, quæ de aliis Speciebus jam dicta sunt, facilem tibi futuram spero hujus Speciei Compositionem: sed iterum, atque iterum admonitum te volo, ut sequentis tactûs vel maximè rationem habeas, si nullum in progrediendo obicem offendere cupis. 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Set to work, then, taking all the cantus firmi prescribed in the first lesson in that order.","latin":"His ergo cognitis, & iis, quæ de aliis Speciebus jam dicta sunt, facilem tibi futuram spero hujus Speciei Compositionem: sed iterum, atque iterum admonitum te volo, ut sequentis tactûs vel maximè rationem habeas, si nullum in progrediendo obicem offendere cupis. 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Set to work, then, taking all the cantus firmi prescribed in the first lesson in that order.","latin":"His ergo cognitis, & iis, quæ de aliis Speciebus jam dicta sunt, facilem tibi futuram spero hujus Speciei Compositionem: sed iterum, atque iterum admonitum te volo, ut sequentis tactûs vel maximè rationem habeas, si nullum in progrediendo obicem offendere cupis. Ergo Opus aggrediare, omnes in prima Lectione præscriptos Cantus firmos eo ordine persequendo.","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"81fd690c6c91dd8d4a1dd9508e9cf8f5983d28d4789bb5a9d2c18d1f7b9b8662","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-056","downloads":[],"xmlSha256":"81fd690c6c91dd8d4a1dd9508e9cf8f5983d28d4789bb5a9d2c18d1f7b9b8662","integrity":"matched","parts":2,"voices":2,"notes":47,"measures":10,"parser":{"status":"supported","warnings":[],"events":47,"normalizations":[]},"preview":{"path":"previews/edition-67-c-68-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"de9f5f1ab59abeb8fbc40598fa1720f7274f245b1c2c1c33c0c0ffc2fa916d44","playback":true,"corpusLinks":[{"corpusId":"species:gap_058","status":"closing-duration","evidence":{"editionId":"edition:67-c-68-a","xmlSha256":"81fd690c6c91dd8d4a1dd9508e9cf8f5983d28d4789bb5a9d2c18d1f7b9b8662","owners":["67-c","68-a"],"sourcePages":[67,68],"agreement":0.957447,"exact":false,"closingDurationOnly":true,"partMap":[1,2],"corpusEvents":47,"editionEvents":47,"sharedEvents":45,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[36,64,4],1]],"editionOnly":[[[36,64,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[36,64,4],1]],"editionOnly":[[[36,64,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:67-c-68-a"],"coverage":null,"xmlSha256":"81fd690c6c91dd8d4a1dd9508e9cf8f5983d28d4789bb5a9d2c18d1f7b9b8662"}},{"id":"edition:68-b","collection":"edition","title":"Example 68-b","page":68,"topic":"Third lesson. On the third species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/68-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/68-b.png","sha256":"df2f0490781cc0db3069816b96be43f41ed47d771174152a1ac9715a2fa87d58","label":"Source crop · printed p. 68","local":false}],"owners":["68-b"],"state":"recorded-review","editionStatus":"verified","context":"Knowing these things, then, and what has already been said about the other species, I hope that composition in this species will be easy for you. But I wish to warn you again and again to take particular account of the following measure if you wish to encounter no obstacle as you proceed. Set to work, then, taking all the cantus firmi prescribed in the first lesson in that order.","latin":"His ergo cognitis, & iis, quæ de aliis Speciebus jam dicta sunt, facilem tibi futuram spero hujus Speciei Compositionem: sed iterum, atque iterum admonitum te volo, ut sequentis tactûs vel maximè rationem habeas, si nullum in progrediendo obicem offendere cupis. Ergo Opus aggrediare, omnes in prima Lectione præscriptos Cantus firmos eo ordine persequendo.","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"1ca0842711b70e0bc21042df01c4a7d306c9b041259e0702084ce57736ed0ade","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-059","downloads":[],"xmlSha256":"1ca0842711b70e0bc21042df01c4a7d306c9b041259e0702084ce57736ed0ade","integrity":"matched","parts":2,"voices":2,"notes":57,"measures":12,"parser":{"status":"supported","warnings":[],"events":57,"normalizations":[]},"preview":{"path":"previews/edition-68-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"3e287ab68b3d4edf3f0327c0459d3c395ca903e6cbaeb84185890dc2a63b1eee","playback":true,"corpusLinks":[{"corpusId":"species:gap_059","status":"closing-duration","evidence":{"editionId":"edition:68-b","xmlSha256":"1ca0842711b70e0bc21042df01c4a7d306c9b041259e0702084ce57736ed0ade","owners":["68-b"],"sourcePages":[68],"agreement":0.964912,"exact":false,"closingDurationOnly":true,"partMap":[1,2],"corpusEvents":57,"editionEvents":57,"sharedEvents":55,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[44,65,4],1]],"editionOnly":[[[44,65,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[44,53,4],1]],"editionOnly":[[[44,53,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:68-b"],"coverage":null,"xmlSha256":"1ca0842711b70e0bc21042df01c4a7d306c9b041259e0702084ce57736ed0ade"}},{"id":"edition:68-c","collection":"edition","title":"Example 68-c","page":68,"topic":"Third lesson. On the third species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/68-c.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/68-c.png","sha256":"9e8aa8bd73b005d7762a4187d5821c66d37c1e70e2541e3d8bda12c0da71c373","label":"Source crop · printed p. 68","local":false}],"owners":["68-c"],"state":"recorded-review","editionStatus":"verified","context":"Knowing these things, then, and what has already been said about the other species, I hope that composition in this species will be easy for you. But I wish to warn you again and again to take particular account of the following measure if you wish to encounter no obstacle as you proceed. Set to work, then, taking all the cantus firmi prescribed in the first lesson in that order.","latin":"His ergo cognitis, & iis, quæ de aliis Speciebus jam dicta sunt, facilem tibi futuram spero hujus Speciei Compositionem: sed iterum, atque iterum admonitum te volo, ut sequentis tactûs vel maximè rationem habeas, si nullum in progrediendo obicem offendere cupis. Ergo Opus aggrediare, omnes in prima Lectione præscriptos Cantus firmos eo ordine persequendo.","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"ad3ac5d0a286426618eb628945725ad0885fe297fe80f1521df1380c3d56d4e4","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-060","downloads":[],"xmlSha256":"ad3ac5d0a286426618eb628945725ad0885fe297fe80f1521df1380c3d56d4e4","integrity":"matched","parts":2,"voices":2,"notes":57,"measures":12,"parser":{"status":"supported","warnings":[],"events":57,"normalizations":[]},"preview":{"path":"previews/edition-68-c.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"c701bc2965fa5e5662e8f76062307a1bd751056a6fa70268aa6d4f781c6a1ae4","playback":true,"corpusLinks":[{"corpusId":"species:gap_060","status":"closing-duration","evidence":{"editionId":"edition:68-c","xmlSha256":"ad3ac5d0a286426618eb628945725ad0885fe297fe80f1521df1380c3d56d4e4","owners":["68-c"],"sourcePages":[68],"agreement":0.964912,"exact":false,"closingDurationOnly":true,"partMap":[1,2],"corpusEvents":57,"editionEvents":57,"sharedEvents":55,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[44,53,4],1]],"editionOnly":[[[44,53,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[44,53,4],1]],"editionOnly":[[[44,53,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:68-c"],"coverage":null,"xmlSha256":"ad3ac5d0a286426618eb628945725ad0885fe297fe80f1521df1380c3d56d4e4"}},{"id":"edition:69-a","collection":"edition","title":"Example 69-a","page":69,"topic":"Fourth lesson. 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No receiving note exists in excerpt; playback stops at last written duration."],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"0dc0659da82f6506def876e6491fa20aa2f65941dee4a3e9c4ed64085852512a","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-061","downloads":[],"xmlSha256":"0dc0659da82f6506def876e6491fa20aa2f65941dee4a3e9c4ed64085852512a","integrity":"matched","parts":2,"voices":2,"notes":14,"measures":5,"parser":{"status":"supported","warnings":[],"events":10,"normalizations":[]},"preview":{"path":"previews/edition-69-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"df4f759e54a765cd7a6169307147466edb6283bee77f98bba1d711d903578a39","playback":false,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"0dc0659da82f6506def876e6491fa20aa2f65941dee4a3e9c4ed64085852512a"}},{"id":"edition:70-a","collection":"edition","title":"Example 70-a","page":70,"topic":"Fourth lesson. On the fourth species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/70-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/70-a.png","sha256":"f0d211ce81c3ea70f38b700c17693fd042b985e9ad944c099b8829573db4639f","label":"Source crop · printed p. 70","local":false}],"owners":["70-a"],"state":"recorded-review","editionStatus":"verified","context":"Dissonant ligatures: the first note, namely that on the arsis, is consonant—as it always must be—while the second, on the thesis, is dissonant, as may be seen in the following example.","latin":"Ligaturæ Dissonantiæ, cujus prima Nota, nempe in Arshi quidem Consonans, (quod semper esse debet) secunda verò in Thesi dissonans est, ut in sequenti exemplo videre licet.","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"4469b28e8ceb4b305f30af3e91614b031a399dad1b3ee744ab55d523210e0450","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-062","downloads":[],"xmlSha256":"4469b28e8ceb4b305f30af3e91614b031a399dad1b3ee744ab55d523210e0450","integrity":"matched","parts":2,"voices":2,"notes":13,"measures":5,"parser":{"status":"supported","warnings":[],"events":10,"normalizations":[]},"preview":{"path":"previews/edition-70-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"9ac173eed9b02f868a77136622d3ad57e194a51b8c0e56a1fe5b78f9d861c375","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"4469b28e8ceb4b305f30af3e91614b031a399dad1b3ee744ab55d523210e0450"}},{"id":"edition:70-b","collection":"edition","title":"Example 70-b","page":70,"topic":"Fourth lesson. On the fourth species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/70-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/70-b.png","sha256":"144e3f99cffe1b1c06d6cfd0d746802d71a4a2f9913ebe0351ee185e32baab75","label":"Source crop · printed p. 70","local":false}],"owners":["70-b"],"state":"recorded-review","editionStatus":"verified","context":"Before I undertake to explain how dissonances are to be resolved, it helps to know that tied notes, as though bound in chains, are nothing other than a delay of the following note; afterward they seem to emerge into freedom, as though released from servitude. For this reason dissonances must always be resolved into the nearest consonance by moving downward by step, as is clearly seen in the following example:","latin":"Antequam dicere aggrediar, quò modo Dissonantiæ resolvendæ sint, juvat scire, Notas ligatas quasi vinculis constrictas haud aliud esse, quàm Notæ sequentis retardationem, quæ posteà tanquam servitute solutæ in libertatem exire videntur. Quam ob rem dissonantiæ semper in proximam Consonantiam gradatim descendendo se moventem resolvendæ sunt; ut in sequenti exemplo clarè videtur:","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"14047e090318d3541dca659e5c5b02efa7ac3f7530dd84c833b7fe6633e9415e","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-063","downloads":[],"xmlSha256":"14047e090318d3541dca659e5c5b02efa7ac3f7530dd84c833b7fe6633e9415e","integrity":"matched","parts":2,"voices":2,"notes":11,"measures":4,"parser":{"status":"supported","warnings":[],"events":8,"normalizations":[]},"preview":{"path":"previews/edition-70-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"e6a6504f8c6d78fa8e7b428bb6b4412e94f5198f2ebd3996ec9734c237046a69","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"14047e090318d3541dca659e5c5b02efa7ac3f7530dd84c833b7fe6633e9415e"}},{"id":"edition:70-c","collection":"edition","title":"Example 70-c","page":70,"topic":"Fourth lesson. On the fourth species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/70-c.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/70-c.png","sha256":"3ec47b4e773287506f68448a83ecd14706d722e0f024720aa2ad358b84f35bc8","label":"Source crop · printed p. 70","local":false}],"owners":["70-c"],"state":"recorded-review","editionStatus":"verified","context":"With the delay removed, this example takes the following form:","latin":"Quod Paradigma, sublatâ retardatione sic se habet:","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"4ff9f0d8c73639988acd6c6e6b44367ca1285576288549a89e1db65783d9c010","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-064","downloads":[],"xmlSha256":"4ff9f0d8c73639988acd6c6e6b44367ca1285576288549a89e1db65783d9c010","integrity":"matched","parts":2,"voices":2,"notes":8,"measures":4,"parser":{"status":"supported","warnings":[],"events":8,"normalizations":[]},"preview":{"path":"previews/edition-70-c.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"b59f10ff8ba6dc1df52d8d0b432386457610c4451fc155daa94c1c747157e047","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"4ff9f0d8c73639988acd6c6e6b44367ca1285576288549a89e1db65783d9c010"}},{"id":"edition:71-a-1","collection":"edition","title":"Example 71-a-1","page":71,"topic":"Fourth lesson. On the fourth species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/71-a-1.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/71-a.png","sha256":"6e2e9cbdf6dda16c14dd022f4244979b77e4a218a20ba7762e7f70ffe4a0cd28","label":"Source crop · printed p. 71","local":false}],"owners":["71-a"],"state":"recorded-review","editionStatus":"verified","context":"From this it follows that it will be easy to know into which consonance any dissonance must resolve: namely, the one found immediately on the thesis of the following measure when the delay is removed. Hence, when the cantus firmus is in the lower part, a second must resolve to a unison, a fourth to a third, a seventh to a sixth, and a ninth to an octave. This principle is so firmly grounded in truth that, for this reason, it is not permitted to proceed by ligature either from a unison to a second or from an octave to a ninth, as may be seen in the following examples.","latin":"Ex quo colligitur, rem scitu facilem fore, in qualem Consonantiam quælibet dissonantia resolvenda sit, videlicet in illam, quæ, sublata retardatione, immediatè in sequentis tactûs Thesi reperitur. Inde fit, quod Cantu firmo in inferiori parte existente, Secunda in Unisonum, Quarta in Tertiam, Septima in Sextam, Nona in Octavam resolvi debeant. Quæ ratio ità veritate nititur, ut hanc ob causam neque de Unisono in Secundam; neque de Octava in Nonam per Ligaturam progredi liceat; quemadmodum in sequentibus exemplis videndum est.","issues":["Printed bad suspension retained."],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"a0c92125f8c1744a20ddec4d3fb9a909a24067fd14a9e652ab62fca1bb8927e2","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-065","downloads":[],"xmlSha256":"a0c92125f8c1744a20ddec4d3fb9a909a24067fd14a9e652ab62fca1bb8927e2","integrity":"matched","parts":2,"voices":2,"notes":8,"measures":3,"parser":{"status":"supported","warnings":[],"events":6,"normalizations":[]},"preview":{"path":"previews/edition-71-a-1.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"4561a817c1ecab5e8fb12d6175bd6509e11130be2296c5bf06d6c2bc81c617f8","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"a0c92125f8c1744a20ddec4d3fb9a909a24067fd14a9e652ab62fca1bb8927e2"}},{"id":"edition:71-a-2","collection":"edition","title":"Example 71-a-2","page":71,"topic":"Fourth lesson. On the fourth species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/71-a-2.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/71-a.png","sha256":"6e2e9cbdf6dda16c14dd022f4244979b77e4a218a20ba7762e7f70ffe4a0cd28","label":"Source crop · printed p. 71","local":false}],"owners":["71-a"],"state":"recorded-review","editionStatus":"verified","context":"From this it follows that it will be easy to know into which consonance any dissonance must resolve: namely, the one found immediately on the thesis of the following measure when the delay is removed. Hence, when the cantus firmus is in the lower part, a second must resolve to a unison, a fourth to a third, a seventh to a sixth, and a ninth to an octave. This principle is so firmly grounded in truth that, for this reason, it is not permitted to proceed by ligature either from a unison to a second or from an octave to a ninth, as may be seen in the following examples.","latin":"Ex quo colligitur, rem scitu facilem fore, in qualem Consonantiam quælibet dissonantia resolvenda sit, videlicet in illam, quæ, sublata retardatione, immediatè in sequentis tactûs Thesi reperitur. Inde fit, quod Cantu firmo in inferiori parte existente, Secunda in Unisonum, Quarta in Tertiam, Septima in Sextam, Nona in Octavam resolvi debeant. Quæ ratio ità veritate nititur, ut hanc ob causam neque de Unisono in Secundam; neque de Octava in Nonam per Ligaturam progredi liceat; quemadmodum in sequentibus exemplis videndum est.","issues":["Printed bad suspension retained."],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"d6f6da66bd3b86ea4b16eba14d3dcb40271e9921b7619dea3dfa39d55d81d1b3","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-065","downloads":[],"xmlSha256":"d6f6da66bd3b86ea4b16eba14d3dcb40271e9921b7619dea3dfa39d55d81d1b3","integrity":"matched","parts":2,"voices":2,"notes":8,"measures":3,"parser":{"status":"supported","warnings":[],"events":6,"normalizations":[]},"preview":{"path":"previews/edition-71-a-2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"238ac22765bddc695a1bc5674c09bce2ab981df67c1b9a3592eee78ebe277106","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"d6f6da66bd3b86ea4b16eba14d3dcb40271e9921b7619dea3dfa39d55d81d1b3"}},{"id":"edition:71-b-1","collection":"edition","title":"Example 71-b-1","page":71,"topic":"Fourth lesson. On the fourth species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/71-b-1.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/71-b.png","sha256":"a899ebac923e9d12d05e6c539df42f4042db877fdf0003354e87801e6fa79216","label":"Source crop · printed p. 71","local":false}],"owners":["71-b"],"state":"recorded-review","editionStatus":"verified","context":"With that delay removed, you will see an immediate succession of two unisons in the first example and two octaves in the second, in this way:","latin":"Quâ retardatione sublatâ immediatam duorum Unisonorum in primo exemplo, & duarum Octavarum consecutionem in secundo videbis, hac ratione:","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"7d280405a479587b1dce2f265d56f4cb9e5cae5f82260b50b48b1a2669805e42","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-066","downloads":[],"xmlSha256":"7d280405a479587b1dce2f265d56f4cb9e5cae5f82260b50b48b1a2669805e42","integrity":"matched","parts":2,"voices":2,"notes":6,"measures":3,"parser":{"status":"supported","warnings":[],"events":6,"normalizations":[]},"preview":{"path":"previews/edition-71-b-1.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"c560775e6a4adad6b0dfcb0427ffe24cb223314bc753cedca86185fb66b4075b","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"7d280405a479587b1dce2f265d56f4cb9e5cae5f82260b50b48b1a2669805e42"}},{"id":"edition:71-b-2","collection":"edition","title":"Example 71-b-2","page":71,"topic":"Fourth lesson. On the fourth species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/71-b-2.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/71-b.png","sha256":"a899ebac923e9d12d05e6c539df42f4042db877fdf0003354e87801e6fa79216","label":"Source crop · printed p. 71","local":false}],"owners":["71-b"],"state":"recorded-review","editionStatus":"verified","context":"With that delay removed, you will see an immediate succession of two unisons in the first example and two octaves in the second, in this way:","latin":"Quâ retardatione sublatâ immediatam duorum Unisonorum in primo exemplo, & duarum Octavarum consecutionem in secundo videbis, hac ratione:","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"7d66c303421b6d547051d20332090f35f658446d2f1efb0284415be82b304594","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-066","downloads":[],"xmlSha256":"7d66c303421b6d547051d20332090f35f658446d2f1efb0284415be82b304594","integrity":"matched","parts":2,"voices":2,"notes":6,"measures":3,"parser":{"status":"supported","warnings":[],"events":6,"normalizations":[]},"preview":{"path":"previews/edition-71-b-2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"590fb79c0d546b6d923f871440571aa2803c50206b9207d88017771c111bb179","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"7d66c303421b6d547051d20332090f35f658446d2f1efb0284415be82b304594"}},{"id":"edition:71-c-1","collection":"edition","title":"Example 71-c-1","page":71,"topic":"Fourth lesson. On the fourth species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/71-c-1.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/71-c.png","sha256":"1cc0e078c10d57d8eeb85b7b7fc6d5cecf3549b32a2f43b8ac87ff4b5e0d259b","label":"Source crop · printed p. 71","local":false}],"owners":["71-c"],"state":"needs-review","editionStatus":"needs-review","context":"The contrary is the case if the progression is from a third to a second and from a tenth to a ninth, in this way:","latin":"Contra fit, si de Tertia in Secundam, & de Decima in Nonam fit progressus, hoc modo:","issues":["Upper soprano clef pitch reading appears to conflict with printed8/9/8 figures; needs independent clef/note check."],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"691f13dca78fd6b4501a6b4d7280594809fce316ca2a2d0471e2e3d069b0f3ee","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-067","downloads":[],"xmlSha256":"691f13dca78fd6b4501a6b4d7280594809fce316ca2a2d0471e2e3d069b0f3ee","integrity":"matched","parts":2,"voices":2,"notes":5,"measures":2,"parser":{"status":"supported","warnings":[],"events":4,"normalizations":[]},"preview":{"path":"previews/edition-71-c-1.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"231bb907908d86b7c8757667006281e3c3377409e603fe911ac7611e6354a3ee","playback":false,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"691f13dca78fd6b4501a6b4d7280594809fce316ca2a2d0471e2e3d069b0f3ee"}},{"id":"edition:71-c-2","collection":"edition","title":"Example 71-c-2","page":71,"topic":"Fourth lesson. On the fourth species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/71-c-2.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/71-c.png","sha256":"1cc0e078c10d57d8eeb85b7b7fc6d5cecf3549b32a2f43b8ac87ff4b5e0d259b","label":"Source crop · printed p. 71","local":false}],"owners":["71-c"],"state":"needs-review","editionStatus":"needs-review","context":"The contrary is the case if the progression is from a third to a second and from a tenth to a ninth, in this way:","latin":"Contra fit, si de Tertia in Secundam, & de Decima in Nonam fit progressus, hoc modo:","issues":["Upper soprano clef pitch reading appears to conflict with printed8/9/8 figures; needs independent clef/note check."],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"d57df1c8a3177a2d273361e482318cf1eee154163b0d205ef8a07b0831ccf47c","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-067","downloads":[],"xmlSha256":"d57df1c8a3177a2d273361e482318cf1eee154163b0d205ef8a07b0831ccf47c","integrity":"matched","parts":2,"voices":2,"notes":5,"measures":2,"parser":{"status":"supported","warnings":[],"events":4,"normalizations":[]},"preview":{"path":"previews/edition-71-c-2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"b0255b995c8dcba365daa85137d331b0c1e609a8717cac532898906dd599cc8f","playback":false,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"d57df1c8a3177a2d273361e482318cf1eee154163b0d205ef8a07b0831ccf47c"}},{"id":"edition:72-a-1","collection":"edition","title":"Example 72-a-1","page":72,"topic":"Fourth lesson. On the fourth species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/72-a-1.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/72-a.png","sha256":"b845a7f5eb71553be297126962e30835a826c7cfa99a9e0b61ab8211b03fc827","label":"Source crop · printed p. 72","local":false}],"owners":["72-a"],"state":"needs-review","editionStatus":"needs-review","context":"These cases are correct, because they would remain valid even with the delay, or ligature, removed, namely in the following way:","latin":"Quæ Hypotheses rectè consistunt, quia etiam retardatione, sive ligaturâ sublatâ valerent, sequenti nempe ratione:","issues":["Same upper-clef question as71-c second example."],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"8b32cb68dd78414298f74638bb4cfaf59ebb0646b1a07cd7f54e3a905a56ef70","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-068","downloads":[],"xmlSha256":"8b32cb68dd78414298f74638bb4cfaf59ebb0646b1a07cd7f54e3a905a56ef70","integrity":"matched","parts":2,"voices":2,"notes":4,"measures":2,"parser":{"status":"supported","warnings":[],"events":4,"normalizations":[]},"preview":{"path":"previews/edition-72-a-1.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"fcf30d525c7f3e2d90d1ffac3346c83912ed9d434b60966c5df82fa78e1d4aba","playback":false,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"8b32cb68dd78414298f74638bb4cfaf59ebb0646b1a07cd7f54e3a905a56ef70"}},{"id":"edition:72-a-2","collection":"edition","title":"Example 72-a-2","page":72,"topic":"Fourth lesson. On the fourth species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/72-a-2.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/72-a.png","sha256":"b845a7f5eb71553be297126962e30835a826c7cfa99a9e0b61ab8211b03fc827","label":"Source crop · printed p. 72","local":false}],"owners":["72-a"],"state":"needs-review","editionStatus":"needs-review","context":"These cases are correct, because they would remain valid even with the delay, or ligature, removed, namely in the following way:","latin":"Quæ Hypotheses rectè consistunt, quia etiam retardatione, sive ligaturâ sublatâ valerent, sequenti nempe ratione:","issues":["Same upper-clef question as71-c second example."],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"88bf41c580b26d5d190733deae4c15cce55107a8a11184ce6faf9e97d86fb496","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-068","downloads":[],"xmlSha256":"88bf41c580b26d5d190733deae4c15cce55107a8a11184ce6faf9e97d86fb496","integrity":"matched","parts":2,"voices":2,"notes":4,"measures":2,"parser":{"status":"supported","warnings":[],"events":4,"normalizations":[]},"preview":{"path":"previews/edition-72-a-2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"6051bdcd12e457e32bc75fe97bc8929a6c2691de983f5b5908c6035761805567","playback":false,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"88bf41c580b26d5d190733deae4c15cce55107a8a11184ce6faf9e97d86fb496"}},{"id":"edition:72-b-1","collection":"edition","title":"Example 72-b-1","page":72,"topic":"Fourth lesson. On the fourth species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/72-b-1.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/72-b.png","sha256":"5e648d2c0e5ee0e335eee81b1b597c67e9a56178f45d6813d889cedb9de616ae","label":"Source crop · printed p. 72","local":false}],"owners":["72-b"],"state":"recorded-review","editionStatus":"verified","context":"I say, then, that here one may use a second resolved to a third, a fourth resolved to a fifth, and a ninth resolved to a tenth. For example:","latin":"Dico igitur, quod hoc loco Secunda resoluta in Tertiam; Quarta resoluta in Quintam, Nona resoluta in Decimam adhiberi possint. E. G.","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"1fcee3ab433d942e2a96c330aa77d990f8e5a3a37344f7e0a7752bd919b66766","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-069","downloads":[],"xmlSha256":"1fcee3ab433d942e2a96c330aa77d990f8e5a3a37344f7e0a7752bd919b66766","integrity":"matched","parts":2,"voices":2,"notes":5,"measures":2,"parser":{"status":"supported","warnings":[],"events":4,"normalizations":[]},"preview":{"path":"previews/edition-72-b-1.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"c621487982e1975633412201ad47e0a46ef8e7997f623611632628f2a872a315","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"1fcee3ab433d942e2a96c330aa77d990f8e5a3a37344f7e0a7752bd919b66766"}},{"id":"edition:72-b-2","collection":"edition","title":"Example 72-b-2","page":72,"topic":"Fourth lesson. On the fourth species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/72-b-2.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/72-b.png","sha256":"5e648d2c0e5ee0e335eee81b1b597c67e9a56178f45d6813d889cedb9de616ae","label":"Source crop · printed p. 72","local":false}],"owners":["72-b"],"state":"recorded-review","editionStatus":"verified","context":"I say, then, that here one may use a second resolved to a third, a fourth resolved to a fifth, and a ninth resolved to a tenth. For example:","latin":"Dico igitur, quod hoc loco Secunda resoluta in Tertiam; Quarta resoluta in Quintam, Nona resoluta in Decimam adhiberi possint. E. G.","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"c5a8aea14786dafbfe7647fcec65a095f911e5462656b666c6f3bf300782d079","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-069","downloads":[],"xmlSha256":"c5a8aea14786dafbfe7647fcec65a095f911e5462656b666c6f3bf300782d079","integrity":"matched","parts":2,"voices":2,"notes":5,"measures":2,"parser":{"status":"supported","warnings":[],"events":4,"normalizations":[]},"preview":{"path":"previews/edition-72-b-2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"6de325878bb705872b639ffe17a4a48cac316cfd0b1a39bc4f23993a7a252b1c","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"c5a8aea14786dafbfe7647fcec65a095f911e5462656b666c6f3bf300782d079"}},{"id":"edition:72-b-3","collection":"edition","title":"Example 72-b-3","page":72,"topic":"Fourth lesson. On the fourth species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/72-b-3.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/72-b.png","sha256":"5e648d2c0e5ee0e335eee81b1b597c67e9a56178f45d6813d889cedb9de616ae","label":"Source crop · printed p. 72","local":false}],"owners":["72-b"],"state":"recorded-review","editionStatus":"verified","context":"I say, then, that here one may use a second resolved to a third, a fourth resolved to a fifth, and a ninth resolved to a tenth. For example:","latin":"Dico igitur, quod hoc loco Secunda resoluta in Tertiam; Quarta resoluta in Quintam, Nona resoluta in Decimam adhiberi possint. E. G.","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"1462edcbdde3400e069caeb02a0efe8d4609e1f56ce709988ec50cc23a0df585","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-069","downloads":[],"xmlSha256":"1462edcbdde3400e069caeb02a0efe8d4609e1f56ce709988ec50cc23a0df585","integrity":"matched","parts":2,"voices":2,"notes":5,"measures":2,"parser":{"status":"supported","warnings":[],"events":4,"normalizations":[]},"preview":{"path":"previews/edition-72-b-3.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"3062204089b96e7f9b8d86e14097b74fa351fe8c880f2cfdd0e91d58b81e70e3","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"1462edcbdde3400e069caeb02a0efe8d4609e1f56ce709988ec50cc23a0df585"}},{"id":"edition:72-c","collection":"edition","title":"Example 72-c","page":72,"topic":"Fourth lesson. On the fourth species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/72-c.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/72-c.png","sha256":"26869fe371f8834bdd3bb68160e796feda41bc1320a15df373bfc81874c5d104","label":"Source crop · printed p. 72","local":false}],"owners":["72-c"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. I admit that I deliberately omitted the seventh here. Scarcely any other reason can be offered than the weighty authority of the classical masters, to which great importance must be attached in practice; scarcely any of them can be found to have used a seventh resolved in this way to an octave.","latin":"Aloys. Septimam consultò hoc loco à me omissam esse fateor. Ratio autem vix alia afferri poterit, quàm Authorum Classicorum gravis Authoritas, cui in praxi plurimum tribuendum est, quorum vix ullus reperitur, qui Septimâ hac ratione in Octavam resolutâ usus fuerit.","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"8d7775a81ea19d75373de7a6635a5f2e8db99786cd038588efe859b19e8575d5","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-070","downloads":[],"xmlSha256":"8d7775a81ea19d75373de7a6635a5f2e8db99786cd038588efe859b19e8575d5","integrity":"matched","parts":2,"voices":2,"notes":5,"measures":2,"parser":{"status":"supported","warnings":[],"events":4,"normalizations":[]},"preview":{"path":"previews/edition-72-c.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"615e9737049bf2160a86e5fe5f4cacf828e1eb055f93f0c5012e64fe4aab3da6","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"8d7775a81ea19d75373de7a6635a5f2e8db99786cd038588efe859b19e8575d5"}},{"id":"edition:73-a","collection":"edition","title":"Example 73-a","page":73,"topic":"Fourth lesson. On the fourth species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/73-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/73-a.png","sha256":"1088875cc899dcbd72c79c7d7985a7592baaeb73971e798d45eccdd7cb951888","label":"Source crop · printed p. 73","local":false}],"owners":["73-a"],"state":"recorded-review","editionStatus":"verified","context":"One might perhaps say that a seventh resolved in this way is not acceptable because it resolves to a perfect consonance, namely an octave, from which it can derive very little harmony—were it not that, in the same masters, the second, which is the inverted seventh, is frequently found resolving to a unison. From the unison, as the most perfect of consonances, the dissonance can derive still less harmony. In this matter I think we should defer to the usage established by authoritative masters. Let us examine an example of the seventh inverted into a second and resolved to a unison:","latin":"Posset fortassè dici, ideò Septimam hac ratione resolutam non valere, quia in Consonantiam perfectam, nempe Octavam, à qua parùm admodum harmoniæ habere potest, resolvitur, nisi eosdem apud Authores Secunda, quæ Septima inversa est, in Unisonum resoluta frequenter reperiretur, à quo, tanquam Consonantiarum perfectissimo multò minùs harmoniæ, dissonans participare potest. Usui hac in parte, gravibus ab Authoribus introducto consulendum puto. Videamus exemplum Septimæ in Secundam inversæ, & in Unisonum resolutæ:","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"4c2f23383f45e143b3185a8bd18e626613223f4955ec759a9047c3d7fca36d0d","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-071","downloads":[],"xmlSha256":"4c2f23383f45e143b3185a8bd18e626613223f4955ec759a9047c3d7fca36d0d","integrity":"matched","parts":2,"voices":2,"notes":5,"measures":2,"parser":{"status":"supported","warnings":[],"events":4,"normalizations":[]},"preview":{"path":"previews/edition-73-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"80044b5a89e510d95d705637352b6209b91b96cb88b969cc702a7a189a67153a","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"4c2f23383f45e143b3185a8bd18e626613223f4955ec759a9047c3d7fca36d0d"}},{"id":"edition:73-b-1","collection":"edition","title":"Example 73-b-1","page":73,"topic":"Fourth lesson. On the fourth species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/73-b-1.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/73-b.png","sha256":"b85b0a7d8e273a1061c04f461ef448e43b185544110c9be1e8149c28b43d0fdb","label":"Source crop · printed p. 73","local":false}],"owners":["73-b"],"state":"recorded-review","editionStatus":"verified","context":"Joseph. Before I proceed to the exercise, may I ask, with your permission, whether a delay, or ligature, in a dissonance can also occur in ascent? For the following examples seem to have an equal rationale:","latin":"Joseph. Antequam ad Lectionem progrediar, liceat mihi pace tuâ quærere, an retardatio, sive Ligatura in Dissonantia etiam in ascendendo locum habeat? Videtur enim par ratio sequentium exemplorum:","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"4715b3113faa9fc3bbdeb26cbefa41bc0fa170558a36a477f4bca7d005cd0b3c","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-072","downloads":[],"xmlSha256":"4715b3113faa9fc3bbdeb26cbefa41bc0fa170558a36a477f4bca7d005cd0b3c","integrity":"matched","parts":2,"voices":2,"notes":8,"measures":3,"parser":{"status":"supported","warnings":[],"events":6,"normalizations":[]},"preview":{"path":"previews/edition-73-b-1.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"47d2d732bc5774227c459d5369373533827de97069e74b3163e539daff1e15ae","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"4715b3113faa9fc3bbdeb26cbefa41bc0fa170558a36a477f4bca7d005cd0b3c"}},{"id":"edition:73-b-2","collection":"edition","title":"Example 73-b-2","page":73,"topic":"Fourth lesson. On the fourth species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/73-b-2.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/73-b.png","sha256":"b85b0a7d8e273a1061c04f461ef448e43b185544110c9be1e8149c28b43d0fdb","label":"Source crop · printed p. 73","local":false}],"owners":["73-b"],"state":"recorded-review","editionStatus":"verified","context":"Joseph. Before I proceed to the exercise, may I ask, with your permission, whether a delay, or ligature, in a dissonance can also occur in ascent? For the following examples seem to have an equal rationale:","latin":"Joseph. Antequam ad Lectionem progrediar, liceat mihi pace tuâ quærere, an retardatio, sive Ligatura in Dissonantia etiam in ascendendo locum habeat? Videtur enim par ratio sequentium exemplorum:","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"278239803eaaf7d8704a2bd4d4ca8f4c1fd760b2315e71e017e61d3131475180","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-072","downloads":[],"xmlSha256":"278239803eaaf7d8704a2bd4d4ca8f4c1fd760b2315e71e017e61d3131475180","integrity":"matched","parts":2,"voices":2,"notes":8,"measures":3,"parser":{"status":"supported","warnings":[],"events":6,"normalizations":[]},"preview":{"path":"previews/edition-73-b-2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"d0cbb56eadb1b5c8cf667fc887d11458ce935a7c7297f91454aa8854d42c5080","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"278239803eaaf7d8704a2bd4d4ca8f4c1fd760b2315e71e017e61d3131475180"}},{"id":"edition:74-a","collection":"edition","title":"Example 74-a","page":74,"topic":"Fourth lesson. On the fourth species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/74-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/74-a.png","sha256":"7b090a58e4218bf21cf9b86ccc736d2a143ce2f8ef397053d0f49946d25847b1","label":"Source crop · printed p. 74","local":false}],"owners":["74-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. Certainly, wherever it is possible. But you will sometimes encounter a measure in which there is no room for a ligature; in that case the measure must be filled with untied minims until the opportunity to make a ligature presents itself. Come, and apply yourself to ligatures.","latin":"Aloys. Omninò, ubi esse poterit. Offendes autem nonnunquam tactum, cui Ligaturæ locus non erit, quo casu tactus ille Minimis solutis implendus erit, donec facultas faciendæ Ligaturæ se præsentet. Age, Ligaturisque incumbe.","issues":[],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"10bf989f68dc3652bc8bdddc2b71c8d88e0a43a1560f157b73de278f6c4e2022","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-073","downloads":[],"xmlSha256":"10bf989f68dc3652bc8bdddc2b71c8d88e0a43a1560f157b73de278f6c4e2022","integrity":"matched","parts":2,"voices":2,"notes":31,"measures":10,"parser":{"status":"supported","warnings":[],"events":23,"normalizations":[]},"preview":{"path":"previews/edition-74-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"bdbf36e0d408797b988802cf92e04e6215d6beed2d5c63cf7fb8089b36822bde","playback":true,"corpusLinks":[{"corpusId":"species:gap_073","status":"closing-duration","evidence":{"editionId":"edition:74-a","xmlSha256":"10bf989f68dc3652bc8bdddc2b71c8d88e0a43a1560f157b73de278f6c4e2022","owners":["74-a"],"sourcePages":[74],"agreement":0.913043,"exact":false,"closingDurationOnly":true,"partMap":[1,2],"corpusEvents":23,"editionEvents":23,"sharedEvents":21,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[40,74,4],1]],"editionOnly":[[[40,74,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[40,62,4],1]],"editionOnly":[[[40,62,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:74-a"],"coverage":null,"xmlSha256":"10bf989f68dc3652bc8bdddc2b71c8d88e0a43a1560f157b73de278f6c4e2022"}},{"id":"edition:74-b","collection":"edition","title":"Example 74-b","page":74,"topic":"Fourth lesson. On the fourth species of counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/74-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/74-b.png","sha256":"6c8799357c62a1edefee65f213baad73d2489039e42cf55851f3d9231a0c0951","label":"Source crop · printed p. 74","local":false}],"owners":["74-b"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. You have exercised quite prudent judgment, for no little allowance must be made both for the melodic line and for the grace of the progression. Continue.","latin":"Aloys. Satis providâ usus es observatione, quia & canendi rationi, & progressûs concinnitati haud parùm concedendum est. 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Nihil enim de hoc ex me adhuc intellexisti; nunc tibi non quidem Præcepti, sed Consilii causâ dico, quod positis duabus Semiminimis in principio tactûs, absque Ligatura continuò sequente, ratio cantandi claudicare videatur. Quapropter consultius erit, si duas tantùm Semiminimas in principio tactûs adhibere lubet, eas cum sequenti Ligatura stringere, vel cum duabus adhuc aliis Semiminimis cursum facilitare; ut in sequenti exemplo:","issues":["Comparative fragments retained in source order; fifth fragment contains only the printed half note."],"verificationNotes":["Direct visual transcription of every source crop; clefs, staff positions, accidentals, note/rest durations and ties inspected.","Every linked MusicXML passed parseScore and Verovio rendering; rendered notation visually compared with source crop.","Source correction alternatives and shared-cantus alternatives encoded in separate assets; no catch-note playback.","Post-bar augmentation dots normalized as tied continuation notes; regenerated render inspected and parser confirmed one sustained playback event."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"3fedf09f881cce25b338d203ebde1a958e088f5920d1af9b85505c3ae10b32dd","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-090","downloads":[],"xmlSha256":"3fedf09f881cce25b338d203ebde1a958e088f5920d1af9b85505c3ae10b32dd","integrity":"matched","parts":1,"voices":1,"notes":20,"measures":7,"parser":{"status":"supported","warnings":[],"events":18,"normalizations":[]},"preview":{"path":"previews/edition-81-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"1da4590bc287d19ceb4545a4e0701779dfe63bc759faf9ab24636900cc6104e3","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"3fedf09f881cce25b338d203ebde1a958e088f5920d1af9b85505c3ae10b32dd"}},{"id":"edition:82-a","collection":"edition","title":"Example 82-a","page":82,"topic":"Note against note in three voices.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/82-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/82-a.png","sha256":"801f23cde6fe1b28a2fcf1dd85e1882e83e341caa36df69d3c4f3d39d8bd8eb8","label":"Source crop · printed p. 82","local":false}],"owners":["82-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloys. It is a combination consisting of a third and a fifth. For example:","latin":"Aloys. Est Sistema Tertiâ & Quintâ constans. E. G.","issues":[],"verificationNotes":["Reused existing source-compared MusicXML; previous parsing, rendering and playback checks retained."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"3c999eb3e74e3f2fb42c41ee472c8fbcee994a6cebce0ea0b7ba8be03f632ea6","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-091","downloads":[],"xmlSha256":"3c999eb3e74e3f2fb42c41ee472c8fbcee994a6cebce0ea0b7ba8be03f632ea6","integrity":"matched","parts":3,"voices":3,"notes":3,"measures":1,"parser":{"status":"supported","warnings":[],"events":3,"normalizations":[]},"preview":{"path":"previews/edition-82-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"67cbdab401846a4c399f8eff902830d52c5e4ad3dcaf8be61e69d903ddbb3267","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"3c999eb3e74e3f2fb42c41ee472c8fbcee994a6cebce0ea0b7ba8be03f632ea6"}},{"id":"edition:82-b","collection":"edition","title":"Example 82-b","page":82,"topic":"Note against note in three voices.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/82-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/82-b.png","sha256":"d2ec6d71cfc9f92fa3a9d775757cb223dcf4f8e16515db5aadf6eaff7180e756","label":"Source crop · printed p. 82","local":false}],"owners":["82-b"],"state":"recorded-review","editionStatus":"verified","context":"Aloys. Sometimes a more graceful melodic line calls for another consonance, either a sixth or an octave, in place of the triad. More often, the need to avoid two perfect consonances in immediate succession requires us to depart from the triad and use a sixth instead of the fifth, or an octave, or both. I shall show this in the following example:","latin":"Aloys. Est subinde concinnioris Cantûs ratio, cujus gratiâ nonnunquam locò Triadis alia Consonantia, vel Sexta, vel Octava adhiberi solet: sæpiùs etiam immediatam duarum perfectarum consecutionem evitandi necessitas postulat, ut relictâ Triade, aut Sextâ locò Quintæ, aut Octavâ, aut utrâque utendum sit; quemadmodum sequenti exemplo monstrabo:","issues":[],"verificationNotes":["Reused existing source-compared MusicXML; previous parsing, rendering and playback checks retained."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"3073c510e2b3ac3e9e6f98e3fae3cb37dab92ed76e64501b6421f6ca5b2dd40e","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-092","downloads":[],"xmlSha256":"3073c510e2b3ac3e9e6f98e3fae3cb37dab92ed76e64501b6421f6ca5b2dd40e","integrity":"matched","parts":3,"voices":3,"notes":18,"measures":6,"parser":{"status":"supported","warnings":[],"events":18,"normalizations":[]},"preview":{"path":"previews/edition-82-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"0c51c0b6603384694454ce154c8eb695658dbabd5088ad5bf012ef5e0f96d8cd","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"3073c510e2b3ac3e9e6f98e3fae3cb37dab92ed76e64501b6421f6ca5b2dd40e"}},{"id":"edition:83-a","collection":"edition","title":"Example 83-a","page":83,"topic":"Note against note in three voices.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/83-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/83-a.png","sha256":"c9a2f2110213a09b31780d97f7f13d5cc9197043a1834200ae15dbd7c35caa6e","label":"Source crop · printed p. 83","local":false}],"owners":["83-a"],"state":"recorded-review","editionStatus":"verified","context":"Joseph. With your permission, Master, I would say that the triad seems to have been omitted without reason in the second measure. In my judgment, the tenor could have been given a fifth, which would have completed the triad; and then, in the third measure, the tenor could have been given a third, leaving the other harmonic positions as you set them down. For example:","latin":"Joseph. Videtur mihi, pace tuâ, Magister, dixerim, in secundo tactu Triadem absque ratione prætermissam esse; poterat enim, meo quidem judicio, Tenori Quinta dari, quæ Triadem constituisset, & posteà tertio in tactu eidem Tenori Tertia tribui, relictis cæteris Hypothesibus, ut à te positæ sunt. E. G.","issues":[],"verificationNotes":["Reused existing source-compared MusicXML; previous parsing, rendering and playback checks retained."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"811f04ef265739c46952a84f4f42b4e98e7f18179dbe7611752f4d3defe49354","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-093","downloads":[],"xmlSha256":"811f04ef265739c46952a84f4f42b4e98e7f18179dbe7611752f4d3defe49354","integrity":"matched","parts":3,"voices":3,"notes":18,"measures":6,"parser":{"status":"supported","warnings":[],"events":18,"normalizations":[]},"preview":{"path":"previews/edition-83-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"c113c0d774b688b4b2b5d893157e969db9698ea93b48da4ed87ec189c71289c0","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"811f04ef265739c46952a84f4f42b4e98e7f18179dbe7611752f4d3defe49354"}},{"id":"edition:83-b","collection":"edition","title":"Example 83-b","page":83,"topic":"Note against note in three voices.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/83-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/83-b.png","sha256":"f126731e565d5d56475bedbe1c85b3558e2061bc48dbd73d0816fd3aa4c982be","label":"Source crop · printed p. 83","local":false}],"owners":["83-b"],"state":"recorded-review","editionStatus":"verified","context":"Aloys. I am quite pleased with this observation of yours, and your example cannot be rejected. But who does not see that the first example, mine, accords better with naturalness, order, and variety? With naturalness and order, because the tenor in it moves beautifully downward by step, without a leap, as far as the third measure inclusive. A sixth occurs there, which the note mi in the bass prefers to the other consonances, as has already been said elsewhere. I shall explain the reason for this more fully once again. First, let us set out that arrangement with the sixth:","latin":"Aloys. Non parùm mihi placet hæc tua reflexio, neque reprobari potest hoc tuum Paradigma. Verùm primum, nempe meum, & naturæ, & ordini, varietatique magis consentaneum esse, quis non perspicit? Naturæ, & ordini, quia in illo pars Tenoris pulchrè gradatim absque saltu descendendo movetur usque ad tertium tactum inclusivè, in quo Sexta reperitur, quam Nota mi in parte fundamenti posita, præ aliis Consonantiis amat, ut jam alibi dictum est, & iteratò hujus rei rationem explanatiùs dicturus sum. Ponatur primò illa sexta Hypothesis:","issues":[],"verificationNotes":["Reused existing source-compared MusicXML; previous parsing, rendering and playback checks retained."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"fb61332ce2fba9ddc3dc3472a63831eb7b8989027122a34686f5c3ab3f605e7f","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-094","downloads":[],"xmlSha256":"fb61332ce2fba9ddc3dc3472a63831eb7b8989027122a34686f5c3ab3f605e7f","integrity":"matched","parts":3,"voices":3,"notes":3,"measures":1,"parser":{"status":"supported","warnings":[],"events":3,"normalizations":[]},"preview":{"path":"previews/edition-83-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"0de587f1cc4ae200714dd918e4b4b44715b82061bd9e33d1846596e401671111","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"fb61332ce2fba9ddc3dc3472a63831eb7b8989027122a34686f5c3ab3f605e7f"}},{"id":"edition:84-a","collection":"edition","title":"Example 84-a","page":84,"topic":"Note against note in three voices.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/84-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/84-a.png","sha256":"8cb1245e1c6cea5db669ed0a64d750c05b889091a0c5f9210580aec7afc1a782","label":"Source crop · printed p. 84","local":false}],"owners":["84-a"],"state":"recorded-review","editionStatus":"verified","context":"Here the note producing the sixth should be regarded as having been transferred, as it were, from its proper position to another. In its proper position, the arrangement would be as follows:","latin":"Ubi Nota Sextam efficiens quasi de loco proprio ad improprium translata tenenda est, & in loco proprio sic se haberet:","issues":[],"verificationNotes":["Reused existing source-compared MusicXML; previous parsing, rendering and playback checks retained."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"2d848be4447317cabb677ed95f602934b3bb8b730037322b4aa5bc142e2d6851","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-095","downloads":[],"xmlSha256":"2d848be4447317cabb677ed95f602934b3bb8b730037322b4aa5bc142e2d6851","integrity":"matched","parts":3,"voices":3,"notes":3,"measures":1,"parser":{"status":"supported","warnings":[],"events":3,"normalizations":[]},"preview":{"path":"previews/edition-84-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"602ebec4586274c58318f701caa897379579c1e7f69b99ef3ba14b2582837c1d","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"2d848be4447317cabb677ed95f602934b3bb8b730037322b4aa5bc142e2d6851"}},{"id":"edition:84-b","collection":"edition","title":"Example 84-b","page":84,"topic":"Note against note in three voices.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/84-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/84-b.png","sha256":"3ec5c87daf5e8ff79e166ddee9c87f967d347d6e3cce490f93f510ee0303b60e","label":"Source crop · printed p. 84","local":false}],"owners":["84-b"],"state":"recorded-review","editionStatus":"verified","context":"That C, therefore, forms a harmonic triad when placed in its proper position. When it is moved an octave higher while the other parts remain where they are, it necessarily produces a sixth. This is to be understood only when that mi is followed by fa, as in this example:","latin":"Illud C. ergo in loco proprio positum Triadem harmonicam constituit, quod translatum per Octavam in acutum, cæteris partibus restantibus, Sextam efficiat necesse est. Quod verò tantùm intelligendum est, quando post illud mi, fa sequitur, ut in exemplo:","issues":[],"verificationNotes":["Reused existing source-compared MusicXML; previous parsing, rendering and playback checks retained."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"524170f86aae6af2d8054e1d001839938f7afb9f9a78b8937a5be285e4154131","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-096","downloads":[],"xmlSha256":"524170f86aae6af2d8054e1d001839938f7afb9f9a78b8937a5be285e4154131","integrity":"matched","parts":1,"voices":1,"notes":2,"measures":1,"parser":{"status":"supported","warnings":[],"events":2,"normalizations":[]},"preview":{"path":"previews/edition-84-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"35893274328a6c1e19ac5df414b1f11557233b2e6a660feb08331bca1ae2efff","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"524170f86aae6af2d8054e1d001839938f7afb9f9a78b8937a5be285e4154131"}},{"id":"edition:84-c1","collection":"edition","title":"Example 84-c1","page":84,"topic":"Note against note in three voices.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/84-c1.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/84-c.png","sha256":"84b87f57609c2b98973a803f142cb623dfe2e639ed171eb4cf9ae8f1d635798b","label":"Source crop · printed p. 84","local":false}],"owners":["84-c"],"state":"recorded-review","editionStatus":"verified","context":"But if that mi happens to leap elsewhere, it calls for a fifth rather than a sixth, as in the following examples:","latin":"Si autem illud mi aliò saltare contingat, magis Quintam, quàm Sextam desiderat, ut in sequentibus exemplis:","issues":[],"verificationNotes":["Reused existing source-compared MusicXML; previous parsing, rendering and playback checks retained."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"bf2bffde317ca72968770dd8cd0d3c4784483caeb56eaca721ee38f89efd988f","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-097","downloads":[],"xmlSha256":"bf2bffde317ca72968770dd8cd0d3c4784483caeb56eaca721ee38f89efd988f","integrity":"matched","parts":3,"voices":3,"notes":6,"measures":1,"parser":{"status":"supported","warnings":[],"events":6,"normalizations":[]},"preview":{"path":"previews/edition-84-c1.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"9d242672b4f49c62e83e06838830fcfc5f49b1a226fdf37d1a4a3145be4ba6fb","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"bf2bffde317ca72968770dd8cd0d3c4784483caeb56eaca721ee38f89efd988f"}},{"id":"edition:84-c2","collection":"edition","title":"Example 84-c2","page":84,"topic":"Note against note in three voices.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/84-c2.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/84-c.png","sha256":"84b87f57609c2b98973a803f142cb623dfe2e639ed171eb4cf9ae8f1d635798b","label":"Source crop · printed p. 84","local":false}],"owners":["84-c"],"state":"recorded-review","editionStatus":"verified","context":"But if that mi happens to leap elsewhere, it calls for a fifth rather than a sixth, as in the following examples:","latin":"Si autem illud mi aliò saltare contingat, magis Quintam, quàm Sextam desiderat, ut in sequentibus exemplis:","issues":[],"verificationNotes":["Reused existing source-compared MusicXML; previous parsing, rendering and playback checks retained."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"b04c2d3696b8d7750f783a0f05467f3ea4d631533c519aa07d0b3e25426aa5c9","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-097","downloads":[],"xmlSha256":"b04c2d3696b8d7750f783a0f05467f3ea4d631533c519aa07d0b3e25426aa5c9","integrity":"matched","parts":3,"voices":3,"notes":6,"measures":1,"parser":{"status":"supported","warnings":[],"events":6,"normalizations":[]},"preview":{"path":"previews/edition-84-c2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"eeac0410c399f113eea659f0e0edc6f13116c17529c1dc9c65304c922c143c00","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"b04c2d3696b8d7750f783a0f05467f3ea4d631533c519aa07d0b3e25426aa5c9"}},{"id":"edition:84-d1","collection":"edition","title":"Example 84-d1","page":84,"topic":"Note against note in three voices.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/84-d1.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/84-d.png","sha256":"dfad494e246ebc1eb2086c575f5d262d5a552fd02e43486e03b69ca098d56d6c","label":"Source crop · printed p. 84","local":false}],"owners":["84-d"],"state":"recorded-review","editionStatus":"verified","context":"We must now return to the point from which we have digressed a little: why my example is also better suited to variety. In it, A occurs only once in the tenor, whereas in your example it occurs twice, as you can see:","latin":"Nunc eò, quò nonnihil recessimus, redeundum est; nempe ad rationem, cur Paradigma meum etiam varietati accommodatius sit, quia in illo, A. in Tenoris parte tantùm semel, in tuo verò exemplo bis reperitur, ut videre licet:","issues":[],"verificationNotes":["Reused existing source-compared MusicXML; previous parsing, rendering and playback checks retained."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"cf7289cb28d174da1b0afe9aeade8ffa769f9945650ffb050efb14bde2119bd2","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-098","downloads":[],"xmlSha256":"cf7289cb28d174da1b0afe9aeade8ffa769f9945650ffb050efb14bde2119bd2","integrity":"matched","parts":1,"voices":1,"notes":6,"measures":1,"parser":{"status":"supported","warnings":[],"events":6,"normalizations":[]},"preview":{"path":"previews/edition-84-d1.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"bbd99fe9f752b7e20ae5c239ebccbd38bd182853414c52ea27bcf3423f105ff1","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"cf7289cb28d174da1b0afe9aeade8ffa769f9945650ffb050efb14bde2119bd2"}},{"id":"edition:84-d2","collection":"edition","title":"Example 84-d2","page":84,"topic":"Note against note in three voices.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/84-d2.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/84-d.png","sha256":"dfad494e246ebc1eb2086c575f5d262d5a552fd02e43486e03b69ca098d56d6c","label":"Source crop · printed p. 84","local":false}],"owners":["84-d"],"state":"recorded-review","editionStatus":"verified","context":"We must now return to the point from which we have digressed a little: why my example is also better suited to variety. In it, A occurs only once in the tenor, whereas in your example it occurs twice, as you can see:","latin":"Nunc eò, quò nonnihil recessimus, redeundum est; nempe ad rationem, cur Paradigma meum etiam varietati accommodatius sit, quia in illo, A. in Tenoris parte tantùm semel, in tuo verò exemplo bis reperitur, ut videre licet:","issues":[],"verificationNotes":["Reused existing source-compared MusicXML; previous parsing, rendering and playback checks retained."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"e986564317e49102b2ab9f8db1002131fd63366d6eec93096866ee36a7e20d93","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-098","downloads":[],"xmlSha256":"e986564317e49102b2ab9f8db1002131fd63366d6eec93096866ee36a7e20d93","integrity":"matched","parts":1,"voices":1,"notes":6,"measures":1,"parser":{"status":"supported","warnings":[],"events":6,"normalizations":[]},"preview":{"path":"previews/edition-84-d2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"95ffe24cfebaa9d70f41ab4cdd716217ff2f17e272a62c82643a5de75df973e0","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"e986564317e49102b2ab9f8db1002131fd63366d6eec93096866ee36a7e20d93"}},{"id":"edition:85-a1","collection":"edition","title":"Example 85-a1","page":85,"topic":"Note against note in three voices.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/85-a1.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/85-a.png","sha256":"c498fd3858a7ff2df7030d8d23ed5786f96efde438942fbf9864d73ac685e360","label":"Source crop · printed p. 85","local":false}],"owners":["85-a"],"state":"recorded-review","editionStatus":"verified","context":"Joseph. I shall offer two examples, not to prove my point, but to be taught.","latin":"Joseph. Duo exempla, non demonstrandi gratiâ, sed, ut docear, adducam.","issues":[],"verificationNotes":["Reused existing source-compared MusicXML; previous parsing, rendering and playback checks retained."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"24c67985cb98cf2353d5876e290568166c4d581057ee2ed4b4ad989674dc97b8","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-099","downloads":[],"xmlSha256":"24c67985cb98cf2353d5876e290568166c4d581057ee2ed4b4ad989674dc97b8","integrity":"matched","parts":3,"voices":3,"notes":18,"measures":5,"parser":{"status":"supported","warnings":[],"events":18,"normalizations":[]},"preview":{"path":"previews/edition-85-a1.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"6d5345162a913e84a3d591db893c3cfa2dafccd225c0b53d5088dd058d5ea73f","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"24c67985cb98cf2353d5876e290568166c4d581057ee2ed4b4ad989674dc97b8"}},{"id":"edition:85-a2","collection":"edition","title":"Example 85-a2","page":85,"topic":"Note against note in three voices.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/85-a2.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/85-a.png","sha256":"c498fd3858a7ff2df7030d8d23ed5786f96efde438942fbf9864d73ac685e360","label":"Source crop · printed p. 85","local":false}],"owners":["85-a"],"state":"recorded-review","editionStatus":"verified","context":"Joseph. I shall offer two examples, not to prove my point, but to be taught.","latin":"Joseph. Duo exempla, non demonstrandi gratiâ, sed, ut docear, adducam.","issues":[],"verificationNotes":["Reused existing source-compared MusicXML; previous parsing, rendering and playback checks retained."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"9bfc036119028a0fb649bf87c6eb14da0202d967dd8d6a3f4506ae4c72c88fff","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-099","downloads":[],"xmlSha256":"9bfc036119028a0fb649bf87c6eb14da0202d967dd8d6a3f4506ae4c72c88fff","integrity":"matched","parts":3,"voices":3,"notes":18,"measures":5,"parser":{"status":"supported","warnings":[],"events":18,"normalizations":[]},"preview":{"path":"previews/edition-85-a2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"06b7f7151e82f7d27815d4f64ffed125c2d2383ec5bb9bfe62725f2073a87e37","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"9bfc036119028a0fb649bf87c6eb14da0202d967dd8d6a3f4506ae4c72c88fff"}},{"id":"edition:85-b","collection":"edition","title":"Example 85-b","page":85,"topic":"Note against note in three voices.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/85-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/85-b.png","sha256":"90c25a4a20a88870a501730d87533223448460c2b13900e06e103b6ca786bcae","label":"Source crop · printed p. 85","local":false}],"owners":["85-b"],"state":"recorded-review","editionStatus":"verified","context":"Aloys. I do not altogether disapprove of these examples of yours. But you see that in the first example, from the first measure to the second, all three parts move upward, some by step and some by leap. This can scarcely happen without some difficulty. Here it occurs between the tenor and the alto, from the first measure to the second, as follows:","latin":"Aloys. Non admodum improbo exempla hæc tua. Verùm vides, in primo exemplo, de primo tactu ad secundum, omnes tres partes ascendendo, partim per gradum, partim per saltum moveri, quod absque quadam inconvenientia vix contingere potest. Quod hic accidit in parte Tenoris respectu Alti de primo ad secundum tactum, qui sic se habent:","issues":[],"verificationNotes":["Reused existing source-compared MusicXML; previous parsing, rendering and playback checks retained."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"17dd032b4025e423b754f2338f4e2d0504702f38cfae898afee321ef17386545","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-100","downloads":[],"xmlSha256":"17dd032b4025e423b754f2338f4e2d0504702f38cfae898afee321ef17386545","integrity":"matched","parts":2,"voices":2,"notes":4,"measures":2,"parser":{"status":"supported","warnings":[],"events":4,"normalizations":[]},"preview":{"path":"previews/edition-85-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"13d606def0d656805700b2c55f6dc80dd4fa8650cc1d9b99655cbd51673f904a","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"17dd032b4025e423b754f2338f4e2d0504702f38cfae898afee321ef17386545"}},{"id":"edition:86-a","collection":"edition","title":"Example 86-a","page":86,"topic":"Note against note in three voices.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/86-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/86-a.png","sha256":"f714e623a7f0a28404eab91aa30079a039a792ce949976ce95b9bf42c7c97b46","label":"Source crop · printed p. 86","local":false}],"owners":["86-a"],"state":"recorded-review","editionStatus":"verified","context":"From this it is clear that, when the bass is removed, this progression is faulty. Not only does it move, so to speak, from an imperfect to a perfect consonance; worse still, that fifth is not consonant at all, but diminished. The rules must be considered not only in relation to the bass, but also between the other parts themselves wherever possible, although in composition for several voices they need not be observed so rigorously. Thus, even in three voices, weighty reasons may sometimes permit a departure from this strictness in the relation of the parts to the bass. This can be seen in the penultimate measure of the first example: the fifth proceeds to the final octave, a perfect consonance to a perfect consonance, by similar motion, because it cannot be done otherwise. For example:","latin":"Ex quo perspicuum est, sublatâ parte fundamentali progressum illum vitiosum esse, quia non solùm de imperfecta ad perfectam sit ambitus, sic loquendo, verùm, quod pejus est, nec illa Quinta Consonans est, sed Quinta falsa. Regularum enim ratio non solùm respectu Bassi, verùm etiam aliarum partium inter se, ubi fieri potest, quamvis in plurium partium compositione non ita rigorosè observanda est: ita ut etiam in Tricinio partium respectu Bassi ponderosas ob rationes nonnunquam ab eo rigore recedere liceat, quod videndum est in prioris exempli penultimo tactu, ubi de Quinta in Octavam finalem, nempe de perfecta ad perfectam motu recto fit progressus, quia aliter fieri non potest. E. G.","issues":[],"verificationNotes":["Reused existing source-compared MusicXML; previous parsing, rendering and playback checks retained."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"9778b828bce8a87481b9fa49f91621f25411a5670255a60529fe2b7f8ff93272","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-101","downloads":[],"xmlSha256":"9778b828bce8a87481b9fa49f91621f25411a5670255a60529fe2b7f8ff93272","integrity":"matched","parts":3,"voices":3,"notes":6,"measures":1,"parser":{"status":"supported","warnings":[],"events":6,"normalizations":[]},"preview":{"path":"previews/edition-86-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"f2a51cdd949aa933879fac5ab65aa0a778e23e7095628a9cf75a4a0d212cbae4","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"9778b828bce8a87481b9fa49f91621f25411a5670255a60529fe2b7f8ff93272"}},{"id":"edition:87-a","collection":"edition","title":"Example 87-a","page":87,"topic":"Note against note in three voices.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/87-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/87-a.png","sha256":"bc3311e4ba1cb41432715f7bd4dd3b729306211fcbf286732c378d9a5a28cc90","label":"Source crop · printed p. 87","local":false}],"owners":["87-a"],"state":"recorded-review","editionStatus":"verified","context":"Let us now proceed to the exercise. To make the construction of this species easier for you by providing a model, I shall compose the first example for you. It will itself have three versions, corresponding to the three parts: first with the cantus firmus in the upper part, second in the middle part, and third in the bass part. You must also follow this procedure from now on, using the cantus firmi prescribed earlier in their given order.","latin":"Jam ad exercitium pergamus. Ut autem intuitu cujusdam formulæ Speciei hujus confectio facilior tibi contingat, componam ego tibi primum exemplum, quod pro trium partium ratione etiam triplex erit; primò ut Cantus firmus in parte superiori: secundò in parte media: tertiò in parte fundamentali statuatur, quod & tibi deinceps observandum erit, assumendo superiùs ordine præscriptos Cantus firmos.","issues":[],"verificationNotes":["Reused existing source-compared MusicXML; previous parsing, rendering and playback checks retained."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"8fdcebbb9537a30493c67aaa759cce09067c70c99cbc52c2829941c3bc1ab93c","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-102","downloads":[],"xmlSha256":"8fdcebbb9537a30493c67aaa759cce09067c70c99cbc52c2829941c3bc1ab93c","integrity":"matched","parts":3,"voices":3,"notes":33,"measures":10,"parser":{"status":"supported","warnings":[],"events":33,"normalizations":[]},"preview":{"path":"previews/edition-87-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"ab6ccf7f34527631fcc100522ab5e9dc88d7f0b254f8bbecdf2d6683d3a03bf3","playback":true,"corpusLinks":[{"corpusId":"species:gap_101","status":"closing-duration","evidence":{"editionId":"edition:87-a","xmlSha256":"8fdcebbb9537a30493c67aaa759cce09067c70c99cbc52c2829941c3bc1ab93c","owners":["87-a"],"sourcePages":[87],"agreement":0.909091,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3],"corpusEvents":33,"editionEvents":33,"sharedEvents":30,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[40,62,4],1]],"editionOnly":[[[40,62,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[40,62,4],1]],"editionOnly":[[[40,62,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[40,50,4],1]],"editionOnly":[[[40,50,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:87-a"],"coverage":null,"xmlSha256":"8fdcebbb9537a30493c67aaa759cce09067c70c99cbc52c2829941c3bc1ab93c"}},{"id":"edition:87-b","collection":"edition","title":"Example 87-b","page":87,"topic":"Note against note in three voices.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/87-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/87-b.png","sha256":"c49da84ec676d24471164883e7bfeda06cd3d650e3e8bcdd258408a05fba9538","label":"Source crop · printed p. 87","local":false}],"owners":["87-b"],"state":"recorded-review","editionStatus":"verified","context":"Joseph. I do remember. But it seems to me that it could have been done correctly while still observing the rule, if the bass had proceeded by contrary motion from F to the higher C, in this way:","latin":"Joseph. Memini quidem; sed videtur mihi, etiam observatâ illâ regulâ rectè fieri potuisse, si de F. in Basso in C. acutum, per motum contrarium progressus institutus fuisset, hac ratione:","issues":[],"verificationNotes":["Reused existing source-compared MusicXML; previous parsing, rendering and playback checks retained."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"a4836b2ca2369add56516e9c53713f0c751e98ef0a49edd71430d4b917358e21","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-103","downloads":[],"xmlSha256":"a4836b2ca2369add56516e9c53713f0c751e98ef0a49edd71430d4b917358e21","integrity":"matched","parts":3,"voices":3,"notes":15,"measures":4,"parser":{"status":"supported","warnings":[],"events":15,"normalizations":[]},"preview":{"path":"previews/edition-87-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"f3ea05ff7072baeb33e8de321cefd673b408fc647a8de42fc472f57d6a65a40f","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"a4836b2ca2369add56516e9c53713f0c751e98ef0a49edd71430d4b917358e21"}},{"id":"edition:88-a","collection":"edition","title":"Example 88-a","page":88,"topic":"Note against note in three voices.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/88-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/88-a.png","sha256":"68a47dc8eff1d4a8d852f0fbce045359b2149e9e3c5176a1b32db9f99db20096","label":"Source crop · printed p. 88","local":false}],"owners":["88-a"],"state":"recorded-review","editionStatus":"verified","context":"Joseph. The reasons you have given convince me completely. But perhaps it could be done this way?","latin":"Joseph. In totum convictus sum rationibus adductis, sed fortassis sic fieri posset?","issues":[],"verificationNotes":["Reused existing source-compared MusicXML; previous parsing, rendering and playback checks retained."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"6d30effe7560bbce54d631567d039535092ea6cbad84388760f3d9a915a76a87","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-104","downloads":[],"xmlSha256":"6d30effe7560bbce54d631567d039535092ea6cbad84388760f3d9a915a76a87","integrity":"matched","parts":3,"voices":3,"notes":15,"measures":5,"parser":{"status":"supported","warnings":[],"events":15,"normalizations":[]},"preview":{"path":"previews/edition-88-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"f3e8a4e76cbc326eb89eaf3a87f526ecee53db0e8b2c86438437edb5fbf3f971","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"6d30effe7560bbce54d631567d039535092ea6cbad84388760f3d9a915a76a87"}},{"id":"edition:88-b","collection":"edition","title":"Example 88-b","page":88,"topic":"Note against note in three voices.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/88-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/88-b.png","sha256":"37976e56b83ad6de497679796583b89dd9114342a650c7f863a4ee0df5e3f2f3","label":"Source crop · printed p. 88","local":false}],"owners":["88-b"],"state":"recorded-review","editionStatus":"verified","context":"Aloys. Still less so. Do you not remember that a leap of a major sixth is forbidden? What, then, should we think of a leap of a seventh? We must take account of the natural ease of singing. I shall now make an example with the cantus firmus in the middle part.","latin":"Aloys. Minùs. Nonne meministi, saltum Sextæ majoris prohibitum esse? Quid judicandum de saltu Septimæ? quia naturali cantûs facilitati consulendum est. Jam Cantu firmo in media parte posito exemplum faciam.","issues":["At position 8, the lower printed interval figure reads 15, while the visible G4 and C3 form a twelfth. The printed figure remains in the original crop; the visible pitches are retained without repair."],"verificationNotes":["Reused existing source-compared MusicXML; previous parsing, rendering and playback checks retained."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"7c1c0e6a62e49e2e3d88b05eac42c4be80c91675fbfeb5d1b422a1f174740fd6","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-105","downloads":[],"xmlSha256":"7c1c0e6a62e49e2e3d88b05eac42c4be80c91675fbfeb5d1b422a1f174740fd6","integrity":"matched","parts":3,"voices":3,"notes":33,"measures":10,"parser":{"status":"supported","warnings":[],"events":33,"normalizations":[]},"preview":{"path":"previews/edition-88-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"3c6c26dd1ca6da380de17e182992f71f2228d22f04f20dcd867125e5b0bf03c3","playback":true,"corpusLinks":[{"corpusId":"species:gap_104","status":"closing-duration","evidence":{"editionId":"edition:88-b","xmlSha256":"7c1c0e6a62e49e2e3d88b05eac42c4be80c91675fbfeb5d1b422a1f174740fd6","owners":["88-b"],"sourcePages":[88],"agreement":0.909091,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3],"corpusEvents":33,"editionEvents":33,"sharedEvents":30,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[40,74,4],1]],"editionOnly":[[[40,74,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[40,62,4],1]],"editionOnly":[[[40,62,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[40,50,4],1]],"editionOnly":[[[40,50,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:88-b"],"coverage":null,"xmlSha256":"7c1c0e6a62e49e2e3d88b05eac42c4be80c91675fbfeb5d1b422a1f174740fd6"}},{"id":"edition:89-a","collection":"edition","title":"Example 89-a","page":89,"topic":"Note against note in three voices.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/89-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/89-a.png","sha256":"3ce983a44128d8ae6f052be22d5b13a6e97e6f6f2594a5f2311a7be5c3450484","label":"Source crop · printed p. 89","local":false}],"owners":["89-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloys. That is so; it could have been used. But if you look a little more closely, you will find that the octave serves the melodic line better. As I have often said, and shall have to say still more often, great weight must be given to the melody. One example remains to be completed, with the cantus firmus in the bass.","latin":"Aloys. Ità est, potuisset. Verùm paulò accuratiùs inspiciens, comperies Octavam meliùs inservire Cantûs rationi, cui, ut jam sæpè dixi, & sæpiùs dicendum erit, multum tribuendum est. Restat adhuc exemplum perficiendum, in quo Cantus firmus in parte fundamentali existat.","issues":[],"verificationNotes":["Reused existing source-compared MusicXML; previous parsing, rendering and playback checks retained."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"15341a27a48151827d71681b6ee383f2c05d242377f57f576e653987d767c33d","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-106","downloads":[],"xmlSha256":"15341a27a48151827d71681b6ee383f2c05d242377f57f576e653987d767c33d","integrity":"matched","parts":3,"voices":3,"notes":33,"measures":11,"parser":{"status":"supported","warnings":[],"events":33,"normalizations":[]},"preview":{"path":"previews/edition-89-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"427b4bb731e44eb97ddf71b4ea85c8e78591a6760d9f0eeffb96a7b3c92dd8e2","playback":true,"corpusLinks":[{"corpusId":"species:gap_105","status":"closing-duration","evidence":{"editionId":"edition:89-a","xmlSha256":"15341a27a48151827d71681b6ee383f2c05d242377f57f576e653987d767c33d","owners":["89-a"],"sourcePages":[89],"agreement":0.909091,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3],"corpusEvents":33,"editionEvents":33,"sharedEvents":30,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[40,62,4],1]],"editionOnly":[[[40,62,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[40,57,4],1]],"editionOnly":[[[40,57,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[40,50,4],1]],"editionOnly":[[[40,50,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:89-a"],"coverage":null,"xmlSha256":"15341a27a48151827d71681b6ee383f2c05d242377f57f576e653987d767c33d"}},{"id":"edition:89-b","collection":"edition","title":"Example 89-b","page":89,"topic":"Note against note in three voices.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/89-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/89-b.png","sha256":"30bafa6903854f4ccb3cbb0924118bf92e3348114ab0ce7b20c0c7bb7c2ba198","label":"Source crop · printed p. 89","local":false}],"owners":["89-b"],"state":"recorded-review","editionStatus":"verified","context":"Now proceed to compose examples in the other five remaining modes, placing the cantus firmus in each of the three parts, as I have said and done, and observing everything explained so far.","latin":"Nunc ad reliqua quinque superstitum tonorum exempla componenda progredere, eâ ratione, ut Cantus firmus in omnibus tribus partibus, ut jam dixi, & feci, statuatur; observatis hucusque dictis.","issues":[],"verificationNotes":["Reused existing source-compared MusicXML; previous parsing, rendering and playback checks retained."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"85589e3cd11ca998760d1e19f462c65bdb4a607090c7c42f8b10dba436d57d17","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-107","downloads":[],"xmlSha256":"85589e3cd11ca998760d1e19f462c65bdb4a607090c7c42f8b10dba436d57d17","integrity":"matched","parts":3,"voices":3,"notes":30,"measures":10,"parser":{"status":"supported","warnings":[],"events":30,"normalizations":[]},"preview":{"path":"previews/edition-89-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"0c9480d88eb7873b78cdf7821200b8d70a3857e3cc370e3a4b44fa0697a12183","playback":true,"corpusLinks":[{"corpusId":"species:gap_106","status":"closing-duration","evidence":{"editionId":"edition:89-b","xmlSha256":"85589e3cd11ca998760d1e19f462c65bdb4a607090c7c42f8b10dba436d57d17","owners":["89-b"],"sourcePages":[89],"agreement":0.9,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3],"corpusEvents":30,"editionEvents":30,"sharedEvents":27,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[36,64,4],1]],"editionOnly":[[[36,64,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[36,56,4],1]],"editionOnly":[[[36,56,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[36,52,4],1]],"editionOnly":[[[36,52,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:89-b"],"coverage":null,"xmlSha256":"85589e3cd11ca998760d1e19f462c65bdb4a607090c7c42f8b10dba436d57d17"}},{"id":"edition:90-a","collection":"edition","title":"Example 90-a","page":90,"topic":"Note against note in three voices.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/90-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/90-a.png","sha256":"d5f3daf7d6fa0c8630d2105122a5028ed5e83d8b25da46faa9ce2fca9b28285f","label":"Source crop · printed p. 90","local":false}],"owners":["90-a"],"state":"recorded-review","editionStatus":"verified","context":"Joseph. I had considerable difficulty constructing the final cadence. In the penultimate measure there is no place for the standard cadential formula illustrated here:","latin":"Joseph. Non parùm laboravi in conficienda clausula finali. Cùm enim in Hypothesi penultimi tactûs clausulæ formali; E. G.","issues":[],"verificationNotes":["Reused existing source-compared MusicXML; previous parsing, rendering and playback checks retained."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"b4fc16a155e77f5a25c84a363cf38d52673497d610c0d9d848a14a0abb027be4","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-108","downloads":[],"xmlSha256":"b4fc16a155e77f5a25c84a363cf38d52673497d610c0d9d848a14a0abb027be4","integrity":"matched","parts":3,"voices":3,"notes":6,"measures":1,"parser":{"status":"supported","warnings":[],"events":6,"normalizations":[]},"preview":{"path":"previews/edition-90-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"0850d8d270538a71dfc3872f70b26d891b51133fa039c95bbf4fbe83a194d37e","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"b4fc16a155e77f5a25c84a363cf38d52673497d610c0d9d848a14a0abb027be4"}},{"id":"edition:90-b","collection":"edition","title":"Example 90-b","page":90,"topic":"Note against note in three voices.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/90-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/90-b.png","sha256":"0cccf0e9bef1b500067d586f2377e33d29c8943990151fd6080dcaa0532a15b2","label":"Source crop · printed p. 90","local":false}],"owners":["90-b"],"state":"recorded-review","editionStatus":"verified","context":"Aloys. You have exercised very prudent judgment about the final cadence. Because of the particular position of the semitone, the standard cadential formula is not possible there, and a particular form of cadence therefore had to be made. Nor should the major third in the final note trouble you. What I said about omitting the third must be understood to apply wherever that is possible. You therefore judged correctly that a fifth could not be put in the final note of that example without two fifths in immediate succession. A major third had consequently to be used in its place, since the minor third, owing to its greater imperfection, is less suited to concluding the ending. Continue.","latin":"Aloys. Valde prudenti usus es judicio de clausula finali, nempe propter peculiarem Semitonii situm clausulæ formali ibi locum non esse, ideóque peculiarem etiam clausulam formandam fuisse; neque scrupulum tibi moveat Tertia major in Nota finali posita, quod enim dixi de omittenda Tertia, intelligendum est, ubi fieri potest. Rectè ergo judicâsti, in illius exempli Nota finali absque immediata duarum Quintarum consecutione Quintam poni non potuisse, ergo Tertiam majorem ejus loco adhibendam fuisse, quia minor propter majoris imperfectionis rationem minùs apta est ad concludendum finem. Perge.","issues":[],"verificationNotes":["Reused existing source-compared MusicXML; previous parsing, rendering and playback checks retained."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"7dd50b79ac525eeb91e830e35dacb34c75a8947931dcc7a5a2826bd7baff267d","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-109","downloads":[],"xmlSha256":"7dd50b79ac525eeb91e830e35dacb34c75a8947931dcc7a5a2826bd7baff267d","integrity":"matched","parts":3,"voices":3,"notes":30,"measures":10,"parser":{"status":"supported","warnings":[],"events":30,"normalizations":[]},"preview":{"path":"previews/edition-90-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"29c0bccdd6310e0b663b273148da92101a4aacc47500e7fd0d6d43fea91a6b9d","playback":true,"corpusLinks":[{"corpusId":"species:gap_108","status":"closing-duration","evidence":{"editionId":"edition:90-b","xmlSha256":"7dd50b79ac525eeb91e830e35dacb34c75a8947931dcc7a5a2826bd7baff267d","owners":["90-b"],"sourcePages":[90],"agreement":0.9,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3],"corpusEvents":30,"editionEvents":30,"sharedEvents":27,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[36,68,4],1]],"editionOnly":[[[36,68,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[36,64,4],1]],"editionOnly":[[[36,64,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[36,64,4],1]],"editionOnly":[[[36,64,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:90-b"],"coverage":null,"xmlSha256":"7dd50b79ac525eeb91e830e35dacb34c75a8947931dcc7a5a2826bd7baff267d"}},{"id":"edition:91-a","collection":"edition","title":"Example 91-a","page":91,"topic":"Note against note in three voices.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/91-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/91-a.png","sha256":"96d8f5382c711cb31b1a96d3d055d422fce569cde496bb4b5abc2df0772523f4","label":"Source crop · printed p. 91","local":false}],"owners":["91-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloys. You have exercised very prudent judgment about the final cadence. Because of the particular position of the semitone, the standard cadential formula is not possible there, and a particular form of cadence therefore had to be made. Nor should the major third in the final note trouble you. What I said about omitting the third must be understood to apply wherever that is possible. You therefore judged correctly that a fifth could not be put in the final note of that example without two fifths in immediate succession. A major third had consequently to be used in its place, since the minor third, owing to its greater imperfection, is less suited to concluding the ending. Continue.","latin":"Aloys. Valde prudenti usus es judicio de clausula finali, nempe propter peculiarem Semitonii situm clausulæ formali ibi locum non esse, ideóque peculiarem etiam clausulam formandam fuisse; neque scrupulum tibi moveat Tertia major in Nota finali posita, quod enim dixi de omittenda Tertia, intelligendum est, ubi fieri potest. Rectè ergo judicâsti, in illius exempli Nota finali absque immediata duarum Quintarum consecutione Quintam poni non potuisse, ergo Tertiam majorem ejus loco adhibendam fuisse, quia minor propter majoris imperfectionis rationem minùs apta est ad concludendum finem. Perge.","issues":[],"verificationNotes":["Reused existing source-compared MusicXML; previous parsing, rendering and playback checks retained."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"a8fdeea50a647ab8942e2f07abc2e5e8f1f6224d2557bb38acd3746a62a93a6b","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-110","downloads":[],"xmlSha256":"a8fdeea50a647ab8942e2f07abc2e5e8f1f6224d2557bb38acd3746a62a93a6b","integrity":"matched","parts":3,"voices":3,"notes":30,"measures":10,"parser":{"status":"supported","warnings":[],"events":30,"normalizations":[]},"preview":{"path":"previews/edition-91-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"76a6326024c21f1cd6a381ccb8ad5f88e2c4f1d6df30796f48ff025875f175b8","playback":true,"corpusLinks":[{"corpusId":"species:gap_109","status":"closing-duration","evidence":{"editionId":"edition:91-a","xmlSha256":"a8fdeea50a647ab8942e2f07abc2e5e8f1f6224d2557bb38acd3746a62a93a6b","owners":["91-a"],"sourcePages":[91],"agreement":0.9,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3],"corpusEvents":30,"editionEvents":30,"sharedEvents":27,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[36,64,4],1]],"editionOnly":[[[36,64,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[36,59,4],1]],"editionOnly":[[[36,59,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[36,52,4],1]],"editionOnly":[[[36,52,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:91-a"],"coverage":null,"xmlSha256":"a8fdeea50a647ab8942e2f07abc2e5e8f1f6224d2557bb38acd3746a62a93a6b"}},{"id":"edition:91-b","collection":"edition","title":"Example 91-b","page":91,"topic":"Note against note in three voices.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/91-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/91-b.png","sha256":"2b7e0d3d68c1640be32ab34cab1eb48667882590e6ca308019651b45b2e77fe3","label":"Source crop · printed p. 91","local":false}],"owners":["91-b"],"state":"recorded-review","editionStatus":"verified","context":"Aloys. You have exercised very prudent judgment about the final cadence. Because of the particular position of the semitone, the standard cadential formula is not possible there, and a particular form of cadence therefore had to be made. Nor should the major third in the final note trouble you. What I said about omitting the third must be understood to apply wherever that is possible. You therefore judged correctly that a fifth could not be put in the final note of that example without two fifths in immediate succession. A major third had consequently to be used in its place, since the minor third, owing to its greater imperfection, is less suited to concluding the ending. Continue.","latin":"Aloys. Valde prudenti usus es judicio de clausula finali, nempe propter peculiarem Semitonii situm clausulæ formali ibi locum non esse, ideóque peculiarem etiam clausulam formandam fuisse; neque scrupulum tibi moveat Tertia major in Nota finali posita, quod enim dixi de omittenda Tertia, intelligendum est, ubi fieri potest. Rectè ergo judicâsti, in illius exempli Nota finali absque immediata duarum Quintarum consecutione Quintam poni non potuisse, ergo Tertiam majorem ejus loco adhibendam fuisse, quia minor propter majoris imperfectionis rationem minùs apta est ad concludendum finem. Perge.","issues":["Bar 6: the B after the printed B♭ of bar 5 carries no sign and is read as B♮, the edition's rule for an unmarked note after a barline (as on p. 120)."],"verificationNotes":["Reused existing source-compared MusicXML; previous parsing, rendering and playback checks retained.","October 2026: collated note by note with Mark Gotham's species corpus (github.com/MarkGotham/species), an independent transcription of this same UNC Chapel Hill scan (IMSLP #286170). Disputed notes were read in this colour scan and in the corpus's 1-bit rendering of it, which drops pencil and light smudges. The accidental question is settled editorially; Gotham's corpus reads the same B♮."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"fde190160c5c80bdcd5ae2b195889025885b2f6840c5d10f15bcae10d380934f","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-111","downloads":[],"xmlSha256":"fde190160c5c80bdcd5ae2b195889025885b2f6840c5d10f15bcae10d380934f","integrity":"matched","parts":3,"voices":3,"notes":36,"measures":11,"parser":{"status":"supported","warnings":[],"events":36,"normalizations":[]},"preview":{"path":"previews/edition-91-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"e16da9f00d59a1dfccb5ec7fe925f39a0ef52d9e34aa32ff4917ceb8f2a56874","playback":true,"corpusLinks":[{"corpusId":"species:gap_110","status":"closing-duration","evidence":{"editionId":"edition:91-b","xmlSha256":"fde190160c5c80bdcd5ae2b195889025885b2f6840c5d10f15bcae10d380934f","owners":["91-b"],"sourcePages":[91],"agreement":0.916667,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3],"corpusEvents":36,"editionEvents":36,"sharedEvents":33,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[44,65,4],1]],"editionOnly":[[[44,65,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[44,65,4],1]],"editionOnly":[[[44,65,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[44,41,4],1]],"editionOnly":[[[44,41,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:91-b"],"coverage":null,"xmlSha256":"fde190160c5c80bdcd5ae2b195889025885b2f6840c5d10f15bcae10d380934f"}},{"id":"edition:91-c","collection":"edition","title":"Example 91-c","page":91,"topic":"Note against note in three voices.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/91-c.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/91-c.png","sha256":"870dc84bd8c35a855dd4f9024e241e208496bcc82a1b73e2ec183707504862ec","label":"Source crop · printed p. 91","local":false}],"owners":["91-c"],"state":"recorded-review","editionStatus":"verified","context":"Aloys. You have exercised very prudent judgment about the final cadence. Because of the particular position of the semitone, the standard cadential formula is not possible there, and a particular form of cadence therefore had to be made. Nor should the major third in the final note trouble you. What I said about omitting the third must be understood to apply wherever that is possible. You therefore judged correctly that a fifth could not be put in the final note of that example without two fifths in immediate succession. A major third had consequently to be used in its place, since the minor third, owing to its greater imperfection, is less suited to concluding the ending. Continue.","latin":"Aloys. Valde prudenti usus es judicio de clausula finali, nempe propter peculiarem Semitonii situm clausulæ formali ibi locum non esse, ideóque peculiarem etiam clausulam formandam fuisse; neque scrupulum tibi moveat Tertia major in Nota finali posita, quod enim dixi de omittenda Tertia, intelligendum est, ubi fieri potest. Rectè ergo judicâsti, in illius exempli Nota finali absque immediata duarum Quintarum consecutione Quintam poni non potuisse, ergo Tertiam majorem ejus loco adhibendam fuisse, quia minor propter majoris imperfectionis rationem minùs apta est ad concludendum finem. Perge.","issues":[],"verificationNotes":["Reused existing source-compared MusicXML; previous parsing, rendering and playback checks retained."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"48328d1f490c0e9e565c12da51e0a95f5be908ea189ef5081dcc0e316c1d8d58","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-112","downloads":[],"xmlSha256":"48328d1f490c0e9e565c12da51e0a95f5be908ea189ef5081dcc0e316c1d8d58","integrity":"matched","parts":3,"voices":3,"notes":36,"measures":11,"parser":{"status":"supported","warnings":[],"events":36,"normalizations":[]},"preview":{"path":"previews/edition-91-c.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"5e634528d8d40f722c3d87cdb0c7fe91545545550c6bba2ee8a1f34bc6462cde","playback":true,"corpusLinks":[{"corpusId":"species:gap_111","status":"closing-duration","evidence":{"editionId":"edition:91-c","xmlSha256":"48328d1f490c0e9e565c12da51e0a95f5be908ea189ef5081dcc0e316c1d8d58","owners":["91-c"],"sourcePages":[91],"agreement":0.916667,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3],"corpusEvents":36,"editionEvents":36,"sharedEvents":33,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[44,77,4],1]],"editionOnly":[[[44,77,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[44,65,4],1]],"editionOnly":[[[44,65,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[44,53,4],1]],"editionOnly":[[[44,53,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:91-c"],"coverage":null,"xmlSha256":"48328d1f490c0e9e565c12da51e0a95f5be908ea189ef5081dcc0e316c1d8d58"}},{"id":"edition:91-d","collection":"edition","title":"Example 91-d","page":91,"topic":"Note against note in three voices.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/91-d.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/91-d.png","sha256":"ab1a1de91b32e0c0b863406307ad46e55157868550c8e15e9e2437cacda8edfa","label":"Source crop · printed p. 91","local":false}],"owners":["91-d"],"state":"recorded-review","editionStatus":"verified","context":"Aloys. You have exercised very prudent judgment about the final cadence. Because of the particular position of the semitone, the standard cadential formula is not possible there, and a particular form of cadence therefore had to be made. Nor should the major third in the final note trouble you. What I said about omitting the third must be understood to apply wherever that is possible. You therefore judged correctly that a fifth could not be put in the final note of that example without two fifths in immediate succession. A major third had consequently to be used in its place, since the minor third, owing to its greater imperfection, is less suited to concluding the ending. Continue.","latin":"Aloys. Valde prudenti usus es judicio de clausula finali, nempe propter peculiarem Semitonii situm clausulæ formali ibi locum non esse, ideóque peculiarem etiam clausulam formandam fuisse; neque scrupulum tibi moveat Tertia major in Nota finali posita, quod enim dixi de omittenda Tertia, intelligendum est, ubi fieri potest. Rectè ergo judicâsti, in illius exempli Nota finali absque immediata duarum Quintarum consecutione Quintam poni non potuisse, ergo Tertiam majorem ejus loco adhibendam fuisse, quia minor propter majoris imperfectionis rationem minùs apta est ad concludendum finem. Perge.","issues":[],"verificationNotes":["Reused existing source-compared MusicXML; previous parsing, rendering and playback checks retained."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"8f1f8677c8032734b6b09135c836f07d33c206df04a8937334e43cd495b84ab1","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-113","downloads":[],"xmlSha256":"8f1f8677c8032734b6b09135c836f07d33c206df04a8937334e43cd495b84ab1","integrity":"matched","parts":3,"voices":3,"notes":36,"measures":11,"parser":{"status":"supported","warnings":[],"events":36,"normalizations":[]},"preview":{"path":"previews/edition-91-d.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"f0c1b1e38491c95f01af7b8d6b86c9b5010d69de4e96d1c9f4a3d45f0cf9e904","playback":true,"corpusLinks":[{"corpusId":"species:gap_112","status":"closing-duration","evidence":{"editionId":"edition:91-d","xmlSha256":"8f1f8677c8032734b6b09135c836f07d33c206df04a8937334e43cd495b84ab1","owners":["91-d"],"sourcePages":[91],"agreement":0.916667,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3],"corpusEvents":36,"editionEvents":36,"sharedEvents":33,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[44,69,4],1]],"editionOnly":[[[44,69,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[44,65,4],1]],"editionOnly":[[[44,65,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[44,53,4],1]],"editionOnly":[[[44,53,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:91-d"],"coverage":null,"xmlSha256":"8f1f8677c8032734b6b09135c836f07d33c206df04a8937334e43cd495b84ab1"}},{"id":"edition:92-a","collection":"edition","title":"Example 92-a","page":92,"topic":"Note against note in three voices.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/92-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/92-a.png","sha256":"455662e8f6fbcc9568337da5ae8d3d1d4eaf7886538c2cdf3ac00c865101de49","label":"Source crop · printed p. 92","local":false}],"owners":["92-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloys. You have exercised very prudent judgment about the final cadence. Because of the particular position of the semitone, the standard cadential formula is not possible there, and a particular form of cadence therefore had to be made. Nor should the major third in the final note trouble you. What I said about omitting the third must be understood to apply wherever that is possible. You therefore judged correctly that a fifth could not be put in the final note of that example without two fifths in immediate succession. A major third had consequently to be used in its place, since the minor third, owing to its greater imperfection, is less suited to concluding the ending. Continue.","latin":"Aloys. Valde prudenti usus es judicio de clausula finali, nempe propter peculiarem Semitonii situm clausulæ formali ibi locum non esse, ideóque peculiarem etiam clausulam formandam fuisse; neque scrupulum tibi moveat Tertia major in Nota finali posita, quod enim dixi de omittenda Tertia, intelligendum est, ubi fieri potest. Rectè ergo judicâsti, in illius exempli Nota finali absque immediata duarum Quintarum consecutione Quintam poni non potuisse, ergo Tertiam majorem ejus loco adhibendam fuisse, quia minor propter majoris imperfectionis rationem minùs apta est ad concludendum finem. Perge.","issues":[],"verificationNotes":["Reused existing source-compared MusicXML; previous parsing, rendering and playback checks retained."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"7af9e317bdfe06477776658f098a2a098a7982a05b108b3d67581af1aa8497d2","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-114","downloads":[],"xmlSha256":"7af9e317bdfe06477776658f098a2a098a7982a05b108b3d67581af1aa8497d2","integrity":"matched","parts":3,"voices":3,"notes":42,"measures":14,"parser":{"status":"supported","warnings":[],"events":42,"normalizations":[]},"preview":{"path":"previews/edition-92-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"8a20ce4bc97fe70fb12975cb00dc006ea5b79571fa9dad7369113d92ca275fcb","playback":true,"corpusLinks":[{"corpusId":"species:gap_113","status":"closing-duration","evidence":{"editionId":"edition:92-a","xmlSha256":"7af9e317bdfe06477776658f098a2a098a7982a05b108b3d67581af1aa8497d2","owners":["92-a"],"sourcePages":[92],"agreement":0.928571,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3],"corpusEvents":42,"editionEvents":42,"sharedEvents":39,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[52,55,4],1]],"editionOnly":[[[52,55,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[52,55,4],1]],"editionOnly":[[[52,55,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[52,43,4],1]],"editionOnly":[[[52,43,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:92-a"],"coverage":null,"xmlSha256":"7af9e317bdfe06477776658f098a2a098a7982a05b108b3d67581af1aa8497d2"}},{"id":"edition:92-b","collection":"edition","title":"Example 92-b","page":92,"topic":"Note against note in three voices.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/92-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/92-b.png","sha256":"0d3f4afaf6246f3f8fd4354a83ca773c952a1e5b8642ef2d98fd91ce963a812d","label":"Source crop · printed p. 92","local":false}],"owners":["92-b"],"state":"recorded-review","editionStatus":"verified","context":"Aloys. You have exercised very prudent judgment about the final cadence. Because of the particular position of the semitone, the standard cadential formula is not possible there, and a particular form of cadence therefore had to be made. Nor should the major third in the final note trouble you. What I said about omitting the third must be understood to apply wherever that is possible. You therefore judged correctly that a fifth could not be put in the final note of that example without two fifths in immediate succession. A major third had consequently to be used in its place, since the minor third, owing to its greater imperfection, is less suited to concluding the ending. Continue.","latin":"Aloys. Valde prudenti usus es judicio de clausula finali, nempe propter peculiarem Semitonii situm clausulæ formali ibi locum non esse, ideóque peculiarem etiam clausulam formandam fuisse; neque scrupulum tibi moveat Tertia major in Nota finali posita, quod enim dixi de omittenda Tertia, intelligendum est, ubi fieri potest. Rectè ergo judicâsti, in illius exempli Nota finali absque immediata duarum Quintarum consecutione Quintam poni non potuisse, ergo Tertiam majorem ejus loco adhibendam fuisse, quia minor propter majoris imperfectionis rationem minùs apta est ad concludendum finem. Perge.","issues":[],"verificationNotes":["Reused existing source-compared MusicXML; previous parsing, rendering and playback checks retained."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"43c5c4fa1f24e4e02d374c4815296227b9c5a75be192703b4a62f8c839fdaed0","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-115","downloads":[],"xmlSha256":"43c5c4fa1f24e4e02d374c4815296227b9c5a75be192703b4a62f8c839fdaed0","integrity":"matched","parts":3,"voices":3,"notes":42,"measures":14,"parser":{"status":"supported","warnings":[],"events":42,"normalizations":[]},"preview":{"path":"previews/edition-92-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"16a186079facaf4619f3c0a7d746bb77614a657ec4d03d1d58f00acf7f568ee3","playback":true,"corpusLinks":[{"corpusId":"species:gap_114","status":"closing-duration","evidence":{"editionId":"edition:92-b","xmlSha256":"43c5c4fa1f24e4e02d374c4815296227b9c5a75be192703b4a62f8c839fdaed0","owners":["92-b"],"sourcePages":[92],"agreement":0.928571,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3],"corpusEvents":42,"editionEvents":42,"sharedEvents":39,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[52,67,4],1]],"editionOnly":[[[52,67,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[52,55,4],1]],"editionOnly":[[[52,55,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[52,43,4],1]],"editionOnly":[[[52,43,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:92-b"],"coverage":null,"xmlSha256":"43c5c4fa1f24e4e02d374c4815296227b9c5a75be192703b4a62f8c839fdaed0"}},{"id":"edition:92-c","collection":"edition","title":"Example 92-c","page":92,"topic":"Note against note in three voices.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/92-c.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/92-c.png","sha256":"c207354f482655194f4c32e4aaa4e5d62ba571e474ec6c0701dd3db6634b3779","label":"Source crop · printed p. 92","local":false}],"owners":["92-c"],"state":"recorded-review","editionStatus":"verified","context":"Aloys. You have exercised very prudent judgment about the final cadence. Because of the particular position of the semitone, the standard cadential formula is not possible there, and a particular form of cadence therefore had to be made. Nor should the major third in the final note trouble you. What I said about omitting the third must be understood to apply wherever that is possible. You therefore judged correctly that a fifth could not be put in the final note of that example without two fifths in immediate succession. A major third had consequently to be used in its place, since the minor third, owing to its greater imperfection, is less suited to concluding the ending. Continue.","latin":"Aloys. Valde prudenti usus es judicio de clausula finali, nempe propter peculiarem Semitonii situm clausulæ formali ibi locum non esse, ideóque peculiarem etiam clausulam formandam fuisse; neque scrupulum tibi moveat Tertia major in Nota finali posita, quod enim dixi de omittenda Tertia, intelligendum est, ubi fieri potest. Rectè ergo judicâsti, in illius exempli Nota finali absque immediata duarum Quintarum consecutione Quintam poni non potuisse, ergo Tertiam majorem ejus loco adhibendam fuisse, quia minor propter majoris imperfectionis rationem minùs apta est ad concludendum finem. Perge.","issues":[],"verificationNotes":["Reused existing source-compared MusicXML; previous parsing, rendering and playback checks retained."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"3a1ea3c090db22aa4b5b17a27858864540931bbab6c20ec54767148980129f92","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-116","downloads":[],"xmlSha256":"3a1ea3c090db22aa4b5b17a27858864540931bbab6c20ec54767148980129f92","integrity":"matched","parts":3,"voices":3,"notes":36,"measures":12,"parser":{"status":"supported","warnings":[],"events":36,"normalizations":[]},"preview":{"path":"previews/edition-92-c.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"558df084d39f328039846835b7587d08833066f654824dcd831e0ec54f15f60a","playback":true,"corpusLinks":[{"corpusId":"species:gap_115","status":"closing-duration","evidence":{"editionId":"edition:92-c","xmlSha256":"3a1ea3c090db22aa4b5b17a27858864540931bbab6c20ec54767148980129f92","owners":["92-c"],"sourcePages":[92],"agreement":0.916667,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3],"corpusEvents":36,"editionEvents":36,"sharedEvents":33,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[44,69,4],1]],"editionOnly":[[[44,69,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[44,69,4],1]],"editionOnly":[[[44,69,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[44,57,4],1]],"editionOnly":[[[44,57,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:92-c"],"coverage":null,"xmlSha256":"3a1ea3c090db22aa4b5b17a27858864540931bbab6c20ec54767148980129f92"}},{"id":"edition:93-a","collection":"edition","title":"Example 93-a","page":93,"topic":"Note against note in three voices.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/93-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/93-a.png","sha256":"20651bca32ef9ee613459dfac05e17e46f58661167d8c5c55ca6b4cfe48de792","label":"Source crop · printed p. 93","local":false}],"owners":["93-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloys. You have exercised very prudent judgment about the final cadence. Because of the particular position of the semitone, the standard cadential formula is not possible there, and a particular form of cadence therefore had to be made. Nor should the major third in the final note trouble you. What I said about omitting the third must be understood to apply wherever that is possible. You therefore judged correctly that a fifth could not be put in the final note of that example without two fifths in immediate succession. A major third had consequently to be used in its place, since the minor third, owing to its greater imperfection, is less suited to concluding the ending. Continue.","latin":"Aloys. Valde prudenti usus es judicio de clausula finali, nempe propter peculiarem Semitonii situm clausulæ formali ibi locum non esse, ideóque peculiarem etiam clausulam formandam fuisse; neque scrupulum tibi moveat Tertia major in Nota finali posita, quod enim dixi de omittenda Tertia, intelligendum est, ubi fieri potest. Rectè ergo judicâsti, in illius exempli Nota finali absque immediata duarum Quintarum consecutione Quintam poni non potuisse, ergo Tertiam majorem ejus loco adhibendam fuisse, quia minor propter majoris imperfectionis rationem minùs apta est ad concludendum finem. Perge.","issues":[],"verificationNotes":["Reused existing source-compared MusicXML; previous parsing, rendering and playback checks retained."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"9540c5cb7b2ff3ab454050500ac88942cff9196c1a209655bdde54e0f256da38","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-117","downloads":[],"xmlSha256":"9540c5cb7b2ff3ab454050500ac88942cff9196c1a209655bdde54e0f256da38","integrity":"matched","parts":3,"voices":3,"notes":36,"measures":12,"parser":{"status":"supported","warnings":[],"events":36,"normalizations":[]},"preview":{"path":"previews/edition-93-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"864fd3608f3bbbe75fde26a7fd87317c4714f8c3b34d486ba1c593538b158b3d","playback":true,"corpusLinks":[{"corpusId":"species:gap_116","status":"closing-duration","evidence":{"editionId":"edition:93-a","xmlSha256":"9540c5cb7b2ff3ab454050500ac88942cff9196c1a209655bdde54e0f256da38","owners":["93-a"],"sourcePages":[93],"agreement":0.916667,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3],"corpusEvents":36,"editionEvents":36,"sharedEvents":33,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[44,69,4],1]],"editionOnly":[[[44,69,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[44,57,4],1]],"editionOnly":[[[44,57,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[44,45,4],1]],"editionOnly":[[[44,45,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:93-a"],"coverage":null,"xmlSha256":"9540c5cb7b2ff3ab454050500ac88942cff9196c1a209655bdde54e0f256da38"}},{"id":"edition:93-b","collection":"edition","title":"Example 93-b","page":93,"topic":"Note against note in three voices.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/93-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/93-b.png","sha256":"ed3880ba03974a7152c88fc10b7f8f4f14b2013b9bf39ec7e12ba49f92859c12","label":"Source crop · printed p. 93","local":false}],"owners":["93-b"],"state":"recorded-review","editionStatus":"verified","context":"Aloys. You have exercised very prudent judgment about the final cadence. Because of the particular position of the semitone, the standard cadential formula is not possible there, and a particular form of cadence therefore had to be made. Nor should the major third in the final note trouble you. What I said about omitting the third must be understood to apply wherever that is possible. You therefore judged correctly that a fifth could not be put in the final note of that example without two fifths in immediate succession. A major third had consequently to be used in its place, since the minor third, owing to its greater imperfection, is less suited to concluding the ending. Continue.","latin":"Aloys. Valde prudenti usus es judicio de clausula finali, nempe propter peculiarem Semitonii situm clausulæ formali ibi locum non esse, ideóque peculiarem etiam clausulam formandam fuisse; neque scrupulum tibi moveat Tertia major in Nota finali posita, quod enim dixi de omittenda Tertia, intelligendum est, ubi fieri potest. Rectè ergo judicâsti, in illius exempli Nota finali absque immediata duarum Quintarum consecutione Quintam poni non potuisse, ergo Tertiam majorem ejus loco adhibendam fuisse, quia minor propter majoris imperfectionis rationem minùs apta est ad concludendum finem. Perge.","issues":[],"verificationNotes":["Reused existing source-compared MusicXML; previous parsing, rendering and playback checks retained."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"1ad03ea12300ce791b3d29986916fae87b605a762d739a41108d733a21c003b6","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-118","downloads":[],"xmlSha256":"1ad03ea12300ce791b3d29986916fae87b605a762d739a41108d733a21c003b6","integrity":"matched","parts":3,"voices":3,"notes":36,"measures":12,"parser":{"status":"supported","warnings":[],"events":36,"normalizations":[]},"preview":{"path":"previews/edition-93-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"efc65c7ca2ae063fe4412c369a62eaa430ae7e3b21584bf2cce36887cbb5ce0c","playback":true,"corpusLinks":[{"corpusId":"species:gap_117","status":"closing-duration","evidence":{"editionId":"edition:93-b","xmlSha256":"1ad03ea12300ce791b3d29986916fae87b605a762d739a41108d733a21c003b6","owners":["93-b"],"sourcePages":[93],"agreement":0.916667,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3],"corpusEvents":36,"editionEvents":36,"sharedEvents":33,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[44,57,4],1]],"editionOnly":[[[44,57,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[44,52,4],1]],"editionOnly":[[[44,52,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[44,45,4],1]],"editionOnly":[[[44,45,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:93-b"],"coverage":null,"xmlSha256":"1ad03ea12300ce791b3d29986916fae87b605a762d739a41108d733a21c003b6"}},{"id":"edition:93-c","collection":"edition","title":"Example 93-c","page":93,"topic":"Note against note in three voices.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/93-c.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/93-c.png","sha256":"88f993d3298289d7dc39654692bc44130356d3de2720516e0da6f6d711ad2dc1","label":"Source crop · printed p. 93","local":false}],"owners":["93-c"],"state":"recorded-review","editionStatus":"verified","context":"Aloys. You have exercised very prudent judgment about the final cadence. Because of the particular position of the semitone, the standard cadential formula is not possible there, and a particular form of cadence therefore had to be made. Nor should the major third in the final note trouble you. What I said about omitting the third must be understood to apply wherever that is possible. You therefore judged correctly that a fifth could not be put in the final note of that example without two fifths in immediate succession. A major third had consequently to be used in its place, since the minor third, owing to its greater imperfection, is less suited to concluding the ending. Continue.","latin":"Aloys. Valde prudenti usus es judicio de clausula finali, nempe propter peculiarem Semitonii situm clausulæ formali ibi locum non esse, ideóque peculiarem etiam clausulam formandam fuisse; neque scrupulum tibi moveat Tertia major in Nota finali posita, quod enim dixi de omittenda Tertia, intelligendum est, ubi fieri potest. Rectè ergo judicâsti, in illius exempli Nota finali absque immediata duarum Quintarum consecutione Quintam poni non potuisse, ergo Tertiam majorem ejus loco adhibendam fuisse, quia minor propter majoris imperfectionis rationem minùs apta est ad concludendum finem. Perge.","issues":[],"verificationNotes":["Reused existing source-compared MusicXML; previous parsing, rendering and playback checks retained."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"f5805bcb2b4aed64bbbbedd9e40d0f6e39bef860b25d1489da2f9117358cd476","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-119","downloads":[],"xmlSha256":"f5805bcb2b4aed64bbbbedd9e40d0f6e39bef860b25d1489da2f9117358cd476","integrity":"matched","parts":3,"voices":3,"notes":36,"measures":12,"parser":{"status":"supported","warnings":[],"events":36,"normalizations":[]},"preview":{"path":"previews/edition-93-c.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"6275aa69c028edaf3a027f53672a051d3c66c90a27ee285feb4a46c5555f9e8a","playback":true,"corpusLinks":[{"corpusId":"species:gap_118","status":"closing-duration","evidence":{"editionId":"edition:93-c","xmlSha256":"f5805bcb2b4aed64bbbbedd9e40d0f6e39bef860b25d1489da2f9117358cd476","owners":["93-c"],"sourcePages":[93],"agreement":0.916667,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3],"corpusEvents":36,"editionEvents":36,"sharedEvents":33,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[44,60,4],1]],"editionOnly":[[[44,60,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[44,60,4],1]],"editionOnly":[[[44,60,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[44,48,4],1]],"editionOnly":[[[44,48,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:93-c"],"coverage":null,"xmlSha256":"f5805bcb2b4aed64bbbbedd9e40d0f6e39bef860b25d1489da2f9117358cd476"}},{"id":"edition:94-a","collection":"edition","title":"Example 94-a","page":94,"topic":"Note against note in three voices.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/94-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/94-a.png","sha256":"1d8be3be06f1cc8557f8124e0f4d2fcc1ec0f87a493758e13b87c6f47d611740","label":"Source crop · printed p. 94","local":false}],"owners":["94-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloys. You have exercised very prudent judgment about the final cadence. Because of the particular position of the semitone, the standard cadential formula is not possible there, and a particular form of cadence therefore had to be made. Nor should the major third in the final note trouble you. What I said about omitting the third must be understood to apply wherever that is possible. You therefore judged correctly that a fifth could not be put in the final note of that example without two fifths in immediate succession. A major third had consequently to be used in its place, since the minor third, owing to its greater imperfection, is less suited to concluding the ending. Continue.","latin":"Aloys. Valde prudenti usus es judicio de clausula finali, nempe propter peculiarem Semitonii situm clausulæ formali ibi locum non esse, ideóque peculiarem etiam clausulam formandam fuisse; neque scrupulum tibi moveat Tertia major in Nota finali posita, quod enim dixi de omittenda Tertia, intelligendum est, ubi fieri potest. Rectè ergo judicâsti, in illius exempli Nota finali absque immediata duarum Quintarum consecutione Quintam poni non potuisse, ergo Tertiam majorem ejus loco adhibendam fuisse, quia minor propter majoris imperfectionis rationem minùs apta est ad concludendum finem. Perge.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"17cf427702a638000268dc479b29d99421b3ff9f81fd0d74c1a4d1d9db5b30bb","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-120","downloads":[],"xmlSha256":"17cf427702a638000268dc479b29d99421b3ff9f81fd0d74c1a4d1d9db5b30bb","integrity":"matched","parts":3,"voices":3,"notes":36,"measures":12,"parser":{"status":"supported","warnings":[],"events":36,"normalizations":[]},"preview":{"path":"previews/edition-94-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"943a49b659a3e9caf7fe3c81d2a9f4e9cacb18e12b865e7b2dc1e1eb5b8d72ed","playback":true,"corpusLinks":[{"corpusId":"species:gap_119","status":"closing-duration","evidence":{"editionId":"edition:94-a","xmlSha256":"17cf427702a638000268dc479b29d99421b3ff9f81fd0d74c1a4d1d9db5b30bb","owners":["94-a"],"sourcePages":[94],"agreement":0.916667,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3],"corpusEvents":36,"editionEvents":36,"sharedEvents":33,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[44,72,4],1]],"editionOnly":[[[44,72,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[44,60,4],1]],"editionOnly":[[[44,60,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[44,60,4],1]],"editionOnly":[[[44,60,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:94-a"],"coverage":null,"xmlSha256":"17cf427702a638000268dc479b29d99421b3ff9f81fd0d74c1a4d1d9db5b30bb"}},{"id":"edition:95-a","collection":"edition","title":"Example 95-a","page":95,"topic":"Minims against a semibreve in three voices.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/95-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/95-a.png","sha256":"3acdfb65ff58131316f45044869c68b65dfebd55bc433fb64d00480c7518c91d","label":"Source crop · printed p. 95","local":false}],"owners":["95-a"],"state":"recorded-review","editionStatus":"verified","context":"Here we must recall and observe the precepts given for this species in two voices, and what we said concerning the harmonic triad in semibreve against semibreve in three voices. There is this relaxation, however: in this species of three-voice composition, for the sake of the harmonic triad, a minim moving by the leap of a third can sometimes make two fifths permissible. For example:","latin":"Hîc loci in memoriam revocanda, observandaque sunt, quæ de hac Specie in Bicinio præcepimus, quæque ratione Triadis harmonicæ de Semibrevi contra Semibrevem in Tricinio diximus; cum hac tamen relaxatione, quod in hac Tricinii Specie in gratiam Triadis harmonicæ Minima per saltum Tertiæ nonnunquam duas Quintas salvare queat; E. G.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"4aceb2c5a78ce1598d8a9e0b24617034d9f4a7ad4943f5ec08f0006ab893d945","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-122","downloads":[],"xmlSha256":"4aceb2c5a78ce1598d8a9e0b24617034d9f4a7ad4943f5ec08f0006ab893d945","integrity":"matched","parts":3,"voices":3,"notes":7,"measures":2,"parser":{"status":"supported","warnings":[],"events":7,"normalizations":[]},"preview":{"path":"previews/edition-95-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"63ebf1db4a20ff7e7838557a9b21ad6448000a39501c2c9dea04b91e4a23a1be","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"4aceb2c5a78ce1598d8a9e0b24617034d9f4a7ad4943f5ec08f0006ab893d945"}},{"id":"edition:95-b","collection":"edition","title":"Example 95-b","page":95,"topic":"Minims against a semibreve in three voices.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/95-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/95-b.png","sha256":"5b1cc8a0e2ee81b7329b2f4315c909adf7c5b786c20c479328d35bfc395e6a27","label":"Source crop · printed p. 95","local":false}],"owners":["95-b"],"state":"recorded-review","editionStatus":"verified","context":"This case, forbidden in two voices, is tolerated in three voices for the sake of the harmonic triad, as I said. I present three examples as a model, so that making the others may be easier for you.","latin":"Quæ Hypothesis in Bicinio prohibita, in Tricinio in gratiam Triadis harmonicæ, ut dixi, toleratur. Pro formula tria tibi exhibeo exempla, ut reliquorum confectio facilior tibi eveniat.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"1aabd86024feba9ba29c80290dfe63441c4ab02b28ff36a71eca16a3a5381037","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-123","downloads":[],"xmlSha256":"1aabd86024feba9ba29c80290dfe63441c4ab02b28ff36a71eca16a3a5381037","integrity":"matched","parts":3,"voices":3,"notes":42,"measures":11,"parser":{"status":"supported","warnings":[],"events":41,"normalizations":[]},"preview":{"path":"previews/edition-95-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"a80e2eda68923e59946d0ab9f85ee2d1958f5b302abef5c93098a8875e8a820c","playback":true,"corpusLinks":[{"corpusId":"species:gap_121","status":"closing-duration","evidence":{"editionId":"edition:95-b","xmlSha256":"1aabd86024feba9ba29c80290dfe63441c4ab02b28ff36a71eca16a3a5381037","owners":["95-b"],"sourcePages":[95],"agreement":0.926829,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3],"corpusEvents":41,"editionEvents":41,"sharedEvents":38,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[40,62,4],1]],"editionOnly":[[[40,62,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[40,62,4],1]],"editionOnly":[[[40,62,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[40,50,4],1]],"editionOnly":[[[40,50,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:95-b"],"coverage":null,"xmlSha256":"1aabd86024feba9ba29c80290dfe63441c4ab02b28ff36a71eca16a3a5381037"}},{"id":"edition:95-c","collection":"edition","title":"Example 95-c","page":95,"topic":"Minims against a semibreve in three voices.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/95-c.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/95-c.png","sha256":"8045e47a67baba221b5e2216bb906d016f86b28d3cca17306887007ee94ee71e","label":"Source crop · printed p. 95","local":false}],"owners":["95-c"],"state":"recorded-review","editionStatus":"verified","context":"This case, forbidden in two voices, is tolerated in three voices for the sake of the harmonic triad, as I said. I present three examples as a model, so that making the others may be easier for you.","latin":"Quæ Hypothesis in Bicinio prohibita, in Tricinio in gratiam Triadis harmonicæ, ut dixi, toleratur. Pro formula tria tibi exhibeo exempla, ut reliquorum confectio facilior tibi eveniat.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"78fc87f4fe5b5fa9514f3d1d4057214249e1bc0046f41c2f9948f1251e68076b","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-124","downloads":[],"xmlSha256":"78fc87f4fe5b5fa9514f3d1d4057214249e1bc0046f41c2f9948f1251e68076b","integrity":"matched","parts":3,"voices":3,"notes":42,"measures":11,"parser":{"status":"supported","warnings":[],"events":41,"normalizations":[]},"preview":{"path":"previews/edition-95-c.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"a33f70060a744613c8cb06e729c8a832cae7eb67b5cbbc34fa70c79c75595829","playback":true,"corpusLinks":[{"corpusId":"species:gap_122","status":"closing-duration","evidence":{"editionId":"edition:95-c","xmlSha256":"78fc87f4fe5b5fa9514f3d1d4057214249e1bc0046f41c2f9948f1251e68076b","owners":["95-c"],"sourcePages":[95],"agreement":0.926829,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3],"corpusEvents":41,"editionEvents":41,"sharedEvents":38,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[40,74,4],1]],"editionOnly":[[[40,74,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[40,62,4],1]],"editionOnly":[[[40,62,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[40,50,4],1]],"editionOnly":[[[40,50,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:95-c"],"coverage":null,"xmlSha256":"78fc87f4fe5b5fa9514f3d1d4057214249e1bc0046f41c2f9948f1251e68076b"}},{"id":"edition:96-a","collection":"edition","title":"Example 96-a","page":96,"topic":"Minims against a semibreve in three voices.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/96-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/96-a.png","sha256":"779a91a3d482b969db8bca6c4142033f2c70c261727a90a2609e2346053186c6","label":"Source crop · printed p. 96","local":false}],"owners":["96-a"],"state":"recorded-review","editionStatus":"verified","context":"This case, forbidden in two voices, is tolerated in three voices for the sake of the harmonic triad, as I said. I present three examples as a model, so that making the others may be easier for you.","latin":"Quæ Hypothesis in Bicinio prohibita, in Tricinio in gratiam Triadis harmonicæ, ut dixi, toleratur. Pro formula tria tibi exhibeo exempla, ut reliquorum confectio facilior tibi eveniat.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"57183621b49db962d0d7f6674f8c533dcd57c705401d43354cdee783b935b212","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-126","downloads":[],"xmlSha256":"57183621b49db962d0d7f6674f8c533dcd57c705401d43354cdee783b935b212","integrity":"matched","parts":3,"voices":3,"notes":42,"measures":11,"parser":{"status":"supported","warnings":[],"events":41,"normalizations":[]},"preview":{"path":"previews/edition-96-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"f41529f37c91d579f6aee193b71a25707c10a482d6ca3b26777022e0ce1c47ff","playback":true,"corpusLinks":[{"corpusId":"species:gap_123","status":"closing-duration","evidence":{"editionId":"edition:96-a","xmlSha256":"57183621b49db962d0d7f6674f8c533dcd57c705401d43354cdee783b935b212","owners":["96-a"],"sourcePages":[96],"agreement":0.926829,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3],"corpusEvents":41,"editionEvents":41,"sharedEvents":38,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[40,66,4],1]],"editionOnly":[[[40,66,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[40,62,4],1]],"editionOnly":[[[40,62,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[40,62,4],1]],"editionOnly":[[[40,62,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:96-a"],"coverage":null,"xmlSha256":"57183621b49db962d0d7f6674f8c533dcd57c705401d43354cdee783b935b212"}},{"id":"edition:97-a","collection":"edition","title":"Example 97-a","page":97,"topic":"Minims against a semibreve in three voices.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/97-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/97-a.png","sha256":"4b14404ffcc46ac852e5d6b8d7525234c372755da158bb4679664e93f0966594","label":"Source crop · printed p. 97","local":false}],"owners":["97-a"],"state":"needs-review","editionStatus":"needs-review","context":"Come now, please construct examples for the remaining tenors, observing the threefold change of position I have shown.","latin":"Age nunc sis reliquorum tenorum confice exempla, observatâ triplici mutatione à me monstratâ.","issues":["Lowest voice measure 4 notehead heavily faded; 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Very well. But take care that if with the first semiminim of the arsis you cannot form the harmonic triad, you endeavor to do so with the second or third.","latin":"Aloys. Placet. Sed attende, ut si primâ Arhsis Semiminimâ Triadem harmonicam constituere non possis, id secundâ vel tertiâ efficere procures.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"784836a2e1c1a5e09b086ab3ba8ce90be0177accfd82f58f6c5daa44b6657a77","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-137","downloads":[],"xmlSha256":"784836a2e1c1a5e09b086ab3ba8ce90be0177accfd82f58f6c5daa44b6657a77","integrity":"matched","parts":3,"voices":3,"notes":63,"measures":11,"parser":{"status":"supported","warnings":[],"events":63,"normalizations":[]},"preview":{"path":"previews/edition-101-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"3baeb62411dbc09ce97de8452c5d9587c4fe850d819239b40b4e39fe2721e044","playback":true,"corpusLinks":[{"corpusId":"species:gap_133","status":"closing-duration","evidence":{"editionId":"edition:101-b","xmlSha256":"784836a2e1c1a5e09b086ab3ba8ce90be0177accfd82f58f6c5daa44b6657a77","owners":["101-b"],"sourcePages":[101],"agreement":0.952381,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3],"corpusEvents":63,"editionEvents":63,"sharedEvents":60,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[40,62,4],1]],"editionOnly":[[[40,62,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[40,62,4],1]],"editionOnly":[[[40,62,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[40,50,4],1]],"editionOnly":[[[40,50,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:101-b"],"coverage":null,"xmlSha256":"784836a2e1c1a5e09b086ab3ba8ce90be0177accfd82f58f6c5daa44b6657a77"}},{"id":"edition:102-a","collection":"edition","title":"Example 102-a","page":102,"topic":"EXERCISE II. · THIRD LESSON.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/102-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/102-a.png","sha256":"60504bc58cc4f5bb07bf087b5c575d12aa710f161055145bd26fdf2ed033368e","label":"Source crop · printed p. 102","local":false}],"owners":["102-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. From these examples, which are by no means badly made, I understand that you have already acquired a considerable degree of knowledge. I therefore recommend that you complete the examples of the other modes and cantus firmi in private study at home. When these are finished, if you wish, the cantus firmi of all six modes may be taken up again and worked through, with semiminims placed in one part, minims in another, and semibreves in the third, according to the following example.","latin":"Aloys. Ex his haud malè factis exemplis intelligo, te jam haud mediocri quadam cognitione imbutum esse. Unde cæterorum tonorum Cantuumque firmorum exempla privato studio domi tuæ persolvenda tibi commendo. Quibus peractis si lubet, omnes sex tonorum Cantus firmi denuò resumi, atque perfici poterunt, ità ut in una partium Semiminimæ, in altera Minimæ, tertiâ Semibreves ponantur ad sequentis exempli tenorem.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"0760440f1abd1a841c4b216a27a1541f705c93246a24b63c93c5aa91b57d8d9d","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-138","downloads":[],"xmlSha256":"0760440f1abd1a841c4b216a27a1541f705c93246a24b63c93c5aa91b57d8d9d","integrity":"matched","parts":3,"voices":3,"notes":72,"measures":11,"parser":{"status":"supported","warnings":[],"events":72,"normalizations":[]},"preview":{"path":"previews/edition-102-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"1baea8d23608b3092d58068bf1a6dd6d1159ec39ba9452416a70c7dd47268236","playback":true,"corpusLinks":[{"corpusId":"species:gap_134","status":"closing-duration","evidence":{"editionId":"edition:102-a","xmlSha256":"0760440f1abd1a841c4b216a27a1541f705c93246a24b63c93c5aa91b57d8d9d","owners":["102-a"],"sourcePages":[102],"agreement":0.958333,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3],"corpusEvents":72,"editionEvents":72,"sharedEvents":69,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[40,62,4],1]],"editionOnly":[[[40,62,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[40,57,4],1]],"editionOnly":[[[40,57,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[40,50,4],1]],"editionOnly":[[[40,50,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:102-a"],"coverage":null,"xmlSha256":"0760440f1abd1a841c4b216a27a1541f705c93246a24b63c93c5aa91b57d8d9d"}},{"id":"edition:103-a","collection":"edition","title":"Example 103-a","page":103,"topic":"EXERCISE II. · FOURTH LESSON, · On ligature.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/103-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/103-a.png","sha256":"de3aae8460c08d45ae0eb0f2e34bb1cab0b04a603ca0a85d164e7fe2ebd00abe","label":"Source crop · printed p. 103","local":false}],"owners":["103-a"],"state":"recorded-review","editionStatus":"verified","context":"Here we must recall what was said about ligatures in two voices. Their manner of construction is not to be changed at all in three voices, but must be observed exactly. We need now only explain how the accompanying concordance is to be arranged when the third part is added. It is also important to remember what was said above: a ligature is nothing other than a delay of the following note. Hence this paradox: the same concordance must be assigned to the third part as would have been used if the ligature were omitted. The following examples will make this truth clear.","latin":"Hîc in mentem revocanda sunt, quæ de Ligaturis in Bicinio dicta sunt, quarum efficiendi ratio in Tricinio minimè mutanda, sed ad amussim observanda est. Ad rem pertinebit modò docere, quemadmodum accedente parte tertiâ socialis illius concordantia instituenda sit. Refert quoque hîc meminisse, quod suprà dictum est; Ligaturam nempe aliud non esse, quàm retardationem Notæ sequentis. Unde Paradoxum sit: eandem tertiæ parti tribui oportere concordantiam, quæ omissâ Ligaturâ adhibenda fuisset; quam veritatem sequentia Paradigmata perspicuam reddent.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"5512a79665a2a5dcb196b22cb5f4a3c44db38c06496e985f8795fab716d43f13","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-139","downloads":[],"xmlSha256":"5512a79665a2a5dcb196b22cb5f4a3c44db38c06496e985f8795fab716d43f13","integrity":"matched","parts":3,"voices":3,"notes":15,"measures":5,"parser":{"status":"supported","warnings":[],"events":15,"normalizations":[]},"preview":{"path":"previews/edition-103-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"1900cb4a8d048103e03a2633b81888a31cf5291c32f3203f1a5b6f662f33bdb2","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"5512a79665a2a5dcb196b22cb5f4a3c44db38c06496e985f8795fab716d43f13"}},{"id":"edition:103-b","collection":"edition","title":"Example 103-b","page":103,"topic":"EXERCISE II. · FOURTH LESSON, · On ligature.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/103-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/103-b.png","sha256":"f3912a81494c4b17bbc526a2e0515be17a9d692f8b182b49f63f250bd578acca","label":"Source crop · printed p. 103","local":false}],"owners":["103-b"],"state":"recorded-review","editionStatus":"verified","context":"Here we must recall what was said about ligatures in two voices. Their manner of construction is not to be changed at all in three voices, but must be observed exactly. We need now only explain how the accompanying concordance is to be arranged when the third part is added. It is also important to remember what was said above: a ligature is nothing other than a delay of the following note. Hence this paradox: the same concordance must be assigned to the third part as would have been used if the ligature were omitted. The following examples will make this truth clear.","latin":"Hîc in mentem revocanda sunt, quæ de Ligaturis in Bicinio dicta sunt, quarum efficiendi ratio in Tricinio minimè mutanda, sed ad amussim observanda est. Ad rem pertinebit modò docere, quemadmodum accedente parte tertiâ socialis illius concordantia instituenda sit. Refert quoque hîc meminisse, quod suprà dictum est; Ligaturam nempe aliud non esse, quàm retardationem Notæ sequentis. Unde Paradoxum sit: eandem tertiæ parti tribui oportere concordantiam, quæ omissâ Ligaturâ adhibenda fuisset; quam veritatem sequentia Paradigmata perspicuam reddent.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"fd18de8bd4100ece276c17417196368eeaa5517a139595d17efcecb03f5555e5","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-140","downloads":[],"xmlSha256":"fd18de8bd4100ece276c17417196368eeaa5517a139595d17efcecb03f5555e5","integrity":"matched","parts":3,"voices":3,"notes":18,"measures":5,"parser":{"status":"supported","warnings":[],"events":15,"normalizations":[]},"preview":{"path":"previews/edition-103-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"30c264a1f7d7de049a091c778062e99a22285c775a55da14f773caaa1089a6ab","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"fd18de8bd4100ece276c17417196368eeaa5517a139595d17efcecb03f5555e5"}},{"id":"edition:104-a","collection":"edition","title":"Example 104-a","page":104,"topic":"EXERCISE II. · FOURTH LESSON, · On ligature.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/104-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/104-a.png","sha256":"718bb6d308d3c6f8c2f914606b10d12cf8eb122a077375f21397ac819b2cb12f","label":"Source crop · printed p. 104","local":false}],"owners":["104-a"],"state":"recorded-review","editionStatus":"verified","context":"Here it is clearly seen that in both examples the third part has the same concordance, the ligature presenting no obstacle. I think the same must be understood of ligatures placed in the low, or foundational, part. For example:","latin":"Ubi clarè videtur, utroque in exemplo eandem tertiæ partis esse concordantiam nihil impediente ligaturâ; quod idem intelligendum puto de Ligaturis in parte gravi, sive fundamentali collocatis. E. G.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"f79cf51ee48d637ab9702f58453736a31f6ac03af5cdd57e04b3fd0026dbbba0","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-141","downloads":[],"xmlSha256":"f79cf51ee48d637ab9702f58453736a31f6ac03af5cdd57e04b3fd0026dbbba0","integrity":"matched","parts":3,"voices":3,"notes":19,"measures":5,"parser":{"status":"supported","warnings":[],"events":15,"normalizations":[]},"preview":{"path":"previews/edition-104-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"f020446de5a915077f0d802eedf610480be254a1ed84633e3ffe945a13953dc6","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"f79cf51ee48d637ab9702f58453736a31f6ac03af5cdd57e04b3fd0026dbbba0"}},{"id":"edition:104-b","collection":"edition","title":"Example 104-b","page":104,"topic":"EXERCISE II. · FOURTH LESSON, · On ligature.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/104-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/104-b.png","sha256":"ca5ab279be45b38277530d405727f17b261bf7590ed3a17cc5615bd69099826f","label":"Source crop · printed p. 104","local":false}],"owners":["104-b"],"state":"recorded-review","editionStatus":"verified","context":"With the ligatures removed, these cases would take the following form on account of the harmonic triad, were it not prevented by another consideration, namely the immediate succession of several fifths:","latin":"Hæ Hypotheses, sublatis Ligaturis, ob Triadis harmonicæ rationem, nisi alia ratio, nempe immediata plurium Quintarum consecutio impediret, sic se haberet:","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"93388cfd0f302f95585bf31d00547a76b7a7c947ddd80a0518dcdd6fb3bdcdef","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-142","downloads":[],"xmlSha256":"93388cfd0f302f95585bf31d00547a76b7a7c947ddd80a0518dcdd6fb3bdcdef","integrity":"matched","parts":3,"voices":3,"notes":15,"measures":5,"parser":{"status":"supported","warnings":[],"events":15,"normalizations":[]},"preview":{"path":"previews/edition-104-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"81d42f2ec406287a51dcaea65d695e54ca1510e25c97d1377d5ee3b8b66bc93b","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"93388cfd0f302f95585bf31d00547a76b7a7c947ddd80a0518dcdd6fb3bdcdef"}},{"id":"edition:105-a","collection":"edition","title":"Example 105-a","page":105,"topic":"EXERCISE II. · FOURTH LESSON, · On ligature.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/105-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/105-a.png","sha256":"db52b67ec9f0b18a467d7cd2037ac0c7a389a7290a8f30cc3d2e4d0449423c63","label":"Source crop · printed p. 105","local":false}],"owners":["105-a"],"state":"recorded-review","editionStatus":"verified","context":"Joseph. My argument would be resolved by this distinction of yours, were it not opposed by the example of ligature given above in two voices, which you rejected as faulty because it was unable to make two octaves permissible. For example:","latin":"Joseph. Solutum esset hac tuâ distinctione argumentum meum, nisi obstaret Ligaturæ exemplum suprà in Bicinio adductum, quod ut impotens salvandi duas Octavas, ideo tanquam vitiosum rejecisti. E. G.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"61c637730ae4eb6163380c43bd0dbd1e54713f1d3926dbd790dccc8712d0d233","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-143","downloads":[],"xmlSha256":"61c637730ae4eb6163380c43bd0dbd1e54713f1d3926dbd790dccc8712d0d233","integrity":"matched","parts":2,"voices":2,"notes":5,"measures":2,"parser":{"status":"supported","warnings":[],"events":4,"normalizations":[]},"preview":{"path":"previews/edition-105-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"57bb01bff543cd1e8b64536c16f9f10cb09bdeebf594ffd9eb62fed1f7d8cd62","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"61c637730ae4eb6163380c43bd0dbd1e54713f1d3926dbd790dccc8712d0d233"}},{"id":"edition:105-b","collection":"edition","title":"Example 105-b","page":105,"topic":"EXERCISE II. · FOURTH LESSON, · On ligature.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/105-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/105-b.png","sha256":"d4587a22937777bc68722b63ff01ad7f6b06d36a770edd001f3af511b1788974","label":"Source crop · printed p. 105","local":false}],"owners":["105-b"],"state":"recorded-review","editionStatus":"verified","context":"Just as the ligature in this example cannot prevent two faulty octaves from occurring, so, for exactly the same reason, in the following example it will not be able to make two fifths permissible:","latin":"Sicut Ligatura in hoc exemplo non valet efficere, quò minùs duæ vitiosæ Octavæ eveniant; ità eadem prorsus ratione in sequenti non valebit salvare duas Quintas:","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"8bdfa2d387ec82eae0090793feeb8d30abdfb0d17904c696c2858a1b7071af33","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-144","downloads":[],"xmlSha256":"8bdfa2d387ec82eae0090793feeb8d30abdfb0d17904c696c2858a1b7071af33","integrity":"matched","parts":2,"voices":2,"notes":5,"measures":2,"parser":{"status":"supported","warnings":[],"events":4,"normalizations":[]},"preview":{"path":"previews/edition-105-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"2a7224eedae780349b00303e5f531b73e72320fb6053b0bfbc526b6f7ff39a10","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"8bdfa2d387ec82eae0090793feeb8d30abdfb0d17904c696c2858a1b7071af33"}},{"id":"edition:106-a","collection":"edition","title":"Example 106-a","page":106,"topic":"EXERCISE II. · FOURTH LESSON, · On ligature.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/106-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/106-a.png","sha256":"84f71c07d35a44332595ef09b99ac5311773f880f96556f0abc42280ba24cea1","label":"Source crop · printed p. 106","local":false}],"owners":["106-a"],"state":"recorded-review","editionStatus":"verified","context":"Joseph. I shall do as you command.","latin":"Joseph. Faciam, ut jubes.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"f208c78b2f4bfcb56a5bb2cad905bc4a585f39b968945d67c7935f5d03c48571","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-145","downloads":[],"xmlSha256":"f208c78b2f4bfcb56a5bb2cad905bc4a585f39b968945d67c7935f5d03c48571","integrity":"matched","parts":3,"voices":3,"notes":42,"measures":11,"parser":{"status":"supported","warnings":[],"events":33,"normalizations":[]},"preview":{"path":"previews/edition-106-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"664dde68f14d4342b6d3c70782141d91321e4faf4d58be44c73aede4299def2b","playback":true,"corpusLinks":[{"corpusId":"species:gap_141","status":"closing-duration","evidence":{"editionId":"edition:106-a","xmlSha256":"f208c78b2f4bfcb56a5bb2cad905bc4a585f39b968945d67c7935f5d03c48571","owners":["106-a"],"sourcePages":[106],"agreement":0.909091,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3],"corpusEvents":33,"editionEvents":33,"sharedEvents":30,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[40,74,4],1]],"editionOnly":[[[40,74,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[40,62,4],1]],"editionOnly":[[[40,62,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[40,50,4],1]],"editionOnly":[[[40,50,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:106-a"],"coverage":null,"xmlSha256":"f208c78b2f4bfcb56a5bb2cad905bc4a585f39b968945d67c7935f5d03c48571"}},{"id":"edition:107-a","collection":"edition","title":"Example 107-a","page":107,"topic":"EXERCISE II. · FOURTH LESSON, · On ligature.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/107-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/107-a.png","sha256":"eb39bc59346f29af4803b49bbf81396b13fbf9f900f336eee449864f1be71df9","label":"Source crop · printed p. 107","local":false}],"owners":["107-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. This scruple of yours is very praiseworthy, and bears witness to your great attentiveness. But it does not matter that this case is less in accord with the strictness of the rules. For the statement that the first part of a ligature must be consonant is to be understood of cases in which the foundational part moves in every measure, not of those in which the bass remains stationary, as we commonly say, and is held in the same position. In that case a ligature consisting entirely of dissonances is not only without fault but is used with the greatest elegance, as the following example demonstrates.","latin":"Aloys. Valde laudabilis est scrupulus iste tuus, quò magnæ attentionis tuæ prodis testimonium. Verùm nihil refert, quò minùs Hypothesis illa regularum rigori sit consentanea. Etenim quod dictum est, primam Ligaturæ partem Consonantiam esse debere, intelligendum est de illis Hypothesibus, in quibus pars fundamentalis singulis tactibus movetur; non de illis, quarum basis in mansione, ut dicere solemus, & in eodem situ detinetur: quo casu ligatura meris dissonantiis constans, non solùm non vitiosa est, verùm etiam elegantissimè adhibetur; quemadmodum sequenti Paradigmate demonstratur.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"4be46c154cdab98f36c3e1e7f1d80397ce4d089cae552fe677e329c7f1837913","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-146","downloads":[],"xmlSha256":"4be46c154cdab98f36c3e1e7f1d80397ce4d089cae552fe677e329c7f1837913","integrity":"matched","parts":3,"voices":3,"notes":19,"measures":5,"parser":{"status":"supported","warnings":[],"events":15,"normalizations":[]},"preview":{"path":"previews/edition-107-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"0036a1d48ed12efb8c88373081686a19bc1a24ec706948c135a0360f206bc246","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"4be46c154cdab98f36c3e1e7f1d80397ce4d089cae552fe677e329c7f1837913"}},{"id":"edition:108-a","collection":"edition","title":"Example 108-a","page":108,"topic":"EXERCISE II. · FOURTH LESSON, · On ligature.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/108-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/108-a.png","sha256":"47bbab06c09e7901e53c4c2e1fe104369ae8e5cab98340f39ed7c3647ab2acbc","label":"Source crop · printed p. 108","local":false}],"owners":["108-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. You must remember that here we are engaged in lessons and in the study of inserting a ligature in every measure, without adhering too strictly to the requirements for the other concordances, of which we have spoken elsewhere and shall speak again. A different judgment must be made concerning free composition, where no constraint prevents each dissonance from being given its own appropriate concordance. Therefore that seventh associated with an octave must be tolerated. Now let us turn to the remaining exercises.","latin":"Aloys. Meminisse te oportet, hîc loci nos in lectionibus versari, & in studio, singulis tactibus Ligaturam inserendi, non admodum rigori cæterarum concordantiarum inhærentes, de quibus alibi & diximus, & dicturi sumus. Aliud judicium ferendum est de libero componendi genere, ubi nulla necessitas impedit, quò minùs cuilibet dissonantiæ propria sua concordantia tribui possit: ideo Septima illa cum Octavâ associata tolerari debet. Nunc ad reliquas exercitationes.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"39325720b581060c763dbda9cf5ba7ac54ca97875ffd6356291517a857c76d7b","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-148","downloads":[],"xmlSha256":"39325720b581060c763dbda9cf5ba7ac54ca97875ffd6356291517a857c76d7b","integrity":"matched","parts":3,"voices":3,"notes":42,"measures":11,"parser":{"status":"supported","warnings":[],"events":33,"normalizations":[]},"preview":{"path":"previews/edition-108-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"7a37d5aa1866547e75aa0ccfb006166dbd7fa51bcd64d8576a83e2b0bde4fa76","playback":true,"corpusLinks":[{"corpusId":"species:gap_143","status":"closing-duration","evidence":{"editionId":"edition:108-a","xmlSha256":"39325720b581060c763dbda9cf5ba7ac54ca97875ffd6356291517a857c76d7b","owners":["108-a"],"sourcePages":[108],"agreement":0.909091,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3],"corpusEvents":33,"editionEvents":33,"sharedEvents":30,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[40,66,4],1]],"editionOnly":[[[40,66,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[40,62,4],1]],"editionOnly":[[[40,62,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[40,50,4],1]],"editionOnly":[[[40,50,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:108-a"],"coverage":null,"xmlSha256":"39325720b581060c763dbda9cf5ba7ac54ca97875ffd6356291517a857c76d7b"}},{"id":"edition:108-b","collection":"edition","title":"Example 108-b","page":108,"topic":"EXERCISE II. · FOURTH LESSON, · On ligature.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/108-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/108-b.png","sha256":"fa2ac7cf5e69f0a93313790d40527665929cb21a2a78e253b0ab6e9e9a6fed35","label":"Source crop · printed p. 108","local":false}],"owners":["108-b"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. You must remember that here we are engaged in lessons and in the study of inserting a ligature in every measure, without adhering too strictly to the requirements for the other concordances, of which we have spoken elsewhere and shall speak again. A different judgment must be made concerning free composition, where no constraint prevents each dissonance from being given its own appropriate concordance. Therefore that seventh associated with an octave must be tolerated. Now let us turn to the remaining exercises.","latin":"Aloys. Meminisse te oportet, hîc loci nos in lectionibus versari, & in studio, singulis tactibus Ligaturam inserendi, non admodum rigori cæterarum concordantiarum inhærentes, de quibus alibi & diximus, & dicturi sumus. Aliud judicium ferendum est de libero componendi genere, ubi nulla necessitas impedit, quò minùs cuilibet dissonantiæ propria sua concordantia tribui possit: ideo Septima illa cum Octavâ associata tolerari debet. Nunc ad reliquas exercitationes.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"4fc8898135f26bbde8c00a20dbb5ca8edbc21da7b20ddbe6b35e17086c3a4d93","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-149","downloads":[],"xmlSha256":"4fc8898135f26bbde8c00a20dbb5ca8edbc21da7b20ddbe6b35e17086c3a4d93","integrity":"matched","parts":3,"voices":3,"notes":40,"measures":11,"parser":{"status":"supported","warnings":[],"events":32,"normalizations":[]},"preview":{"path":"previews/edition-108-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"576e8539f29444297138ec7fa3aabafed9230aa316763d996d0891b25d44ec8d","playback":true,"corpusLinks":[{"corpusId":"species:gap_144","status":"closing-duration","evidence":{"editionId":"edition:108-b","xmlSha256":"4fc8898135f26bbde8c00a20dbb5ca8edbc21da7b20ddbe6b35e17086c3a4d93","owners":["108-b"],"sourcePages":[108],"agreement":0.90625,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3],"corpusEvents":32,"editionEvents":32,"sharedEvents":29,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[40,62,4],1]],"editionOnly":[[[40,62,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[40,54,4],1]],"editionOnly":[[[40,54,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[40,50,4],1]],"editionOnly":[[[40,50,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:108-b"],"coverage":null,"xmlSha256":"4fc8898135f26bbde8c00a20dbb5ca8edbc21da7b20ddbe6b35e17086c3a4d93"}},{"id":"edition:108-c","collection":"edition","title":"Example 108-c","page":108,"topic":"EXERCISE II. · FOURTH LESSON, · On ligature.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/108-c.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/108-c.png","sha256":"93010681a483bf700d353967bb6ce149f20c5fabd87aca2acf64f9661a26c286","label":"Source crop · printed p. 108","local":false}],"owners":["108-c"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. I am not displeased by this resourcefulness of yours. Nevertheless, it could have been done in the following way.","latin":"Aloys. Non mihi displicet industria ista tua. 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This can happen not only to the tenor but also to the alto, and even, if it were possible, to the soprano. Thus the lowest part, whatever it may be, must be taken as the foundation, and the others built upon it. Now proceed to construct examples for the two further tenors that follow in their natural order.","latin":"Ubi Tenor in primo tactu basis officio fungitur: id quod non solùm Tenori, verùm etiam Alto; imò si possibile esset, Cantui usu venit; ita ut pars gravissima qualiscunque illa pro fundamento statuenda, & super eandem ædificandum sit. Jam ad duorum adhuc tenorum naturali ordine se sequentium exempla conficienda progredere.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"b9222ee7ab6d7d4a737dbdba9ba5db1e837425ec6328ead1284f79db66bdcd9a","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-157","downloads":[],"xmlSha256":"b9222ee7ab6d7d4a737dbdba9ba5db1e837425ec6328ead1284f79db66bdcd9a","integrity":"matched","parts":3,"voices":3,"notes":45,"measures":12,"parser":{"status":"supported","warnings":[],"events":36,"normalizations":[]},"preview":{"path":"previews/edition-110-c.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"b3e919719700da105b06af125b7bb95066424cafc055b2ae94ff86987c927a47","playback":true,"corpusLinks":[{"corpusId":"species:gap_151","status":"closing-duration","evidence":{"editionId":"edition:110-c","xmlSha256":"b9222ee7ab6d7d4a737dbdba9ba5db1e837425ec6328ead1284f79db66bdcd9a","owners":["110-c"],"sourcePages":[110],"agreement":0.916667,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3],"corpusEvents":36,"editionEvents":36,"sharedEvents":33,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[44,65,4],1]],"editionOnly":[[[44,65,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[44,57,4],1]],"editionOnly":[[[44,57,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[44,53,4],1]],"editionOnly":[[[44,53,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:110-c"],"coverage":null,"xmlSha256":"b9222ee7ab6d7d4a737dbdba9ba5db1e837425ec6328ead1284f79db66bdcd9a"}},{"id":"edition:111-a","collection":"edition","title":"Example 111-a","page":111,"topic":"EXERCISE II. · FOURTH LESSON, · On ligature.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/111-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/111-a.png","sha256":"7c2e15f269687ee1e23d83c7ec9cacfdf71683c42d3c568ce54f1d85de6258d9","label":"Source crop · printed p. 111","local":false}],"owners":["111-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. These exercises have been worked out with regard to harmony as far as ligatures placed with two semibreves in every measure permit; for the restriction of this species does not allow harmony complete in every respect. Moreover, as we have often said, greater consideration is given here to ligatures, which, appearing in so many different ways in this exercise, provide a complete understanding of how to construct them. I therefore most strongly commend this exercise to you as a principal ornament of composition. What could have been done better is the first measure of the exercise, which is as follows:","latin":"Aloys. In tantum exercitia hæc ad Harmoniæ rationem elaborata sunt, quantum ligaturæ cum duabus semibrevibus in omnibus tactibus positæ permittunt: neque enim hujus speciei restrictio Harmoniam admittit, omnibus numeris absolutam. Præterquam, quod hîc potior ratio ligaturarum, ut jam sæpius diximus, habeatur, quæ tot diversis modis hoc in exercitio resultantes perfectam sui conficiendi cognitionem exhibent. Quapropter exercitium hoc præcipuum Compositionis ornamentum, summopere tibi commendo. Id, quod meliùs fieri potuisset, est primus exercitii tactus, qui sic se habet:","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"43939f9ecc30cd249382b4c1637a09715a337a5524ed59efb7f6eccd225b328e","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-158","downloads":[],"xmlSha256":"43939f9ecc30cd249382b4c1637a09715a337a5524ed59efb7f6eccd225b328e","integrity":"matched","parts":3,"voices":3,"notes":7,"measures":2,"parser":{"status":"supported","warnings":[],"events":6,"normalizations":[]},"preview":{"path":"previews/edition-111-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"a5d356e21710d812ca1fe029fb45f75f5cc2babb0bc88c42da173b783d671949","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"43939f9ecc30cd249382b4c1637a09715a337a5524ed59efb7f6eccd225b328e"}},{"id":"edition:111-b","collection":"edition","title":"Example 111-b","page":111,"topic":"EXERCISE II. · FOURTH LESSON, · On ligature.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/111-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/111-b.png","sha256":"2475c9e2399494d34c5a4535663fb1490803254f4a572c8580f929e5689cc631","label":"Source crop · printed p. 111","local":false}],"owners":["111-b"],"state":"needs-review","editionStatus":"needs-review","context":"Here a hidden succession of two fifths arises between the alto and soprano, which, being readily perceived by the ear, must be avoided in three voices. This can be done by placing a rest in the alto, in this way:","latin":"Ubi inter Altum, & Cantum occulta duarum Quintarum oritur consecutio, quæ facilis auribus perceptu in Tricinio evitari debet, quod fiet unius pausæ positione in Alto, hoc modo:","issues":["Bass F clef visibly printed on line2, unlike line4 in111-a; literal pitches C4/B3 retained, possible displaced printing clef requires editorial decision."],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"971cc247ef7ea0748ac77ce9cf9823f1c39726abd7265e67a5c55c1bfb900dbf","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-159","downloads":[],"xmlSha256":"971cc247ef7ea0748ac77ce9cf9823f1c39726abd7265e67a5c55c1bfb900dbf","integrity":"matched","parts":3,"voices":3,"notes":6,"measures":2,"parser":{"status":"supported","warnings":[],"events":5,"normalizations":[]},"preview":{"path":"previews/edition-111-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"b6c507abee08239a7aee9704359a5bb7bbb22219d47c1441b0c4bbaaf006ef03","playback":false,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"971cc247ef7ea0748ac77ce9cf9823f1c39726abd7265e67a5c55c1bfb900dbf"}},{"id":"edition:112-a","collection":"edition","title":"Example 112-a","page":112,"topic":"EXERCISE II. · FIFTH LESSON, · On florid counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/112-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/112-a.png","sha256":"356fb7825c0ef11d42d71119c918c1278eddc75c03e38371d3967730697f8252","label":"Source crop · printed p. 112","local":false}],"owners":["112-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. I suppose that what this species is, and its nature, are clear to you from what we said about it in two voices: namely that it is a combination of all five species, arranged in a beautiful and graceful melodic manner. I do not doubt in the least that, from the exercises in three voices discussed thus far, you now understand how the concordances of the other two parts, consisting of semibreves, must be arranged. Thus I think it superfluous to dwell here on explaining them further. Let us therefore proceed without delay to the examples.","latin":"Aloys. Quid, & qualis hæc species sit, ex iis, quæ de ea in Bicinio diximus, constare tibi suppono: esse nempe Compositionem omnium quinque specierum, pulchrâ concinnaque canendi ratione ordinatam. Quomodo autem reliquarum duarum partium semibrevibus constantium, instituendæ sint concordantiæ, ex Tricinii exercitationibus hucusque ventilatis tibi jam innotescere minimè dubito: adeò ut his ulteriùs explicandis hîc immorari supervacaneum existimem. Unde sine mora ad exempla procedamus.","issues":["Dots placed across source barlines normalized as split durations with editorial ties in measures1–2,3–4,4–5,7–8,8–9; these ties are not printed."],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"eed31e244622297c60c496cb51233ea08f6b08d6829b2679f424c3c927fc7256","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-160","downloads":[],"xmlSha256":"eed31e244622297c60c496cb51233ea08f6b08d6829b2679f424c3c927fc7256","integrity":"matched","parts":3,"voices":3,"notes":55,"measures":11,"parser":{"status":"supported","warnings":[],"events":49,"normalizations":[]},"preview":{"path":"previews/edition-112-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"dd978d197d1e460af7b27048c90615646bf59db162151653bbc3b0163733be0c","playback":true,"corpusLinks":[{"corpusId":"species:gap_154","status":"closing-duration","evidence":{"editionId":"edition:112-a","xmlSha256":"eed31e244622297c60c496cb51233ea08f6b08d6829b2679f424c3c927fc7256","owners":["112-a"],"sourcePages":[112],"agreement":0.938776,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3],"corpusEvents":49,"editionEvents":49,"sharedEvents":46,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[40,74,4],1]],"editionOnly":[[[40,74,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[40,62,4],1]],"editionOnly":[[[40,62,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[40,50,4],1]],"editionOnly":[[[40,50,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:112-a"],"coverage":null,"xmlSha256":"eed31e244622297c60c496cb51233ea08f6b08d6829b2679f424c3c927fc7256"}},{"id":"edition:112-b","collection":"edition","title":"Example 112-b","page":112,"topic":"EXERCISE II. · FIFTH LESSON, · On florid counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/112-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/112-b.png","sha256":"ff9407fdf183f6fcb48dc060f734767888b246d568424a25893791efec7d59fc","label":"Source crop · printed p. 112","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/113-a.png","sha256":"910223e47ee456ed475abc800f302957fd09ce1d000568b90e5ce01862c51279","label":"Source crop · printed p. 113","local":false}],"owners":["112-b","113-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. I suppose that what this species is, and its nature, are clear to you from what we said about it in two voices: namely that it is a combination of all five species, arranged in a beautiful and graceful melodic manner. I do not doubt in the least that, from the exercises in three voices discussed thus far, you now understand how the concordances of the other two parts, consisting of semibreves, must be arranged. Thus I think it superfluous to dwell here on explaining them further. Let us therefore proceed without delay to the examples.","latin":"Aloys. Quid, & qualis hæc species sit, ex iis, quæ de ea in Bicinio diximus, constare tibi suppono: esse nempe Compositionem omnium quinque specierum, pulchrâ concinnaque canendi ratione ordinatam. Quomodo autem reliquarum duarum partium semibrevibus constantium, instituendæ sint concordantiæ, ex Tricinii exercitationibus hucusque ventilatis tibi jam innotescere minimè dubito: adeò ut his ulteriùs explicandis hîc immorari supervacaneum existimem. Unde sine mora ad exempla procedamus.","issues":["Dots across source barlines normalized as split durations with editorial ties at1–2,4–5,7–8,8–9."],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"dc67704316a1b3ca36230943de4d1c42e9881e248ebaa73d285de0cae9486d0a","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-161","downloads":[],"xmlSha256":"dc67704316a1b3ca36230943de4d1c42e9881e248ebaa73d285de0cae9486d0a","integrity":"matched","parts":3,"voices":3,"notes":54,"measures":11,"parser":{"status":"supported","warnings":[],"events":47,"normalizations":[]},"preview":{"path":"previews/edition-112-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"081d4dd625d47e9f0f0735add2f28da8d0e5381b4a18306bc4d12d85014ab99b","playback":true,"corpusLinks":[{"corpusId":"species:gap_155","status":"closing-duration","evidence":{"editionId":"edition:112-b","xmlSha256":"dc67704316a1b3ca36230943de4d1c42e9881e248ebaa73d285de0cae9486d0a","owners":["112-b","113-a"],"sourcePages":[112,113],"agreement":0.93617,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3],"corpusEvents":47,"editionEvents":47,"sharedEvents":44,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[40,62,4],1]],"editionOnly":[[[40,62,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[40,62,4],1]],"editionOnly":[[[40,62,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[40,50,4],1]],"editionOnly":[[[40,50,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:112-b"],"coverage":null,"xmlSha256":"dc67704316a1b3ca36230943de4d1c42e9881e248ebaa73d285de0cae9486d0a"}},{"id":"edition:113-b","collection":"edition","title":"Example 113-b","page":113,"topic":"EXERCISE II. · FIFTH LESSON, · On florid counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/113-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/113-b.png","sha256":"ada1aa2ca955cf77ca9a9485551738df86e5f6173f059c43cb6c9ff098f65708","label":"Source crop · printed p. 113","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/113-b-cont.png","sha256":"eb94687ef1dcfe8b00a72d913c2505c384f00e66c163e68cc190ea21b48393b1","label":"Source crop · printed p. 113","local":false}],"owners":["113-b","113-b-cont"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. I suppose that what this species is, and its nature, are clear to you from what we said about it in two voices: namely that it is a combination of all five species, arranged in a beautiful and graceful melodic manner. I do not doubt in the least that, from the exercises in three voices discussed thus far, you now understand how the concordances of the other two parts, consisting of semibreves, must be arranged. Thus I think it superfluous to dwell here on explaining them further. Let us therefore proceed without delay to the examples.","latin":"Aloys. Quid, & qualis hæc species sit, ex iis, quæ de ea in Bicinio diximus, constare tibi suppono: esse nempe Compositionem omnium quinque specierum, pulchrâ concinnaque canendi ratione ordinatam. Quomodo autem reliquarum duarum partium semibrevibus constantium, instituendæ sint concordantiæ, ex Tricinii exercitationibus hucusque ventilatis tibi jam innotescere minimè dubito: adeò ut his ulteriùs explicandis hîc immorari supervacaneum existimem. Unde sine mora ad exempla procedamus.","issues":["Dots across source bars normalized using editorial ties in6–7 and8–9."],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"75d7d619c3eab557a91ba1fb8f3807c91b290d41b55987832afaa09d71d693af","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-164","downloads":[],"xmlSha256":"75d7d619c3eab557a91ba1fb8f3807c91b290d41b55987832afaa09d71d693af","integrity":"matched","parts":3,"voices":3,"notes":51,"measures":11,"parser":{"status":"supported","warnings":[],"events":46,"normalizations":[]},"preview":{"path":"previews/edition-113-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"985b7d9d4a6057b0f453c6b59c565dec491ee8627e8a0a6c0cf7a36f469d09f3","playback":true,"corpusLinks":[{"corpusId":"species:gap_156","status":"closing-duration","evidence":{"editionId":"edition:113-b","xmlSha256":"75d7d619c3eab557a91ba1fb8f3807c91b290d41b55987832afaa09d71d693af","owners":["113-b","113-b-cont"],"sourcePages":[113,113],"agreement":0.934783,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3],"corpusEvents":46,"editionEvents":46,"sharedEvents":43,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[40,66,4],1]],"editionOnly":[[[40,66,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[40,62,4],1]],"editionOnly":[[[40,62,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[40,50,4],1]],"editionOnly":[[[40,50,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:113-b"],"coverage":null,"xmlSha256":"75d7d619c3eab557a91ba1fb8f3807c91b290d41b55987832afaa09d71d693af"}},{"id":"edition:113-c","collection":"edition","title":"Example 113-c","page":113,"topic":"EXERCISE II. · FIFTH LESSON, · On florid counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/113-c.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/113-c.png","sha256":"a2d6b4d167431fba68d0ba601fa25be0306d16b14da0827e9c11742767762eec","label":"Source crop · printed p. 113","local":false}],"owners":["113-c"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. I suppose that what this species is, and its nature, are clear to you from what we said about it in two voices: namely that it is a combination of all five species, arranged in a beautiful and graceful melodic manner. I do not doubt in the least that, from the exercises in three voices discussed thus far, you now understand how the concordances of the other two parts, consisting of semibreves, must be arranged. Thus I think it superfluous to dwell here on explaining them further. Let us therefore proceed without delay to the examples.","latin":"Aloys. Quid, & qualis hæc species sit, ex iis, quæ de ea in Bicinio diximus, constare tibi suppono: esse nempe Compositionem omnium quinque specierum, pulchrâ concinnaque canendi ratione ordinatam. Quomodo autem reliquarum duarum partium semibrevibus constantium, instituendæ sint concordantiæ, ex Tricinii exercitationibus hucusque ventilatis tibi jam innotescere minimè dubito: adeò ut his ulteriùs explicandis hîc immorari supervacaneum existimem. Unde sine mora ad exempla procedamus.","issues":["Dots across source bars normalized using editorial ties1–2,4–5,6–7."],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"93553d523e35b0e8e42dc0e8bc370a1a0d3c1ef2f267d03a13e431462cb7dd47","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-166","downloads":[],"xmlSha256":"93553d523e35b0e8e42dc0e8bc370a1a0d3c1ef2f267d03a13e431462cb7dd47","integrity":"matched","parts":3,"voices":3,"notes":47,"measures":10,"parser":{"status":"supported","warnings":[],"events":42,"normalizations":[]},"preview":{"path":"previews/edition-113-c.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"ec98829c16e8ccd3def6031dd6ed36376436f86039fd3b08fd798e3a22b720fc","playback":true,"corpusLinks":[{"corpusId":"species:gap_157","status":"closing-duration","evidence":{"editionId":"edition:113-c","xmlSha256":"93553d523e35b0e8e42dc0e8bc370a1a0d3c1ef2f267d03a13e431462cb7dd47","owners":["113-c"],"sourcePages":[113],"agreement":0.928571,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3],"corpusEvents":42,"editionEvents":42,"sharedEvents":39,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[36,68,4],1]],"editionOnly":[[[36,68,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[36,64,4],1]],"editionOnly":[[[36,64,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[36,64,4],1]],"editionOnly":[[[36,64,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:113-c"],"coverage":null,"xmlSha256":"93553d523e35b0e8e42dc0e8bc370a1a0d3c1ef2f267d03a13e431462cb7dd47"}},{"id":"edition:113-d","collection":"edition","title":"Example 113-d","page":113,"topic":"EXERCISE II. · FIFTH LESSON, · On florid counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/113-d.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/113-d.png","sha256":"24e46a16be27271dfa32a5929380e8c7933d4f02611946e0459b4019e526da0e","label":"Source crop · printed p. 113","local":false}],"owners":["113-d"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. I suppose that what this species is, and its nature, are clear to you from what we said about it in two voices: namely that it is a combination of all five species, arranged in a beautiful and graceful melodic manner. I do not doubt in the least that, from the exercises in three voices discussed thus far, you now understand how the concordances of the other two parts, consisting of semibreves, must be arranged. Thus I think it superfluous to dwell here on explaining them further. Let us therefore proceed without delay to the examples.","latin":"Aloys. Quid, & qualis hæc species sit, ex iis, quæ de ea in Bicinio diximus, constare tibi suppono: esse nempe Compositionem omnium quinque specierum, pulchrâ concinnaque canendi ratione ordinatam. Quomodo autem reliquarum duarum partium semibrevibus constantium, instituendæ sint concordantiæ, ex Tricinii exercitationibus hucusque ventilatis tibi jam innotescere minimè dubito: adeò ut his ulteriùs explicandis hîc immorari supervacaneum existimem. Unde sine mora ad exempla procedamus.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"768bb5c1bec4c04d80f3f6b1e58e3b1e592121cfcfc81926d087c7fe6ef2eb69","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-167","downloads":[],"xmlSha256":"768bb5c1bec4c04d80f3f6b1e58e3b1e592121cfcfc81926d087c7fe6ef2eb69","integrity":"matched","parts":3,"voices":3,"notes":48,"measures":10,"parser":{"status":"supported","warnings":[],"events":47,"normalizations":[]},"preview":{"path":"previews/edition-113-d.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"9e231671db69e23e118498d33ed1e3f73bea8cfd8b85cd6fd3a6b890ce5ccfca","playback":true,"corpusLinks":[{"corpusId":"species:gap_158","status":"closing-duration","evidence":{"editionId":"edition:113-d","xmlSha256":"768bb5c1bec4c04d80f3f6b1e58e3b1e592121cfcfc81926d087c7fe6ef2eb69","owners":["113-d"],"sourcePages":[113],"agreement":0.93617,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3],"corpusEvents":47,"editionEvents":47,"sharedEvents":44,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[36,64,4],1]],"editionOnly":[[[36,64,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[36,56,4],1]],"editionOnly":[[[36,56,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[36,52,4],1]],"editionOnly":[[[36,52,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:113-d"],"coverage":null,"xmlSha256":"768bb5c1bec4c04d80f3f6b1e58e3b1e592121cfcfc81926d087c7fe6ef2eb69"}},{"id":"edition:114-a","collection":"edition","title":"Example 114-a","page":114,"topic":"EXERCISE II. · FIFTH LESSON, · On florid counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/114-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/114-a.png","sha256":"cf102bb2561bbffe757815795aa2df397289645b4bf7bea1810ef0dff08faa8b","label":"Source crop · printed p. 114","local":false}],"owners":["114-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. I suppose that what this species is, and its nature, are clear to you from what we said about it in two voices: namely that it is a combination of all five species, arranged in a beautiful and graceful melodic manner. I do not doubt in the least that, from the exercises in three voices discussed thus far, you now understand how the concordances of the other two parts, consisting of semibreves, must be arranged. Thus I think it superfluous to dwell here on explaining them further. Let us therefore proceed without delay to the examples.","latin":"Aloys. Quid, & qualis hæc species sit, ex iis, quæ de ea in Bicinio diximus, constare tibi suppono: esse nempe Compositionem omnium quinque specierum, pulchrâ concinnaque canendi ratione ordinatam. Quomodo autem reliquarum duarum partium semibrevibus constantium, instituendæ sint concordantiæ, ex Tricinii exercitationibus hucusque ventilatis tibi jam innotescere minimè dubito: adeò ut his ulteriùs explicandis hîc immorari supervacaneum existimem. Unde sine mora ad exempla procedamus.","issues":["Dots across source bars normalized with editorial ties4–5,5–6,7–8."],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"0010a7f3e8e0d312ec517013f545f872a8a0ebfca3c5c664c1a079f8d0c0a923","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-168","downloads":[],"xmlSha256":"0010a7f3e8e0d312ec517013f545f872a8a0ebfca3c5c664c1a079f8d0c0a923","integrity":"matched","parts":3,"voices":3,"notes":45,"measures":10,"parser":{"status":"supported","warnings":[],"events":41,"normalizations":[]},"preview":{"path":"previews/edition-114-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"316331266b548b958b49910dafc4739ac009f077e809519bc928e73675f47143","playback":true,"corpusLinks":[{"corpusId":"species:gap_159","status":"closing-duration","evidence":{"editionId":"edition:114-a","xmlSha256":"0010a7f3e8e0d312ec517013f545f872a8a0ebfca3c5c664c1a079f8d0c0a923","owners":["114-a"],"sourcePages":[114],"agreement":0.926829,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3],"corpusEvents":41,"editionEvents":41,"sharedEvents":38,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[36,68,4],1]],"editionOnly":[[[36,68,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[36,64,4],1]],"editionOnly":[[[36,64,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[36,52,4],1]],"editionOnly":[[[36,52,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:114-a"],"coverage":null,"xmlSha256":"0010a7f3e8e0d312ec517013f545f872a8a0ebfca3c5c664c1a079f8d0c0a923"}},{"id":"edition:115-a","collection":"edition","title":"Example 115-a","page":115,"topic":"EXERCISE III. · FIRST LESSON. · On four-voice composition, or composition for four parts.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/115-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/115-a.png","sha256":"0d49f73c0829edafb18cf33786c7ce184bbe2de1f1fffada03aece6247c4ad4d","label":"Source crop · printed p. 115","local":false}],"owners":["115-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. The mist in your mind will easily be dispelled by the following example.","latin":"Aloys. Sequenti Paradigmate mentis tuæ caligo facilè dissipabitur.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"8e2ebe1a05141f8f37a37228f70ed161411e0fef4e284c2fa868516083c63456","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-169","downloads":[],"xmlSha256":"8e2ebe1a05141f8f37a37228f70ed161411e0fef4e284c2fa868516083c63456","integrity":"matched","parts":4,"voices":4,"notes":44,"measures":11,"parser":{"status":"supported","warnings":[],"events":44,"normalizations":[]},"preview":{"path":"previews/edition-115-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"03b0774f2dd2cf22f91448a5aff64cb3bd0d7a558badf25e29cb5e372cea972f","playback":true,"corpusLinks":[{"corpusId":"species:gap_160","status":"closing-duration","evidence":{"editionId":"edition:115-a","xmlSha256":"8e2ebe1a05141f8f37a37228f70ed161411e0fef4e284c2fa868516083c63456","owners":["115-a"],"sourcePages":[115],"agreement":0.909091,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3,4],"corpusEvents":44,"editionEvents":44,"sharedEvents":40,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[40,74,4],1]],"editionOnly":[[[40,74,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[40,62,4],1]],"editionOnly":[[[40,62,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[40,57,4],1]],"editionOnly":[[[40,57,8],1]]},{"corpusPart":4,"editionPart":4,"corpusOnly":[[[40,50,4],1]],"editionOnly":[[[40,50,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:115-a"],"coverage":null,"xmlSha256":"8e2ebe1a05141f8f37a37228f70ed161411e0fef4e284c2fa868516083c63456"}},{"id":"edition:116-a","collection":"edition","title":"Example 116-a","page":116,"topic":"EXERCISE III. · FIRST LESSON. · On four-voice composition, or composition for four parts.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/116-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/116-a.png","sha256":"6fcdbdf1e3483d67e92e368f4a4594153dab34d7ad92e5e0ff8f8cd7963f3eeb","label":"Source crop · printed p. 116","local":false}],"owners":["116-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. It is the order produced by a harmonic division of the octave. It is clear that this division first generates the fifth, and that a further division of the fifth produces the third. This order must be kept in placing consonances, unless another consideration, namely progression to the following measures, prevents it, as very frequently happens. I append an example showing the natural order of the consonances:","latin":"Aloys. Est ordo ex divisione Octavæ harmonicè institutâ productus. Patet ergo ex tali divisione primò generari Quintam, ex ulteriori Quintæ divisione Tertiam produci: qui ordo in Consonantiis collocandis tenendus est; nisi alia, nempe in sequentes tactus progrediendi ratio, quod frequentissimè fit, impediat. Subjicio exemplum, naturalem Consonantiarum ordinem exhibens:","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"5f5c5642d774a48ea1b926913b1476ebcb8717880f114d00110daa25c6f43019","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-170","downloads":[],"xmlSha256":"5f5c5642d774a48ea1b926913b1476ebcb8717880f114d00110daa25c6f43019","integrity":"matched","parts":1,"voices":1,"notes":4,"measures":1,"parser":{"status":"supported","warnings":[],"events":4,"normalizations":[]},"preview":{"path":"previews/edition-116-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"3d1fbf5a3ae6055730a3310f3d4f3fbb26c66f6280e600179f5e6e1cc9a83e85","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"5f5c5642d774a48ea1b926913b1476ebcb8717880f114d00110daa25c6f43019"}},{"id":"edition:116-b","collection":"edition","title":"Example 116-b","page":116,"topic":"EXERCISE III. · FIRST LESSON. · On four-voice composition, or composition for four parts.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/116-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/116-b.png","sha256":"3ab582f874b39a89ce76feb205341807f22a022843a5368e10e483482e41a8ff","label":"Source crop · printed p. 116","local":false}],"owners":["116-b"],"state":"recorded-review","editionStatus":"verified","context":"Joseph. According to the arrangement of our present-day keyboard, it seems that the third should be placed first and before the fifth, and consequently that the four-voice arrangement should be placed in the following order.","latin":"Joseph. Secundùm sistema hodiernæ nostræ Claviaturæ videtur Tertia primo loco, atque ante Quintam esse ponenda, proinde Quatricinii sistema sequenti ordine collocandum.","issues":["Unbarred chord illustration; stave spacing irregular in source, pitches confirmed against surrounding explanation of third/fifth/octave ordering."],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"d38c20d95352217d2fc625a51ce034ba7a6bbac6541d9bb58b02c750ade197ab","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-171","downloads":[],"xmlSha256":"d38c20d95352217d2fc625a51ce034ba7a6bbac6541d9bb58b02c750ade197ab","integrity":"matched","parts":1,"voices":1,"notes":4,"measures":1,"parser":{"status":"supported","warnings":[],"events":4,"normalizations":[]},"preview":{"path":"previews/edition-116-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"797122d508f14965d9e70d6491e519bc4ac28cad7b29cac1a2309d8bcc53af6d","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"d38c20d95352217d2fc625a51ce034ba7a6bbac6541d9bb58b02c750ade197ab"}},{"id":"edition:117-a","collection":"edition","title":"Example 117-a","page":117,"topic":"EXERCISE III. · FIRST LESSON. · On four-voice composition, or composition for four parts.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/117-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/117-a.png","sha256":"e96d1a432723b4b0e10c7fbc407add6eebf0d3e150ce323996402749c644a9da","label":"Source crop · printed p. 117","local":false}],"owners":["117-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. Quite right. But remember that the nature of consonances and dissonances must be measured in relation to the foundational part, whatever may result between the middle parts, provided that other absurdities, such as a succession of two fifths or octaves, are avoided. Furthermore, note that the more closely the parts are drawn together, the more perfect the resulting harmony, according to the saying: united strength is stronger. If anything difficult confronts you, as it inevitably must, consider that one must climb through hardships to excellence, and that athletes do not enter the Olympic games without an opponent; tireless study, perseverance, and the shield of patience are needed in the contest.","latin":"Aloys. Rectè quidem. Verùm recordandum est, naturam Consonantiarum, dissonatiarumque habito respectu ad partem fundamentalem metiendam esse; quidquid inter partes medias inde eveniat: modò alia absurda, ut consecutio duarum Quintarum, aut Octavarum evitetur. Cæterùm attendendum est, quò contractiores in angustum partes, eò perfectiorem resultare Harmoniam, juxta illud: Vis unita fortior. Si quid ardui tibi objicietur, ut fieri secùs haud potest; cogita ad virtutem per aspera ascendendum esse: neque Athletas absque adversario ad Olympia descendere; Indefesso studio, constantiâ, scutoque patientiæ in certamine opus esse.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"7eec7a79db330b36e5963cdc7d869a0dccf1b54e1bba304609dbadc6ad826321","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-172","downloads":[],"xmlSha256":"7eec7a79db330b36e5963cdc7d869a0dccf1b54e1bba304609dbadc6ad826321","integrity":"matched","parts":4,"voices":4,"notes":44,"measures":11,"parser":{"status":"supported","warnings":[],"events":44,"normalizations":[]},"preview":{"path":"previews/edition-117-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"c126cfae7d965fbde6592619e6f5867d7782326608464583f2ac63293c091aab","playback":true,"corpusLinks":[{"corpusId":"species:gap_163","status":"closing-duration","evidence":{"editionId":"edition:117-a","xmlSha256":"7eec7a79db330b36e5963cdc7d869a0dccf1b54e1bba304609dbadc6ad826321","owners":["117-a"],"sourcePages":[117],"agreement":0.909091,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3,4],"corpusEvents":44,"editionEvents":44,"sharedEvents":40,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[40,62,4],1]],"editionOnly":[[[40,62,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[40,62,4],1]],"editionOnly":[[[40,62,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[40,57,4],1]],"editionOnly":[[[40,57,8],1]]},{"corpusPart":4,"editionPart":4,"corpusOnly":[[[40,50,4],1]],"editionOnly":[[[40,50,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:117-a"],"coverage":null,"xmlSha256":"7eec7a79db330b36e5963cdc7d869a0dccf1b54e1bba304609dbadc6ad826321"}},{"id":"edition:118-a","collection":"edition","title":"Example 118-a","page":118,"topic":"EXERCISE III. · FIRST LESSON. · On four-voice composition, or composition for four parts.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/118-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/118-a.png","sha256":"a1b38cc076fc97fc61e9f9dcececa154910db37c436b8122449ea35ef4d3e84e","label":"Source crop · printed p. 118","local":false}],"owners":["118-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. Quite right. But remember that the nature of consonances and dissonances must be measured in relation to the foundational part, whatever may result between the middle parts, provided that other absurdities, such as a succession of two fifths or octaves, are avoided. Furthermore, note that the more closely the parts are drawn together, the more perfect the resulting harmony, according to the saying: united strength is stronger. If anything difficult confronts you, as it inevitably must, consider that one must climb through hardships to excellence, and that athletes do not enter the Olympic games without an opponent; tireless study, perseverance, and the shield of patience are needed in the contest.","latin":"Aloys. Rectè quidem. Verùm recordandum est, naturam Consonantiarum, dissonatiarumque habito respectu ad partem fundamentalem metiendam esse; quidquid inter partes medias inde eveniat: modò alia absurda, ut consecutio duarum Quintarum, aut Octavarum evitetur. Cæterùm attendendum est, quò contractiores in angustum partes, eò perfectiorem resultare Harmoniam, juxta illud: Vis unita fortior. Si quid ardui tibi objicietur, ut fieri secùs haud potest; cogita ad virtutem per aspera ascendendum esse: neque Athletas absque adversario ad Olympia descendere; Indefesso studio, constantiâ, scutoque patientiæ in certamine opus esse.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"3f6012378763fe01509ecff4281c26e3c5b0d669b48bf06c32483b67a57f97db","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-174","downloads":[],"xmlSha256":"3f6012378763fe01509ecff4281c26e3c5b0d669b48bf06c32483b67a57f97db","integrity":"matched","parts":4,"voices":4,"notes":44,"measures":11,"parser":{"status":"supported","warnings":[],"events":44,"normalizations":[]},"preview":{"path":"previews/edition-118-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"06f183f01c946e5fb2be304cefbb6477570fddcb9c51c79f682dfc5d689614e4","playback":true,"corpusLinks":[{"corpusId":"species:gap_164","status":"closing-duration","evidence":{"editionId":"edition:118-a","xmlSha256":"3f6012378763fe01509ecff4281c26e3c5b0d669b48bf06c32483b67a57f97db","owners":["118-a"],"sourcePages":[118],"agreement":0.909091,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3,4],"corpusEvents":44,"editionEvents":44,"sharedEvents":40,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[40,62,4],1]],"editionOnly":[[[40,62,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[40,57,4],1]],"editionOnly":[[[40,57,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[40,50,4],1]],"editionOnly":[[[40,50,8],1]]},{"corpusPart":4,"editionPart":4,"corpusOnly":[[[40,50,4],1]],"editionOnly":[[[40,50,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:118-a"],"coverage":null,"xmlSha256":"3f6012378763fe01509ecff4281c26e3c5b0d669b48bf06c32483b67a57f97db"}},{"id":"edition:118-b","collection":"edition","title":"Example 118-b","page":118,"topic":"EXERCISE III. · FIRST LESSON. · On four-voice composition, or composition for four parts.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/118-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/118-b.png","sha256":"361ffbf25267ec4ce67a6e74f853bc02d1b01070ec50a7e068bc15a232782c33","label":"Source crop · printed p. 118","local":false}],"owners":["118-b"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. Quite right. But remember that the nature of consonances and dissonances must be measured in relation to the foundational part, whatever may result between the middle parts, provided that other absurdities, such as a succession of two fifths or octaves, are avoided. Furthermore, note that the more closely the parts are drawn together, the more perfect the resulting harmony, according to the saying: united strength is stronger. If anything difficult confronts you, as it inevitably must, consider that one must climb through hardships to excellence, and that athletes do not enter the Olympic games without an opponent; tireless study, perseverance, and the shield of patience are needed in the contest.","latin":"Aloys. Rectè quidem. Verùm recordandum est, naturam Consonantiarum, dissonatiarumque habito respectu ad partem fundamentalem metiendam esse; quidquid inter partes medias inde eveniat: modò alia absurda, ut consecutio duarum Quintarum, aut Octavarum evitetur. Cæterùm attendendum est, quò contractiores in angustum partes, eò perfectiorem resultare Harmoniam, juxta illud: Vis unita fortior. Si quid ardui tibi objicietur, ut fieri secùs haud potest; cogita ad virtutem per aspera ascendendum esse: neque Athletas absque adversario ad Olympia descendere; Indefesso studio, constantiâ, scutoque patientiæ in certamine opus esse.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"90e60928257460b3a55135d0897629d1109ed75fa370b056889ed52831c27878","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-175","downloads":[],"xmlSha256":"90e60928257460b3a55135d0897629d1109ed75fa370b056889ed52831c27878","integrity":"matched","parts":4,"voices":4,"notes":44,"measures":11,"parser":{"status":"supported","warnings":[],"events":44,"normalizations":[]},"preview":{"path":"previews/edition-118-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"82a8e7773f840ceae21b00d111cef3b89ccff20f582af5a6d3a0e8e48af8a297","playback":true,"corpusLinks":[{"corpusId":"species:gap_165","status":"closing-duration","evidence":{"editionId":"edition:118-b","xmlSha256":"90e60928257460b3a55135d0897629d1109ed75fa370b056889ed52831c27878","owners":["118-b"],"sourcePages":[118],"agreement":0.909091,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3,4],"corpusEvents":44,"editionEvents":44,"sharedEvents":40,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[40,74,4],1]],"editionOnly":[[[40,74,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[40,66,4],1]],"editionOnly":[[[40,66,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[40,57,4],1]],"editionOnly":[[[40,57,8],1]]},{"corpusPart":4,"editionPart":4,"corpusOnly":[[[40,50,4],1]],"editionOnly":[[[40,50,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:118-b"],"coverage":null,"xmlSha256":"90e60928257460b3a55135d0897629d1109ed75fa370b056889ed52831c27878"}},{"id":"edition:119-a","collection":"edition","title":"Example 119-a","page":119,"topic":"EXERCISE III. · FIRST LESSON. · On four-voice composition, or composition for four parts.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/119-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/119-a.png","sha256":"6cde915fa6c2f13d2afc98fd6ba9fc31656652b076bb4f89fb43e67b33a5896d","label":"Source crop · printed p. 119","local":false}],"owners":["119-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. It is true that, given the constraint of the cantus firmus, those examples, devised only for the sake of exercise, could not have been made otherwise. Matters will be different when invention depends upon your own choice. But with the passage of time you will discover with wonder how useful these exercises are to students. Examples in two more modes remain to be completed with the usual fourfold change in the position of the cantus firmus. Continue.","latin":"Aloys. Verum est, stante Cantûs firmi necessitate, Paradigmata illa exercitii gratiâ tantum instituta fieri non potuisse, secùs res se habebit, ubi inventio à proprio arbitrio dependet. Quantum autem utilitatis exercitia hæc Studiosis afferant, successu temporis admirabundus comperies. Duorum adhuc tonorum exempla solitâ quadruplici Cantûs firmi mutatione perficienda restant. Perge.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"497227089a74811a0ad5a202755e2a07a7749cf8554378cb4dc9b973ae6dc735","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-176","downloads":[],"xmlSha256":"497227089a74811a0ad5a202755e2a07a7749cf8554378cb4dc9b973ae6dc735","integrity":"matched","parts":4,"voices":4,"notes":40,"measures":10,"parser":{"status":"supported","warnings":[],"events":40,"normalizations":[]},"preview":{"path":"previews/edition-119-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"09fa575d04c9365c8b88ebfdd6e673064015eb93b1a98eb1943e36ed2f188bbd","playback":true,"corpusLinks":[{"corpusId":"species:gap_166","status":"closing-duration","evidence":{"editionId":"edition:119-a","xmlSha256":"497227089a74811a0ad5a202755e2a07a7749cf8554378cb4dc9b973ae6dc735","owners":["119-a"],"sourcePages":[119],"agreement":0.9,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3,4],"corpusEvents":40,"editionEvents":40,"sharedEvents":36,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[36,64,4],1]],"editionOnly":[[[36,64,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[36,59,4],1]],"editionOnly":[[[36,59,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[36,56,4],1]],"editionOnly":[[[36,56,8],1]]},{"corpusPart":4,"editionPart":4,"corpusOnly":[[[36,52,4],1]],"editionOnly":[[[36,52,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:119-a"],"coverage":null,"xmlSha256":"497227089a74811a0ad5a202755e2a07a7749cf8554378cb4dc9b973ae6dc735"}},{"id":"edition:119-b","collection":"edition","title":"Example 119-b","page":119,"topic":"EXERCISE III. · FIRST LESSON. · On four-voice composition, or composition for four parts.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/119-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/119-b.png","sha256":"c912bc05fece46a3a3a332ad4125ae78ee7c30f3f246ad134479749423b3c1c9","label":"Source crop · printed p. 119","local":false}],"owners":["119-b"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. It is true that, given the constraint of the cantus firmus, those examples, devised only for the sake of exercise, could not have been made otherwise. Matters will be different when invention depends upon your own choice. But with the passage of time you will discover with wonder how useful these exercises are to students. Examples in two more modes remain to be completed with the usual fourfold change in the position of the cantus firmus. Continue.","latin":"Aloys. Verum est, stante Cantûs firmi necessitate, Paradigmata illa exercitii gratiâ tantum instituta fieri non potuisse, secùs res se habebit, ubi inventio à proprio arbitrio dependet. Quantum autem utilitatis exercitia hæc Studiosis afferant, successu temporis admirabundus comperies. Duorum adhuc tonorum exempla solitâ quadruplici Cantûs firmi mutatione perficienda restant. Perge.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"c9aa0b658a12c61df87fa24ad4b212c21c17429098757e686fbed23e4b227a8e","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-177","downloads":[],"xmlSha256":"c9aa0b658a12c61df87fa24ad4b212c21c17429098757e686fbed23e4b227a8e","integrity":"matched","parts":4,"voices":4,"notes":40,"measures":10,"parser":{"status":"supported","warnings":[],"events":40,"normalizations":[]},"preview":{"path":"previews/edition-119-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"d5b9255b5657f3b384ede7d3f5a35d81d9ba8a7d146189714c29ce1e3fd125f1","playback":true,"corpusLinks":[{"corpusId":"species:gap_167","status":"closing-duration","evidence":{"editionId":"edition:119-b","xmlSha256":"c9aa0b658a12c61df87fa24ad4b212c21c17429098757e686fbed23e4b227a8e","owners":["119-b"],"sourcePages":[119],"agreement":0.9,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3,4],"corpusEvents":40,"editionEvents":40,"sharedEvents":36,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[36,68,4],1]],"editionOnly":[[[36,68,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[36,64,4],1]],"editionOnly":[[[36,64,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[36,59,4],1]],"editionOnly":[[[36,59,8],1]]},{"corpusPart":4,"editionPart":4,"corpusOnly":[[[36,52,4],1]],"editionOnly":[[[36,52,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:119-b"],"coverage":null,"xmlSha256":"c9aa0b658a12c61df87fa24ad4b212c21c17429098757e686fbed23e4b227a8e"}},{"id":"edition:119-c","collection":"edition","title":"Example 119-c","page":119,"topic":"EXERCISE III. · FIRST LESSON. · On four-voice composition, or composition for four parts.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/119-c.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/119-c.png","sha256":"929899f9d85199d01affe1dd080a392610911906d840ddc8781118ce8d3dc561","label":"Source crop · printed p. 119","local":false}],"owners":["119-c"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. It is true that, given the constraint of the cantus firmus, those examples, devised only for the sake of exercise, could not have been made otherwise. Matters will be different when invention depends upon your own choice. But with the passage of time you will discover with wonder how useful these exercises are to students. Examples in two more modes remain to be completed with the usual fourfold change in the position of the cantus firmus. Continue.","latin":"Aloys. Verum est, stante Cantûs firmi necessitate, Paradigmata illa exercitii gratiâ tantum instituta fieri non potuisse, secùs res se habebit, ubi inventio à proprio arbitrio dependet. Quantum autem utilitatis exercitia hæc Studiosis afferant, successu temporis admirabundus comperies. Duorum adhuc tonorum exempla solitâ quadruplici Cantûs firmi mutatione perficienda restant. Perge.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"3dc380ab82795d97e93f6b11586ba4f34e97bba25f234596c07e3b2b489a8f3c","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-178","downloads":[],"xmlSha256":"3dc380ab82795d97e93f6b11586ba4f34e97bba25f234596c07e3b2b489a8f3c","integrity":"matched","parts":4,"voices":4,"notes":40,"measures":10,"parser":{"status":"supported","warnings":[],"events":40,"normalizations":[]},"preview":{"path":"previews/edition-119-c.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"48cdcd07dd65594fb2755db1c9c1bd87249210153df60d33c8523a669e8ca6ec","playback":true,"corpusLinks":[{"corpusId":"species:gap_168","status":"closing-duration","evidence":{"editionId":"edition:119-c","xmlSha256":"3dc380ab82795d97e93f6b11586ba4f34e97bba25f234596c07e3b2b489a8f3c","owners":["119-c"],"sourcePages":[119],"agreement":0.9,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3,4],"corpusEvents":40,"editionEvents":40,"sharedEvents":36,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[36,71,4],1]],"editionOnly":[[[36,71,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[36,68,4],1]],"editionOnly":[[[36,68,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[36,64,4],1]],"editionOnly":[[[36,64,8],1]]},{"corpusPart":4,"editionPart":4,"corpusOnly":[[[36,52,4],1]],"editionOnly":[[[36,52,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:119-c"],"coverage":null,"xmlSha256":"3dc380ab82795d97e93f6b11586ba4f34e97bba25f234596c07e3b2b489a8f3c"}},{"id":"edition:120-a","collection":"edition","title":"Example 120-a","page":120,"topic":"EXERCISE III. · FIRST LESSON. · On four-voice composition, or composition for four parts.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/120-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/120-a.png","sha256":"ebcdf5f3ba781ebb6e01e1c7a656ece3de44744a62f3a5924efb10531750f433","label":"Source crop · printed p. 120","local":false}],"owners":["120-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. It is true that, given the constraint of the cantus firmus, those examples, devised only for the sake of exercise, could not have been made otherwise. Matters will be different when invention depends upon your own choice. But with the passage of time you will discover with wonder how useful these exercises are to students. Examples in two more modes remain to be completed with the usual fourfold change in the position of the cantus firmus. Continue.","latin":"Aloys. Verum est, stante Cantûs firmi necessitate, Paradigmata illa exercitii gratiâ tantum instituta fieri non potuisse, secùs res se habebit, ubi inventio à proprio arbitrio dependet. Quantum autem utilitatis exercitia hæc Studiosis afferant, successu temporis admirabundus comperies. Duorum adhuc tonorum exempla solitâ quadruplici Cantûs firmi mutatione perficienda restant. Perge.","issues":["Bar 6: the B after the printed B♭ of bar 5 carries no sign and is read as B♮, the edition's rule for an unmarked note after a barline (as on p. 91 and in the next example)."],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged.","October 2026: collated note by note with Mark Gotham's species corpus (github.com/MarkGotham/species), an independent transcription of this same UNC Chapel Hill scan (IMSLP #286170). Disputed notes were read in this colour scan and in the corpus's 1-bit rendering of it, which drops pencil and light smudges. 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It is true that, given the constraint of the cantus firmus, those examples, devised only for the sake of exercise, could not have been made otherwise. Matters will be different when invention depends upon your own choice. But with the passage of time you will discover with wonder how useful these exercises are to students. Examples in two more modes remain to be completed with the usual fourfold change in the position of the cantus firmus. Continue.","latin":"Aloys. Verum est, stante Cantûs firmi necessitate, Paradigmata illa exercitii gratiâ tantum instituta fieri non potuisse, secùs res se habebit, ubi inventio à proprio arbitrio dependet. Quantum autem utilitatis exercitia hæc Studiosis afferant, successu temporis admirabundus comperies. Duorum adhuc tonorum exempla solitâ quadruplici Cantûs firmi mutatione perficienda restant. Perge.","issues":["Bass clef printed on line 2 (as in 111-b), apparently a displaced bass clef. 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Ad exercitium exemplorum perge.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"1162ef2ce4360a92c260f34c58efbc0569d24b0387bf93a1cf62b0cb5c98d129","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-186","downloads":[],"xmlSha256":"1162ef2ce4360a92c260f34c58efbc0569d24b0387bf93a1cf62b0cb5c98d129","integrity":"matched","parts":4,"voices":4,"notes":53,"measures":11,"parser":{"status":"supported","warnings":[],"events":53,"normalizations":[]},"preview":{"path":"previews/edition-123-a.svg","pages":2,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"4d81be12eeb2694559837fd31dfeb23928d6a17027813d37c431efb8462ac6d1","playback":true,"corpusLinks":[{"corpusId":"species:gap_176","status":"closing-duration","evidence":{"editionId":"edition:123-a","xmlSha256":"1162ef2ce4360a92c260f34c58efbc0569d24b0387bf93a1cf62b0cb5c98d129","owners":["123-a"],"sourcePages":[123],"agreement":0.924528,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3,4],"corpusEvents":53,"editionEvents":53,"sharedEvents":49,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[40,74,4],1]],"editionOnly":[[[40,74,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[40,66,4],1]],"editionOnly":[[[40,66,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[40,57,4],1]],"editionOnly":[[[40,57,8],1]]},{"corpusPart":4,"editionPart":4,"corpusOnly":[[[40,50,4],1]],"editionOnly":[[[40,50,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:123-a"],"coverage":null,"xmlSha256":"1162ef2ce4360a92c260f34c58efbc0569d24b0387bf93a1cf62b0cb5c98d129"}},{"id":"edition:124-a","collection":"edition","title":"Example 124-a","page":124,"topic":"EXERCISE III. · THIRD LESSON, · On semiminims against a semibreve.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/124-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/124-a.png","sha256":"64c3eafdb38080e578b0846a63b74015e0187cdf257bede0ac9ba0c42ebb7c01","label":"Source crop · printed p. 124","local":false}],"owners":["124-a"],"state":"recorded-review","editionStatus":"verified","context":"The requirements of this species are to be sought in what has been said about it in composition for two and three parts, so that nothing needs to be added here except the difference in concordance. For just as in two voices the concordance must be arranged with one semibreve, and in three voices with two, so in this four-voice composition four semiminims must be made to agree with three semibreves according to the rules of harmony already known to you. Examples will make the matter clearer.","latin":"Quæ hujus Speciei requisita sint, ex iis, quæ de hac in compositione duarum, triumque partium, dicta sunt, petantur: adeò ut hîc nihil aliud addendum sit, præter Concordantiæ disparitatem. Quemadmodum enim in Bicinio Concordantia cum una Semibrevi, in Tricinio cum duabus instituenda est: ità in hac Quatricinii Compositione quatuor Semiminimæ cum tribus Semibrevibus juxta Harmoniæ regulas aliunde tibi notas concordandæ sunt. Exemplis res clarior apparebit.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"a29468b6bea430ea994308255f99a02a7cb23225868ecda6fb20810c49f1fcab","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-188","downloads":[],"xmlSha256":"a29468b6bea430ea994308255f99a02a7cb23225868ecda6fb20810c49f1fcab","integrity":"matched","parts":4,"voices":4,"notes":74,"measures":11,"parser":{"status":"supported","warnings":[],"events":74,"normalizations":[]},"preview":{"path":"previews/edition-124-a.svg","pages":2,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"dd13727cc72b423b28c42e99d6e319afd61a36bf0e7a6be4078e457ca4832023","playback":true,"corpusLinks":[{"corpusId":"species:gap_177","status":"closing-duration","evidence":{"editionId":"edition:124-a","xmlSha256":"a29468b6bea430ea994308255f99a02a7cb23225868ecda6fb20810c49f1fcab","owners":["124-a"],"sourcePages":[124],"agreement":0.945946,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3,4],"corpusEvents":74,"editionEvents":74,"sharedEvents":70,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[40,74,4],1]],"editionOnly":[[[40,74,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[40,62,4],1]],"editionOnly":[[[40,62,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[40,57,4],1]],"editionOnly":[[[40,57,8],1]]},{"corpusPart":4,"editionPart":4,"corpusOnly":[[[40,50,4],1]],"editionOnly":[[[40,50,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:124-a"],"coverage":null,"xmlSha256":"a29468b6bea430ea994308255f99a02a7cb23225868ecda6fb20810c49f1fcab"}},{"id":"edition:125-a","collection":"edition","title":"Example 125-a","page":125,"topic":"EXERCISE III. · THIRD LESSON, · On semiminims against a semibreve.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/125-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/125-a.png","sha256":"07d8fcfc6af4de1792902afa6923f3739c3a1bf8b0b7d36822723e5e8a1293ee","label":"Source crop · printed p. 125","local":false}],"owners":["125-a"],"state":"recorded-review","editionStatus":"verified","context":"Joseph. Why, Master, if I may ask, did you double the third in the fourth measure? For it seems that, by placing a unison instead of one of the thirds in the tenor part, it could have been done in the following way.","latin":"Joseph. Quare (pace tuâ Magister interrogo) in quarto tactu Tertiam duplicâsti? Videtur enim posito, loco unius Tertiæ Unisono in parte Tenoris sequenti modo fieri potuisse.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"efe6fc34fba8c53b905c20a53839a688f65495721c778eedcca4d8919775c564","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-190","downloads":[],"xmlSha256":"efe6fc34fba8c53b905c20a53839a688f65495721c778eedcca4d8919775c564","integrity":"matched","parts":4,"voices":4,"notes":7,"measures":1,"parser":{"status":"supported","warnings":[],"events":7,"normalizations":[]},"preview":{"path":"previews/edition-125-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"e3ff85215b88ced596cdba57edfa5a671aad2b80306ccf7a36fa390666ec5bd9","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"efe6fc34fba8c53b905c20a53839a688f65495721c778eedcca4d8919775c564"}},{"id":"edition:125-b","collection":"edition","title":"Example 125-b","page":125,"topic":"EXERCISE III. · THIRD LESSON, · On semiminims against a semibreve.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/125-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/125-b.png","sha256":"ff203f0f6712840f93112ffac9439f412e1944617e8d835217420c74a443a7f0","label":"Source crop · printed p. 125","local":false}],"owners":["125-b"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. I say that, owing to the requirement of semibreves, that progression cannot be made otherwise and must therefore be tolerated. It would be easily corrected if the tenor semibreve could be divided in the following way.","latin":"Aloys. Dico, progressionem illam ob Semibrevium necessitatem aliter fieri non posse, ideoque tolerandam esse, quæ facilis emendationis foret, si Tenoris Semibrevis dividi sequenti modo posset.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"8a440c0c485b05f4f46593ad970676edc98c7b7a607762545f48c7db13bdab8f","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-191","downloads":[],"xmlSha256":"8a440c0c485b05f4f46593ad970676edc98c7b7a607762545f48c7db13bdab8f","integrity":"matched","parts":4,"voices":4,"notes":15,"measures":2,"parser":{"status":"supported","warnings":[],"events":15,"normalizations":[]},"preview":{"path":"previews/edition-125-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"007fb1ebccac52a1fd95f7211de8958a430f55f7f5cdb20326326c9cbd3990fc","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"8a440c0c485b05f4f46593ad970676edc98c7b7a607762545f48c7db13bdab8f"}},{"id":"edition:125-c","collection":"edition","title":"Example 125-c","page":125,"topic":"EXERCISE III. · THIRD LESSON, · On semiminims against a semibreve.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/125-c.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/125-c.png","sha256":"86c1d1c51c71a1073d6104b187dcd89d3ccfee76908f93a5f86ebc7f68e65457","label":"Source crop · printed p. 125","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/126-a.png","sha256":"a6a66893887d2dedf2961f2f9615f28c7f392593cd99f5e1e9765f517c8bae7e","label":"Source crop · printed p. 126","local":false}],"owners":["125-c","126-a"],"state":"recorded-review","editionStatus":"verified","context":"I wish this to be understood also of the examples of the preceding species, in which many things are found that would have to be rejected as faulty without the requirement of semibreves. Now proceed to the remaining examples, varying the placement of the cantus firmus.","latin":"Quod etiam de priorum Specierum exemplis intelligi volo, in quibus multa reperiuntur, quæ absque Semibrevium necessitate tanquam vitiosa rejicienda forent. Nunc ad reliqua exempla variatâ Cantûs firmi collocatione progredere.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"df16b9f188114f14b494b3ae0c96d8a7046a3d8633d55d6292dd92eec5e61f05","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-192","downloads":[],"xmlSha256":"df16b9f188114f14b494b3ae0c96d8a7046a3d8633d55d6292dd92eec5e61f05","integrity":"matched","parts":4,"voices":4,"notes":74,"measures":11,"parser":{"status":"supported","warnings":[],"events":74,"normalizations":[]},"preview":{"path":"previews/edition-125-c.svg","pages":2,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"8185e299e73c5e94ef009841548d3603c0ab5a827c8f2b553115e949757db982","playback":true,"corpusLinks":[{"corpusId":"species:gap_180","status":"closing-duration","evidence":{"editionId":"edition:125-c","xmlSha256":"df16b9f188114f14b494b3ae0c96d8a7046a3d8633d55d6292dd92eec5e61f05","owners":["125-c","126-a"],"sourcePages":[125,126],"agreement":0.945946,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3,4],"corpusEvents":74,"editionEvents":74,"sharedEvents":70,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[40,74,4],1]],"editionOnly":[[[40,74,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[40,66,4],1]],"editionOnly":[[[40,66,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[40,57,4],1]],"editionOnly":[[[40,57,8],1]]},{"corpusPart":4,"editionPart":4,"corpusOnly":[[[40,50,4],1]],"editionOnly":[[[40,50,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:125-c"],"coverage":null,"xmlSha256":"df16b9f188114f14b494b3ae0c96d8a7046a3d8633d55d6292dd92eec5e61f05"}},{"id":"edition:126-b","collection":"edition","title":"Example 126-b","page":126,"topic":"EXERCISE III. · THIRD LESSON, · On semiminims against a semibreve.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/126-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/126-b.png","sha256":"2ef21961ca779aaffcb4681d0195a7f9f963025762e12a9afa08ee376e38b78c","label":"Source crop · printed p. 126","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/127-a.png","sha256":"802cfa85a1516cc64482410e2df2028c45484ee2ba0c1d1c21c72811bf386921","label":"Source crop · printed p. 127","local":false}],"owners":["126-b","127-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. Joseph, in this example you have given an excellent demonstration of your progress. It shows that nothing said throughout all the lessons has slipped from your memory. For, having placed the first semiminim so as to provide complete harmony, you moved here and there with the remaining three and entered the following measure by a smooth path, duly observing the other precepts of harmony and the species. This happens when the thesis, or beginning of each measure, is supplied with complete harmony, that is, a third and fifth. Continue.","latin":"Aloys. Egregium, Josephe, hoc exemplo profectûs tui specimen dedisti: quò prodis, nihil ex his, quæ per tot Lectionum cursum dicta sunt, memoriâ tibi excidisse; quia primâ Semiminimâ ad Harmoniæ completæ rationem positâ, cum reliquis tribus hinc inde vagando planâ viâ in sequentem tactum ingressus es, cæteraque Harmoniæ, specierumque præcepta ritè observâsti: quod fit, quum Thesis, sive cujusvis tactûs principium completâ Harmoniâ, id est, Tertia, & Quintâ provisum est. Perge.","issues":["Misprint, soprano bar 1: the print has F4, with A4 added by hand. The dialogue on p. 127 says the passage marked A moves from a fifth to an octave in the outer voices, which over the bass D3 is A4 to D5; F4 to D5 would also be a major-sixth leap. This main reading plays A4; the “As printed” reading keeps F4."],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged.","October 2026: collated note by note with Mark Gotham's species corpus (github.com/MarkGotham/species), an independent transcription of this same UNC Chapel Hill scan (IMSLP #286170). Disputed notes were read in this colour scan and in the corpus's 1-bit rendering of it, which drops pencil and light smudges. The print has F4."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"8dbc2dd8d7040bb4198b21d7eafbc9ae86fbbe00ee1f2bfac81069befdf53fcf","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-194","downloads":[{"label":"As printed (soprano, bar 1: F4)","url":"../fux-counter/musicxml/126-b-as-printed.musicxml"}],"xmlSha256":"8dbc2dd8d7040bb4198b21d7eafbc9ae86fbbe00ee1f2bfac81069befdf53fcf","integrity":"matched","parts":4,"voices":4,"notes":71,"measures":11,"parser":{"status":"supported","warnings":[],"events":71,"normalizations":[]},"preview":{"path":"previews/edition-126-b.svg","pages":2,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"57aa950f378ee789f9644f5a80b05cbd64db664fc3f82ff8eddbdb10c21547ff","playback":true,"corpusLinks":[{"corpusId":"species:gap_181","status":"closing-duration","evidence":{"editionId":"edition:126-b","xmlSha256":"8dbc2dd8d7040bb4198b21d7eafbc9ae86fbbe00ee1f2bfac81069befdf53fcf","owners":["126-b","127-a"],"sourcePages":[126,127],"agreement":0.943662,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3,4],"corpusEvents":71,"editionEvents":71,"sharedEvents":67,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[40,74,4],1]],"editionOnly":[[[40,74,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[40,62,4],1]],"editionOnly":[[[40,62,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[40,57,4],1]],"editionOnly":[[[40,57,8],1]]},{"corpusPart":4,"editionPart":4,"corpusOnly":[[[40,50,4],1]],"editionOnly":[[[40,50,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:126-b"],"coverage":null,"xmlSha256":"8dbc2dd8d7040bb4198b21d7eafbc9ae86fbbe00ee1f2bfac81069befdf53fcf"}},{"id":"edition:127-b","collection":"edition","title":"Example 127-b","page":127,"topic":"EXERCISE III. · THIRD LESSON, · On semiminims against a semibreve.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/127-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/127-b.png","sha256":"319e8da9bc710f63b80e8481b4b31b2d6d69c2314fe28635f72578daef8e6a9c","label":"Source crop · printed p. 127","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/128-a.png","sha256":"05b46652f6490adc3e0e5226bf80a653a85781fd389564bffd92c9b96a49a680","label":"Source crop · printed p. 128","local":false}],"owners":["127-b","128-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. I said a little earlier, and repeat again, that similar progressions must sometimes be excused because of the requirement of semibreves, since they cannot always be avoided even in free composition. They will nevertheless be more tolerable in the middle parts than in the outer parts, as you correctly observed.","latin":"Aloys. Jam paulò ante dixi, iterumque repeto, similes progressiones subinde necessitati Semibrevium condonandas esse: quippe quum ne in libero quidem componendi genere semper evitari possint: quæ tamen in partibus mediis, quàm in extremis, ut rectè animadvertisti, tolerabiliores erunt.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"0706dbf3c8f2fbfd10c471ba5870961167bb5b33f7f3521aff4c04a11454418c","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-197","downloads":[],"xmlSha256":"0706dbf3c8f2fbfd10c471ba5870961167bb5b33f7f3521aff4c04a11454418c","integrity":"matched","parts":4,"voices":4,"notes":74,"measures":11,"parser":{"status":"supported","warnings":[],"events":74,"normalizations":[]},"preview":{"path":"previews/edition-127-b.svg","pages":2,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"090222521defd8a69491ad06187ab901e9b2b798e70c8027e214ece6b4b297e7","playback":true,"corpusLinks":[{"corpusId":"species:gap_182","status":"closing-duration","evidence":{"editionId":"edition:127-b","xmlSha256":"0706dbf3c8f2fbfd10c471ba5870961167bb5b33f7f3521aff4c04a11454418c","owners":["127-b","128-a"],"sourcePages":[127,128],"agreement":0.945946,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3,4],"corpusEvents":74,"editionEvents":74,"sharedEvents":70,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[40,74,4],1]],"editionOnly":[[[40,74,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[40,62,4],1]],"editionOnly":[[[40,62,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[40,57,4],1]],"editionOnly":[[[40,57,8],1]]},{"corpusPart":4,"editionPart":4,"corpusOnly":[[[40,50,4],1]],"editionOnly":[[[40,50,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:127-b"],"coverage":null,"xmlSha256":"0706dbf3c8f2fbfd10c471ba5870961167bb5b33f7f3521aff4c04a11454418c"}},{"id":"edition:128-b","collection":"edition","title":"Example 128-b","page":128,"topic":"EXERCISE III. · THIRD LESSON, · On semiminims against a semibreve.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/128-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/128-b.png","sha256":"913cc47ee04aa69197b22a8271f0d96a639431cefd6d17d0b09e64f43f7b8afb","label":"Source crop · printed p. 128","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/129-a.png","sha256":"8b0c24c9b776341cf4f27d0432f505eefa2b0c42adf58cb4edd743a93d97536f","label":"Source crop · printed p. 129","local":false}],"owners":["128-b","129-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. You judge correctly. For it is clear that, given the strictness of this species, it could not have been done better, and that this defect is harder to perceive because it occurs in a middle part. Now complete the other mode, E, la, mi, in the same manner in my presence; because it lacks a fifth, it is the most difficult of all to work out. I entrust the others to your study at home.","latin":"Aloys. Rectè existimas. Perspicuum enim est, stante hujus Speciei rigore, meliùs fieri non potuisse: defectumque illum eò difficiliorem esse perceptu, quia in parte media existit. Nunc alterum tonum, E, la, mi, ob Quintæ defectum omnium difficillimum factu, me præsente pari ratione perficias. 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You judge correctly. For it is clear that, given the strictness of this species, it could not have been done better, and that this defect is harder to perceive because it occurs in a middle part. Now complete the other mode, E, la, mi, in the same manner in my presence; because it lacks a fifth, it is the most difficult of all to work out. I entrust the others to your study at home.","latin":"Aloys. Rectè existimas. Perspicuum enim est, stante hujus Speciei rigore, meliùs fieri non potuisse: defectumque illum eò difficiliorem esse perceptu, quia in parte media existit. Nunc alterum tonum, E, la, mi, ob Quintæ defectum omnium difficillimum factu, me præsente pari ratione perficias. Cæteros domi tuæ lucubrandos tibi committo.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"03aa889559dc0f4361d00875dad3df3b143de9cc8941972c5047c64de6de8f44","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-203","downloads":[],"xmlSha256":"03aa889559dc0f4361d00875dad3df3b143de9cc8941972c5047c64de6de8f44","integrity":"matched","parts":4,"voices":4,"notes":67,"measures":10,"parser":{"status":"supported","warnings":[],"events":67,"normalizations":[]},"preview":{"path":"previews/edition-129-b.svg","pages":2,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"d8312492a2b1e73a0e031bda68eb351d0504d89d5a8a0beb617c63f2314ecff7","playback":true,"corpusLinks":[{"corpusId":"species:gap_184","status":"closing-duration","evidence":{"editionId":"edition:129-b","xmlSha256":"03aa889559dc0f4361d00875dad3df3b143de9cc8941972c5047c64de6de8f44","owners":["129-b"],"sourcePages":[129],"agreement":0.940299,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3,4],"corpusEvents":67,"editionEvents":67,"sharedEvents":63,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[36,76,4],1]],"editionOnly":[[[36,76,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[36,68,4],1]],"editionOnly":[[[36,68,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[36,59,4],1]],"editionOnly":[[[36,59,8],1]]},{"corpusPart":4,"editionPart":4,"corpusOnly":[[[36,52,4],1]],"editionOnly":[[[36,52,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:129-b"],"coverage":null,"xmlSha256":"03aa889559dc0f4361d00875dad3df3b143de9cc8941972c5047c64de6de8f44"}},{"id":"edition:130-a","collection":"edition","title":"Example 130-a","page":130,"topic":"EXERCISE III. · THIRD LESSON, · On semiminims against a semibreve.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/130-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/130-a.png","sha256":"fae0dcf2794f1f3fd115121792be0c6ba823b8e92b3b5b64d5ab7aeba39cbfc9","label":"Source crop · printed p. 130","local":false}],"owners":["130-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. You judge correctly. For it is clear that, given the strictness of this species, it could not have been done better, and that this defect is harder to perceive because it occurs in a middle part. Now complete the other mode, E, la, mi, in the same manner in my presence; because it lacks a fifth, it is the most difficult of all to work out. I entrust the others to your study at home.","latin":"Aloys. Rectè existimas. Perspicuum enim est, stante hujus Speciei rigore, meliùs fieri non potuisse: defectumque illum eò difficiliorem esse perceptu, quia in parte media existit. Nunc alterum tonum, E, la, mi, ob Quintæ defectum omnium difficillimum factu, me præsente pari ratione perficias. 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You judge correctly. For it is clear that, given the strictness of this species, it could not have been done better, and that this defect is harder to perceive because it occurs in a middle part. Now complete the other mode, E, la, mi, in the same manner in my presence; because it lacks a fifth, it is the most difficult of all to work out. I entrust the others to your study at home.","latin":"Aloys. Rectè existimas. Perspicuum enim est, stante hujus Speciei rigore, meliùs fieri non potuisse: defectumque illum eò difficiliorem esse perceptu, quia in parte media existit. Nunc alterum tonum, E, la, mi, ob Quintæ defectum omnium difficillimum factu, me præsente pari ratione perficias. 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It remains now to explain which accompanying concordances ligatures require in four voices. Something was said about this in three-voice composition: namely, that they require the concordances they would call for if the ligature were removed, for the reason stated there, that a ligature is nothing other than a delay of the following note, which changes nothing as regards concordances. Examples will make the matter plain.","latin":"Absolutâ Semiminimarum Specie, Ligaturas sequi, e Bicinii, Triciniique Lectionibus compertum est: & quidnam eæ sint, pari ratione jam perspectum esse præsuppono. Nunc explanandum restat, quænam Concordantiarum comites in Quatricinio ligaturæ sibi adsciscant: de quo nonnihil dictum est in Tricinii compositione; eas nempe concordantias, quas sublatâ ligaturâ petunt, sibi postulare; ob rationem ibi dictam, quod ligatura nil aliud sit, quàm retardatio sequentis Notæ, quæ quoad concordantias nihil immutat. 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Exempla rem manifestabunt.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"cca3dd57dda3ce41fab91c1f878abcb3b601885c110da6e247ba91db96552d0b","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-210","downloads":[],"xmlSha256":"cca3dd57dda3ce41fab91c1f878abcb3b601885c110da6e247ba91db96552d0b","integrity":"matched","parts":4,"voices":4,"notes":8,"measures":2,"parser":{"status":"supported","warnings":[],"events":8,"normalizations":[]},"preview":{"path":"previews/edition-132-a-2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"f2de7ad993f8fe8a32aac57e2665ab43c7296cb7c79b410528520be721dcc97b","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"cca3dd57dda3ce41fab91c1f878abcb3b601885c110da6e247ba91db96552d0b"}},{"id":"edition:132-a-3","collection":"edition","title":"Example 132-a-3","page":132,"topic":"EXERCISE III. · FOURTH LESSON,","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/132-a-3.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/132-a.png","sha256":"cb4fd1ad6bd0bb66bfe03948127f8835e07544dceda2c3989b749de47035f365","label":"Source crop · printed p. 132","local":false}],"owners":["132-a"],"state":"recorded-review","editionStatus":"verified","context":"From the lessons in two and three voices it is known that ligatures follow the completed species of semiminims, and I likewise assume that their nature is already understood. It remains now to explain which accompanying concordances ligatures require in four voices. Something was said about this in three-voice composition: namely, that they require the concordances they would call for if the ligature were removed, for the reason stated there, that a ligature is nothing other than a delay of the following note, which changes nothing as regards concordances. Examples will make the matter plain.","latin":"Absolutâ Semiminimarum Specie, Ligaturas sequi, e Bicinii, Triciniique Lectionibus compertum est: & quidnam eæ sint, pari ratione jam perspectum esse præsuppono. Nunc explanandum restat, quænam Concordantiarum comites in Quatricinio ligaturæ sibi adsciscant: de quo nonnihil dictum est in Tricinii compositione; eas nempe concordantias, quas sublatâ ligaturâ petunt, sibi postulare; ob rationem ibi dictam, quod ligatura nil aliud sit, quàm retardatio sequentis Notæ, quæ quoad concordantias nihil immutat. Exempla rem manifestabunt.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"d29cdf82f5a846e72302cfa7441038cb78e1b2f0a5d56657faee9d0b62dd98e1","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-210","downloads":[],"xmlSha256":"d29cdf82f5a846e72302cfa7441038cb78e1b2f0a5d56657faee9d0b62dd98e1","integrity":"matched","parts":4,"voices":4,"notes":9,"measures":2,"parser":{"status":"supported","warnings":[],"events":8,"normalizations":[]},"preview":{"path":"previews/edition-132-a-3.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"74031244ea74dfdb34735721d52c6d529dd9a073ae613f7722ff7a2e6a55ab82","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"d29cdf82f5a846e72302cfa7441038cb78e1b2f0a5d56657faee9d0b62dd98e1"}},{"id":"edition:132-a-4","collection":"edition","title":"Example 132-a-4","page":132,"topic":"EXERCISE III. · FOURTH LESSON,","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/132-a-4.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/132-a.png","sha256":"cb4fd1ad6bd0bb66bfe03948127f8835e07544dceda2c3989b749de47035f365","label":"Source crop · printed p. 132","local":false}],"owners":["132-a"],"state":"recorded-review","editionStatus":"verified","context":"From the lessons in two and three voices it is known that ligatures follow the completed species of semiminims, and I likewise assume that their nature is already understood. It remains now to explain which accompanying concordances ligatures require in four voices. Something was said about this in three-voice composition: namely, that they require the concordances they would call for if the ligature were removed, for the reason stated there, that a ligature is nothing other than a delay of the following note, which changes nothing as regards concordances. Examples will make the matter plain.","latin":"Absolutâ Semiminimarum Specie, Ligaturas sequi, e Bicinii, Triciniique Lectionibus compertum est: & quidnam eæ sint, pari ratione jam perspectum esse præsuppono. Nunc explanandum restat, quænam Concordantiarum comites in Quatricinio ligaturæ sibi adsciscant: de quo nonnihil dictum est in Tricinii compositione; eas nempe concordantias, quas sublatâ ligaturâ petunt, sibi postulare; ob rationem ibi dictam, quod ligatura nil aliud sit, quàm retardatio sequentis Notæ, quæ quoad concordantias nihil immutat. Exempla rem manifestabunt.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"4d064bf74b0a4c24273f3a409d3367db7e4c035aefcc85c52b8ad63e23060a6f","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-210","downloads":[],"xmlSha256":"4d064bf74b0a4c24273f3a409d3367db7e4c035aefcc85c52b8ad63e23060a6f","integrity":"matched","parts":4,"voices":4,"notes":8,"measures":2,"parser":{"status":"supported","warnings":[],"events":8,"normalizations":[]},"preview":{"path":"previews/edition-132-a-4.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"ec944487c24a8c32f05538caab80fb50c9de405e2d4c27f71215a21b86e82330","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"4d064bf74b0a4c24273f3a409d3367db7e4c035aefcc85c52b8ad63e23060a6f"}},{"id":"edition:132-a-5","collection":"edition","title":"Example 132-a-5","page":132,"topic":"EXERCISE III. · FOURTH LESSON,","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/132-a-5.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/132-a.png","sha256":"cb4fd1ad6bd0bb66bfe03948127f8835e07544dceda2c3989b749de47035f365","label":"Source crop · printed p. 132","local":false}],"owners":["132-a"],"state":"recorded-review","editionStatus":"verified","context":"From the lessons in two and three voices it is known that ligatures follow the completed species of semiminims, and I likewise assume that their nature is already understood. It remains now to explain which accompanying concordances ligatures require in four voices. Something was said about this in three-voice composition: namely, that they require the concordances they would call for if the ligature were removed, for the reason stated there, that a ligature is nothing other than a delay of the following note, which changes nothing as regards concordances. Examples will make the matter plain.","latin":"Absolutâ Semiminimarum Specie, Ligaturas sequi, e Bicinii, Triciniique Lectionibus compertum est: & quidnam eæ sint, pari ratione jam perspectum esse præsuppono. Nunc explanandum restat, quænam Concordantiarum comites in Quatricinio ligaturæ sibi adsciscant: de quo nonnihil dictum est in Tricinii compositione; eas nempe concordantias, quas sublatâ ligaturâ petunt, sibi postulare; ob rationem ibi dictam, quod ligatura nil aliud sit, quàm retardatio sequentis Notæ, quæ quoad concordantias nihil immutat. Exempla rem manifestabunt.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"ecf65be4c1c87f878611dd1d4070dfae9ea2b8657840bf9d00b633b18a5b2870","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-210","downloads":[],"xmlSha256":"ecf65be4c1c87f878611dd1d4070dfae9ea2b8657840bf9d00b633b18a5b2870","integrity":"matched","parts":4,"voices":4,"notes":9,"measures":2,"parser":{"status":"supported","warnings":[],"events":8,"normalizations":[]},"preview":{"path":"previews/edition-132-a-5.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"fcc603867166eed727b51122deb7d11e18027c51c5eb2f06114932983dd28c61","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"ecf65be4c1c87f878611dd1d4070dfae9ea2b8657840bf9d00b633b18a5b2870"}},{"id":"edition:132-a-6","collection":"edition","title":"Example 132-a-6","page":132,"topic":"EXERCISE III. · FOURTH LESSON,","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/132-a-6.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/132-a.png","sha256":"cb4fd1ad6bd0bb66bfe03948127f8835e07544dceda2c3989b749de47035f365","label":"Source crop · printed p. 132","local":false}],"owners":["132-a"],"state":"recorded-review","editionStatus":"verified","context":"From the lessons in two and three voices it is known that ligatures follow the completed species of semiminims, and I likewise assume that their nature is already understood. It remains now to explain which accompanying concordances ligatures require in four voices. Something was said about this in three-voice composition: namely, that they require the concordances they would call for if the ligature were removed, for the reason stated there, that a ligature is nothing other than a delay of the following note, which changes nothing as regards concordances. Examples will make the matter plain.","latin":"Absolutâ Semiminimarum Specie, Ligaturas sequi, e Bicinii, Triciniique Lectionibus compertum est: & quidnam eæ sint, pari ratione jam perspectum esse præsuppono. Nunc explanandum restat, quænam Concordantiarum comites in Quatricinio ligaturæ sibi adsciscant: de quo nonnihil dictum est in Tricinii compositione; eas nempe concordantias, quas sublatâ ligaturâ petunt, sibi postulare; ob rationem ibi dictam, quod ligatura nil aliud sit, quàm retardatio sequentis Notæ, quæ quoad concordantias nihil immutat. Exempla rem manifestabunt.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"b740e2f8298384d402dc8b00f86e57ada8cf498354eb131ff73600368cd049ef","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-210","downloads":[],"xmlSha256":"b740e2f8298384d402dc8b00f86e57ada8cf498354eb131ff73600368cd049ef","integrity":"matched","parts":4,"voices":4,"notes":8,"measures":2,"parser":{"status":"supported","warnings":[],"events":8,"normalizations":[]},"preview":{"path":"previews/edition-132-a-6.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"126c7b6130061fee1028d6f6092bc426eefd1d81f17ac2460ad24a2c6470aad5","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"b740e2f8298384d402dc8b00f86e57ada8cf498354eb131ff73600368cd049ef"}},{"id":"edition:132-b","collection":"edition","title":"Example 132-b","page":132,"topic":"EXERCISE III. · FOURTH LESSON,","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/132-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/132-b.png","sha256":"7d4221c336ca164145244b272df2dcb3b51023a880169304219af16958c079d5","label":"Source crop · printed p. 132","local":false}],"owners":["132-b"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. There are exceptions in certain cases of this lesson, where one is obliged to combine ligatures with three semibreves throughout the full measure. First, this cannot be done in the case where a fifth is associated with a seventh in ligature. For example:","latin":"Aloys. Fallit in quibusdam Hypothesibus hujus Lectionis; ubi obligatio est ligaturas cum tribus Semibrevibus concordandi per integram tactûs mensuram: quod primò usuvenire non potest in Hypothesi, ubi Septimæ in ligatura Quinta associatur. E. G.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"311799be334d53dee6376c3e606babd0a03a893d4797188358a4cf83c615cba5","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-211","downloads":[],"xmlSha256":"311799be334d53dee6376c3e606babd0a03a893d4797188358a4cf83c615cba5","integrity":"matched","parts":4,"voices":4,"notes":9,"measures":2,"parser":{"status":"supported","warnings":[],"events":8,"normalizations":[]},"preview":{"path":"previews/edition-132-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"b80dec527790939d7a5f9d6aaf3d2b9971606bf3dca954d386725cce9fdcdfc6","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"311799be334d53dee6376c3e606babd0a03a893d4797188358a4cf83c615cba5"}},{"id":"edition:133-a","collection":"edition","title":"Example 133-a","page":133,"topic":"EXERCISE III. · FOURTH LESSON,","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/133-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/133-a.png","sha256":"822cc3e6ccf755cdc244f5bedd20bac20790e319b7dde68c7230f43d64e17f7d","label":"Source crop · printed p. 133","local":false}],"owners":["133-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. The semibreve in the tenor part must be divided in this way.","latin":"Aloys. Semibrevis in parte Tenoris dividenda est hoc modo.","issues":["Second source measure intentionally contains eight quarter-note beats (two whole-note positions) without intervening barline; preserved."],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"05c1104b61a5246b1b9b4e7943f5dd26cc5f602a859dd046127159b7c2abdb19","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-213","downloads":[],"xmlSha256":"05c1104b61a5246b1b9b4e7943f5dd26cc5f602a859dd046127159b7c2abdb19","integrity":"matched","parts":4,"voices":4,"notes":14,"measures":2,"parser":{"status":"supported","warnings":[],"events":13,"normalizations":[]},"preview":{"path":"previews/edition-133-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"8e31b12ae33a8678af99dc853b2e829b587197110f21aebc8d8e5472fc3e9775","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"05c1104b61a5246b1b9b4e7943f5dd26cc5f602a859dd046127159b7c2abdb19"}},{"id":"edition:133-b","collection":"edition","title":"Example 133-b","page":133,"topic":"EXERCISE III. · FOURTH LESSON,","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/133-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/133-b.png","sha256":"f69cd91be8b2263359c1743d6d01edb8c30939408f481d5e826b545ae2b4d7fc","label":"Source crop · printed p. 133","local":false}],"owners":["133-b"],"state":"recorded-review","editionStatus":"verified","context":"Joseph. A seventh accompanied by an octave would not be subject to the division of a semibreve, as may be seen in your preceding example, in this way:","latin":"Joseph. Septima cum Octava comitata, Semibrevis divisioni obnoxia minimè foret: uti in priori exemplo tuo videndum est, hoc modo:","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"2fb4a020696ef008748ea0d1acd6af1b07be55604882e774c2b847db3769f3c5","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-214","downloads":[],"xmlSha256":"2fb4a020696ef008748ea0d1acd6af1b07be55604882e774c2b847db3769f3c5","integrity":"matched","parts":4,"voices":4,"notes":9,"measures":2,"parser":{"status":"supported","warnings":[],"events":8,"normalizations":[]},"preview":{"path":"previews/edition-133-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"120e7f75fc88867930cc7bee200b32909fe018217b1e17bff3d97d65532241a3","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"2fb4a020696ef008748ea0d1acd6af1b07be55604882e774c2b847db3769f3c5"}},{"id":"edition:133-c","collection":"edition","title":"Example 133-c","page":133,"topic":"EXERCISE III. · FOURTH LESSON,","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/133-c.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/133-c.png","sha256":"753dff3ebb5e69115c56cad5439cc2f66068f0693f48babb7fd7da7ce9d2498b","label":"Source crop · printed p. 133","local":false}],"owners":["133-c"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. That is true in this case, where nothing prevents an octave from being given instead of the fifth. But in cases, of which there are very many, where there is no room for an octave because of the sequence of preceding and following notes, a fifth must necessarily be used. Then the semibreve must be divided, as in many other circumstances, as the following examples teach.","latin":"Aloys. Verum est in hoc casu, ubi nihil impedit, quò minùs Octava loco Quintæ dari possit; sed in Hypothesibus, quarum plurimæ reperiuntur, ubi propter præcedentium Notarum, subsequentiumque seriem Octavæ locus non est, Quinta necessariò usurpari debet: tum Semibrevis uti in multis aliis eventibus dividenda est; quemadmodum Paradigmata sequentia docent.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"a126d3d0682242828422cc499d770c53522ae7148b5565c32dc30b8b5d23a10d","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-215","downloads":[],"xmlSha256":"a126d3d0682242828422cc499d770c53522ae7148b5565c32dc30b8b5d23a10d","integrity":"matched","parts":4,"voices":4,"notes":53,"measures":11,"parser":{"status":"supported","warnings":[],"events":44,"normalizations":[]},"preview":{"path":"previews/edition-133-c.svg","pages":2,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"c46b8b184e4232c887f99012fa4866109d487fa13e560a5c01b2cacabf383c1f","playback":true,"corpusLinks":[{"corpusId":"species:gap_193","status":"closing-duration","evidence":{"editionId":"edition:133-c","xmlSha256":"a126d3d0682242828422cc499d770c53522ae7148b5565c32dc30b8b5d23a10d","owners":["133-c"],"sourcePages":[133],"agreement":0.909091,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3,4],"corpusEvents":44,"editionEvents":44,"sharedEvents":40,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[40,74,4],1]],"editionOnly":[[[40,74,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[40,62,4],1]],"editionOnly":[[[40,62,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[40,57,4],1]],"editionOnly":[[[40,57,8],1]]},{"corpusPart":4,"editionPart":4,"corpusOnly":[[[40,50,4],1]],"editionOnly":[[[40,50,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:133-c"],"coverage":null,"xmlSha256":"a126d3d0682242828422cc499d770c53522ae7148b5565c32dc30b8b5d23a10d"}},{"id":"edition:134-a","collection":"edition","title":"Example 134-a","page":134,"topic":"EXERCISE III. · FOURTH LESSON,","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/134-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/134-a.png","sha256":"88d043bb9dd384e5f9e7e75e7ebbff14c6be59292f92f64c5c9f057ee9952c61","label":"Source crop · printed p. 134","local":false}],"owners":["134-a"],"state":"recorded-review","editionStatus":"verified","context":"Joseph. I find nothing doubtful in this example except the progression from the fourth measure to the fifth between the tenor and alto parts.","latin":"Joseph. Nihil dubii in hoc exemplo reperio, præter progressionem de quarto in quintum tactum inter partes Tenoris & Alti.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"f7ec92ebea6af4adcb7d5c1a53a71143ae2e4d97efa5986a05c786ec401d004a","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-216","downloads":[],"xmlSha256":"f7ec92ebea6af4adcb7d5c1a53a71143ae2e4d97efa5986a05c786ec401d004a","integrity":"matched","parts":2,"voices":2,"notes":4,"measures":2,"parser":{"status":"supported","warnings":[],"events":4,"normalizations":[]},"preview":{"path":"previews/edition-134-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"e8f0e33bd30ac2733ab34ea1c1f1f9f91c68342d09a31eac85c6c031440eee1e","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"f7ec92ebea6af4adcb7d5c1a53a71143ae2e4d97efa5986a05c786ec401d004a"}},{"id":"edition:134-b","collection":"edition","title":"Example 134-b","page":134,"topic":"EXERCISE III. · FOURTH LESSON,","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/134-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/134-b.png","sha256":"a1f2e460207165e55a873e7be9520cf5dc73eca5ca5e783b91ecda81dac4ec09","label":"Source crop · printed p. 134","local":false}],"owners":["134-b"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. So that this progression may cause you no scruple, you must know that a fourth between the middle parts is either regarded as of no consequence or performs the function of an imperfect consonance. Hence that progression must be treated just as if you were proceeding by similar motion from a perfect to an imperfect consonance. This must be carefully noted. Now to the remaining examples.","latin":"Aloys. Ne scrupulum tibi moveat hæc progressio, scire te oportet, Quartam inter medias partes, aut nullius momenti haberi, aut officio Consonantiæ imperfectæ perfungi. Unde progressio illa perinde tenenda est, ac si de Consonantia perfecta ad imperfectam motu recto procederes: quod bene notandum est. Nunc ad reliqua exempla.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"39f41560b10ddd0662a9072b970b634132c27cff868929a3da1165bf510df7a1","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-217","downloads":[],"xmlSha256":"39f41560b10ddd0662a9072b970b634132c27cff868929a3da1165bf510df7a1","integrity":"matched","parts":4,"voices":4,"notes":55,"measures":11,"parser":{"status":"supported","warnings":[],"events":46,"normalizations":[]},"preview":{"path":"previews/edition-134-b.svg","pages":2,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"5b6e7fde748b3e6acd0cf87589a6f596e4fff197cf205c653b39303bab9e489a","playback":true,"corpusLinks":[{"corpusId":"species:gap_195","status":"closing-duration","evidence":{"editionId":"edition:134-b","xmlSha256":"39f41560b10ddd0662a9072b970b634132c27cff868929a3da1165bf510df7a1","owners":["134-b"],"sourcePages":[134],"agreement":0.913043,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3,4],"corpusEvents":46,"editionEvents":46,"sharedEvents":42,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[40,66,4],1]],"editionOnly":[[[40,66,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[40,57,4],1]],"editionOnly":[[[40,57,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[40,62,4],1]],"editionOnly":[[[40,62,8],1]]},{"corpusPart":4,"editionPart":4,"corpusOnly":[[[40,50,4],1]],"editionOnly":[[[40,50,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:134-b"],"coverage":null,"xmlSha256":"39f41560b10ddd0662a9072b970b634132c27cff868929a3da1165bf510df7a1"}},{"id":"edition:134-c","collection":"edition","title":"Example 134-c","page":134,"topic":"EXERCISE III. · FOURTH LESSON,","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/134-c.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/134-c.png","sha256":"d483260fb27f97e58e1d179d369681bc873b7a628297e0366e63d96dac9b0b3b","label":"Source crop · printed p. 134","local":false}],"owners":["134-c"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. So that this progression may cause you no scruple, you must know that a fourth between the middle parts is either regarded as of no consequence or performs the function of an imperfect consonance. Hence that progression must be treated just as if you were proceeding by similar motion from a perfect to an imperfect consonance. This must be carefully noted. Now to the remaining examples.","latin":"Aloys. Ne scrupulum tibi moveat hæc progressio, scire te oportet, Quartam inter medias partes, aut nullius momenti haberi, aut officio Consonantiæ imperfectæ perfungi. Unde progressio illa perinde tenenda est, ac si de Consonantia perfecta ad imperfectam motu recto procederes: quod bene notandum est. Nunc ad reliqua exempla.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"abeb144361854bec18b79b97329d8e4c4e1973eb23c8f9fa8a1c2dd804e0d4a6","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-218","downloads":[],"xmlSha256":"abeb144361854bec18b79b97329d8e4c4e1973eb23c8f9fa8a1c2dd804e0d4a6","integrity":"matched","parts":4,"voices":4,"notes":53,"measures":11,"parser":{"status":"supported","warnings":[],"events":44,"normalizations":[]},"preview":{"path":"previews/edition-134-c.svg","pages":2,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"5d8b10f39dcbc412721320190853e08011638674cbc2c1f335f82c765098aae2","playback":true,"corpusLinks":[{"corpusId":"species:gap_196","status":"closing-duration","evidence":{"editionId":"edition:134-c","xmlSha256":"abeb144361854bec18b79b97329d8e4c4e1973eb23c8f9fa8a1c2dd804e0d4a6","owners":["134-c"],"sourcePages":[134],"agreement":0.909091,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3,4],"corpusEvents":44,"editionEvents":44,"sharedEvents":40,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[40,62,4],1]],"editionOnly":[[[40,62,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[40,62,4],1]],"editionOnly":[[[40,62,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[40,57,4],1]],"editionOnly":[[[40,57,8],1]]},{"corpusPart":4,"editionPart":4,"corpusOnly":[[[40,50,4],1]],"editionOnly":[[[40,50,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:134-c"],"coverage":null,"xmlSha256":"abeb144361854bec18b79b97329d8e4c4e1973eb23c8f9fa8a1c2dd804e0d4a6"}},{"id":"edition:135-a","collection":"edition","title":"Example 135-a","page":135,"topic":"EXERCISE III. · FOURTH LESSON,","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/135-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/135-a.png","sha256":"9a65594a71afeab3ef446e4f83b3158cbd5642691ac2214a9d773b9791a4f148","label":"Source crop · printed p. 135","local":false}],"owners":["135-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. So that this progression may cause you no scruple, you must know that a fourth between the middle parts is either regarded as of no consequence or performs the function of an imperfect consonance. Hence that progression must be treated just as if you were proceeding by similar motion from a perfect to an imperfect consonance. This must be carefully noted. Now to the remaining examples.","latin":"Aloys. Ne scrupulum tibi moveat hæc progressio, scire te oportet, Quartam inter medias partes, aut nullius momenti haberi, aut officio Consonantiæ imperfectæ perfungi. Unde progressio illa perinde tenenda est, ac si de Consonantia perfecta ad imperfectam motu recto procederes: quod bene notandum est. Nunc ad reliqua exempla.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"f5c0c4a97c754eab7a9f807e10ea68cecb2e45122d08cdd61b98c4ca565c76ba","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-219","downloads":[],"xmlSha256":"f5c0c4a97c754eab7a9f807e10ea68cecb2e45122d08cdd61b98c4ca565c76ba","integrity":"matched","parts":4,"voices":4,"notes":55,"measures":11,"parser":{"status":"supported","warnings":[],"events":46,"normalizations":[]},"preview":{"path":"previews/edition-135-a.svg","pages":2,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"b18baa9766fe1ed53d729fe7e64134ee68ece64c3b7f45955080bd864a12c941","playback":true,"corpusLinks":[{"corpusId":"species:gap_197","status":"closing-duration","evidence":{"editionId":"edition:135-a","xmlSha256":"f5c0c4a97c754eab7a9f807e10ea68cecb2e45122d08cdd61b98c4ca565c76ba","owners":["135-a"],"sourcePages":[135],"agreement":0.913043,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3,4],"corpusEvents":46,"editionEvents":46,"sharedEvents":42,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[40,69,4],1]],"editionOnly":[[[40,69,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[40,62,4],1]],"editionOnly":[[[40,62,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[40,54,4],1]],"editionOnly":[[[40,54,8],1]]},{"corpusPart":4,"editionPart":4,"corpusOnly":[[[40,50,4],1]],"editionOnly":[[[40,50,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:135-a"],"coverage":null,"xmlSha256":"f5c0c4a97c754eab7a9f807e10ea68cecb2e45122d08cdd61b98c4ca565c76ba"}},{"id":"edition:135-b","collection":"edition","title":"Example 135-b","page":135,"topic":"EXERCISE III. · FOURTH LESSON,","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/135-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/135-b.png","sha256":"b1063377016399f013b48097611de085375c10d980a29ad1cad1b861a9ac4a16","label":"Source crop · printed p. 135","local":false}],"owners":["135-b"],"state":"needs-review","editionStatus":"needs-review","context":"Aloysius. Do you not observe that the fifth is missing on the thesis of the sixth measure of the first example? Yet it is most necessary for complete harmony. Then, in the fifth measure of the last example, the second is doubled, while the sixth needed for complete harmony is missing, as the following example demonstrates.","latin":"Aloys. Non animadvertis, in exempli primi sexto tactu Thesi deesse Quintam? quæ tamen ad completam Harmoniam summopere necessaria est. Deinde in ultimi exempli quinto tactu Secunda duplicata est, deficiente Sextâ, quæ ad integram Harmoniæ rationem desideratur, ut sequens exemplum demonstrat.","issues":["One-measure correction fragment; incoming bass tie begins outside shown fragment. Retained in ledger/source image; omitted from standalone MusicXML because consumer rejects stop-only ties."],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"29bce2983c3a0f0231690d6726d950c219a15728e71bdcfb5dec82b8833ed0ad","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-220","downloads":[],"xmlSha256":"29bce2983c3a0f0231690d6726d950c219a15728e71bdcfb5dec82b8833ed0ad","integrity":"matched","parts":4,"voices":4,"notes":7,"measures":1,"parser":{"status":"supported","warnings":[],"events":7,"normalizations":[]},"preview":{"path":"previews/edition-135-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"925fb66e6f023765489dac12801329b8fa16dc9f3a6de4493998fb7ff1b99b69","playback":false,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"29bce2983c3a0f0231690d6726d950c219a15728e71bdcfb5dec82b8833ed0ad"}},{"id":"edition:136-a-1","collection":"edition","title":"Example 136-a-1","page":136,"topic":"EXERCISE III. · FOURTH LESSON,","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/136-a-1.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/136-a.png","sha256":"9c50cc95d50d1fb6368758947a5da8105c5a1b0626c29ef77805736312bb9775","label":"Source crop · printed p. 136","local":false}],"owners":["136-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. It matters not so much on account of the second or fourth as on account of complete harmony. For since fullness of harmony consists in the placing of a third, fifth, and octave, whereas in the example mentioned a doubled fifth is found instead of the octave, it is clear that the harmony there will not be complete in every respect. Here, however, I am not speaking of the first part of the measure, where the second is present and does not admit an octave as its companion, but of the second part of the measure, where the octave is wanted. For example:","latin":"Aloys. Non tam ratione Secundæ, vel Quartæ, quàm ratione completæ Harmoniæ interest. Cùm enim Harmoniæ plenitudo consistat in locatione Tertiæ, Quintæ, & Octavæ; in dicto autem exemplo loco Octavæ Quinta duplicata reperiatur, ibidem Harmoniam non omnibus numeris absolutam fore constat. Hîc autem non loquor de prima tactûs parte, ubi Secunda inest, quæ Octavam sibi comitem haud admittit, sed de secunda tactûs parte, in qua Octava desideratur. E. G.","issues":["Blank upper staves in first partial measure represented by non-sounding forward elements; bass starts in second half of implied measure."],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"1d122b460c690b231d0707629408f96e63c27f297219da1f389c8a258d759599","hints":{"invisible_gaps":[["1","P1"],["1","P2"],["1","P3"]]}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-221","downloads":[],"xmlSha256":"1d122b460c690b231d0707629408f96e63c27f297219da1f389c8a258d759599","integrity":"matched","parts":4,"voices":4,"notes":6,"measures":2,"parser":{"status":"supported","warnings":[],"events":5,"normalizations":[]},"preview":{"path":"previews/edition-136-a-1.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"80f4d865f04e6f4115d64876e8e460431faaa333227d7f960b1ee4f6fdf55edf","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"1d122b460c690b231d0707629408f96e63c27f297219da1f389c8a258d759599"}},{"id":"edition:136-a-2","collection":"edition","title":"Example 136-a-2","page":136,"topic":"EXERCISE III. · FOURTH LESSON,","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/136-a-2.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/136-a.png","sha256":"9c50cc95d50d1fb6368758947a5da8105c5a1b0626c29ef77805736312bb9775","label":"Source crop · printed p. 136","local":false}],"owners":["136-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. It matters not so much on account of the second or fourth as on account of complete harmony. For since fullness of harmony consists in the placing of a third, fifth, and octave, whereas in the example mentioned a doubled fifth is found instead of the octave, it is clear that the harmony there will not be complete in every respect. Here, however, I am not speaking of the first part of the measure, where the second is present and does not admit an octave as its companion, but of the second part of the measure, where the octave is wanted. For example:","latin":"Aloys. Non tam ratione Secundæ, vel Quartæ, quàm ratione completæ Harmoniæ interest. Cùm enim Harmoniæ plenitudo consistat in locatione Tertiæ, Quintæ, & Octavæ; in dicto autem exemplo loco Octavæ Quinta duplicata reperiatur, ibidem Harmoniam non omnibus numeris absolutam fore constat. Hîc autem non loquor de prima tactûs parte, ubi Secunda inest, quæ Octavam sibi comitem haud admittit, sed de secunda tactûs parte, in qua Octava desideratur. E. G.","issues":["Blank upper staves in first partial measure represented by non-sounding forward elements; bass starts in second half of implied measure."],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"9ef1e7ce7ae5d468797655bfecf60070368089f3f3bfe7dd5826fe048f741a92","hints":{"invisible_gaps":[["1","P1"],["1","P2"],["1","P3"]]}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-221","downloads":[],"xmlSha256":"9ef1e7ce7ae5d468797655bfecf60070368089f3f3bfe7dd5826fe048f741a92","integrity":"matched","parts":4,"voices":4,"notes":7,"measures":2,"parser":{"status":"supported","warnings":[],"events":6,"normalizations":[]},"preview":{"path":"previews/edition-136-a-2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"e1faaa31ac0a0021fc98e5fe416b0c1606b8fb8317ce3e4769bc715b76d21141","playback":true,"corpusLinks":[],"relationship":"additional-teaching","material":{"group":"additional-teaching","reason":"Inside the teaching dialogue, outside the 123 complete-exercise links and their shared-crop readings.","relatedEditionIds":[],"coverage":null,"xmlSha256":"9ef1e7ce7ae5d468797655bfecf60070368089f3f3bfe7dd5826fe048f741a92"}},{"id":"edition:136-b","collection":"edition","title":"Example 136-b","page":136,"topic":"EXERCISE III. · FIFTH LESSON.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/136-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/136-b.png","sha256":"0d18648821c0392c83bd7941bad357649388b0f26b1b6e76e221d2fc6e4222b3","label":"Source crop · printed p. 136","local":false}],"owners":["136-b"],"state":"recorded-review","editionStatus":"verified","context":"Joseph, you know that this species consists in florid counterpoint. I suppose that its nature and manner of construction are known to you from the preceding examples and explanations, especially from the exercise in this species for three voices. Thus nothing new needs to be added here except a fourth part, consisting of semibreves, to be woven in according to the rules of four-voice composition. To the examples.","latin":"Speciem hanc, Josephe, Contrapuncto florido contineri, non ignoras. Quid sit, qua ratione fiat, ex præcedentibus, & exemplis, & dictis nota tibi fore suppono: maximè ex Tricinii speciei hujus exercitio: ut adeò nihil hîc novi addendum sit, præter quartam partem, Semibrevi constantem, juxtaque Quatricinii regulas intexendam. Ad exempla.","issues":["Source augmentation dots across bars normalized with editorial ties1–2,6–7,8–9."],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged.","October 2026: collated note by note with Mark Gotham's species corpus (github.com/MarkGotham/species), an independent transcription of this same UNC Chapel Hill scan (IMSLP #286170). Disputed notes were read in this colour scan and in the corpus's 1-bit rendering of it, which drops pencil and light smudges. Restored the printed tie on B4, bars 4–5."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"7a0853e012a122a4a37e0c409aa6cce480fb1e7783da1539a7f7665e8f69b918","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-222","downloads":[],"xmlSha256":"7a0853e012a122a4a37e0c409aa6cce480fb1e7783da1539a7f7665e8f69b918","integrity":"matched","parts":4,"voices":4,"notes":59,"measures":11,"parser":{"status":"supported","warnings":[],"events":52,"normalizations":[]},"preview":{"path":"previews/edition-136-b.svg","pages":2,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"0bc395ecb1ebf4ba0e2e4672d14ef5328ac009b936cf399cb9062ae87bb1229d","playback":true,"corpusLinks":[{"corpusId":"species:gap_200","status":"closing-duration","evidence":{"editionId":"edition:136-b","xmlSha256":"7a0853e012a122a4a37e0c409aa6cce480fb1e7783da1539a7f7665e8f69b918","owners":["136-b"],"sourcePages":[136],"agreement":0.923077,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3,4],"corpusEvents":52,"editionEvents":52,"sharedEvents":48,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[40,74,4],1]],"editionOnly":[[[40,74,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[40,62,4],1]],"editionOnly":[[[40,62,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[40,57,4],1]],"editionOnly":[[[40,57,8],1]]},{"corpusPart":4,"editionPart":4,"corpusOnly":[[[40,50,4],1]],"editionOnly":[[[40,50,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:136-b"],"coverage":null,"xmlSha256":"7a0853e012a122a4a37e0c409aa6cce480fb1e7783da1539a7f7665e8f69b918"}},{"id":"edition:137-a","collection":"edition","title":"Example 137-a","page":137,"topic":"EXERCISE III. · FIFTH LESSON.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/137-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/137-a.png","sha256":"092af2d93d2d3cb4ec9c33b0f48108a8125ed392c5cc1362910e6eaefdacd4e9","label":"Source crop · printed p. 137","local":false}],"owners":["137-a"],"state":"recorded-review","editionStatus":"verified","context":"Joseph, you know that this species consists in florid counterpoint. I suppose that its nature and manner of construction are known to you from the preceding examples and explanations, especially from the exercise in this species for three voices. Thus nothing new needs to be added here except a fourth part, consisting of semibreves, to be woven in according to the rules of four-voice composition. To the examples.","latin":"Speciem hanc, Josephe, Contrapuncto florido contineri, non ignoras. Quid sit, qua ratione fiat, ex præcedentibus, & exemplis, & dictis nota tibi fore suppono: maximè ex Tricinii speciei hujus exercitio: ut adeò nihil hîc novi addendum sit, præter quartam partem, Semibrevi constantem, juxtaque Quatricinii regulas intexendam. Ad exempla.","issues":["Dots across bars normalized with editorial ties1–2,4–5,6–7,8–9.","Misprint, final bass: the breve is printed C3. A piece in the mode on D ends on D, so this main reading plays D3; the “As printed” reading keeps C3."],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged.","October 2026: collated note by note with Mark Gotham's species corpus (github.com/MarkGotham/species), an independent transcription of this same UNC Chapel Hill scan (IMSLP #286170). Disputed notes were read in this colour scan and in the corpus's 1-bit rendering of it, which drops pencil and light smudges. The print has C3."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"04887c2e461548b6fb60777ea09e7f56b33450ffa895193fdffd89a61fed8fda","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-223","downloads":[{"label":"As printed (final bass: C3)","url":"../fux-counter/musicxml/137-a-as-printed.musicxml"}],"xmlSha256":"04887c2e461548b6fb60777ea09e7f56b33450ffa895193fdffd89a61fed8fda","integrity":"matched","parts":4,"voices":4,"notes":61,"measures":11,"parser":{"status":"supported","warnings":[],"events":54,"normalizations":[]},"preview":{"path":"previews/edition-137-a.svg","pages":2,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"f84fb91dfed0a64127c2c9ce67e76d9a824361d09aa0d9d32d7b671cbff3f4a3","playback":true,"corpusLinks":[{"corpusId":"species:gap_201","status":"closing-duration","evidence":{"editionId":"edition:137-a","xmlSha256":"04887c2e461548b6fb60777ea09e7f56b33450ffa895193fdffd89a61fed8fda","owners":["137-a"],"sourcePages":[137],"agreement":0.925926,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3,4],"corpusEvents":54,"editionEvents":54,"sharedEvents":50,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[40,62,4],1]],"editionOnly":[[[40,62,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[40,62,4],1]],"editionOnly":[[[40,62,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[40,57,4],1]],"editionOnly":[[[40,57,8],1]]},{"corpusPart":4,"editionPart":4,"corpusOnly":[[[40,50,4],1]],"editionOnly":[[[40,50,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:137-a"],"coverage":null,"xmlSha256":"04887c2e461548b6fb60777ea09e7f56b33450ffa895193fdffd89a61fed8fda"}},{"id":"edition:137-b","collection":"edition","title":"Example 137-b","page":137,"topic":"EXERCISE III. · FIFTH LESSON.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/137-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/137-b.png","sha256":"d87deb8b3a09c81d60df7a07a11a0107b0ef5b244f7106941851bd0c4a27a076","label":"Source crop · printed p. 137","local":false}],"owners":["137-b"],"state":"recorded-review","editionStatus":"verified","context":"Joseph, you know that this species consists in florid counterpoint. I suppose that its nature and manner of construction are known to you from the preceding examples and explanations, especially from the exercise in this species for three voices. Thus nothing new needs to be added here except a fourth part, consisting of semibreves, to be woven in according to the rules of four-voice composition. To the examples.","latin":"Speciem hanc, Josephe, Contrapuncto florido contineri, non ignoras. Quid sit, qua ratione fiat, ex præcedentibus, & exemplis, & dictis nota tibi fore suppono: maximè ex Tricinii speciei hujus exercitio: ut adeò nihil hîc novi addendum sit, præter quartam partem, Semibrevi constantem, juxtaque Quatricinii regulas intexendam. Ad exempla.","issues":["Dot across source bar7–8 normalized with editorial tie."],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"9541c662efc604bca1098110cb9edb22949877c6430b231fd1fb117a5777f9b0","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-224","downloads":[],"xmlSha256":"9541c662efc604bca1098110cb9edb22949877c6430b231fd1fb117a5777f9b0","integrity":"matched","parts":4,"voices":4,"notes":57,"measures":11,"parser":{"status":"supported","warnings":[],"events":50,"normalizations":[]},"preview":{"path":"previews/edition-137-b.svg","pages":2,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"f914abb82817b7be6d0bd2405faa4ffe1acc8b7c87d3ec825338fdeb9985059e","playback":true,"corpusLinks":[{"corpusId":"species:gap_202","status":"closing-duration","evidence":{"editionId":"edition:137-b","xmlSha256":"9541c662efc604bca1098110cb9edb22949877c6430b231fd1fb117a5777f9b0","owners":["137-b"],"sourcePages":[137],"agreement":0.92,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3,4],"corpusEvents":50,"editionEvents":50,"sharedEvents":46,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[40,66,4],1]],"editionOnly":[[[40,66,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[40,57,4],1]],"editionOnly":[[[40,57,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[40,62,4],1]],"editionOnly":[[[40,62,8],1]]},{"corpusPart":4,"editionPart":4,"corpusOnly":[[[40,50,4],1]],"editionOnly":[[[40,50,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:137-b"],"coverage":null,"xmlSha256":"9541c662efc604bca1098110cb9edb22949877c6430b231fd1fb117a5777f9b0"}},{"id":"edition:137-c","collection":"edition","title":"Example 137-c","page":137,"topic":"EXERCISE III. · FIFTH LESSON.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/137-c.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/137-c.png","sha256":"b8d268d2f4b739973bb57cb667f0c95a90dd343184c86026c0debeb4791e4b1c","label":"Source crop · printed p. 137","local":false}],"owners":["137-c"],"state":"recorded-review","editionStatus":"verified","context":"Joseph, you know that this species consists in florid counterpoint. I suppose that its nature and manner of construction are known to you from the preceding examples and explanations, especially from the exercise in this species for three voices. Thus nothing new needs to be added here except a fourth part, consisting of semibreves, to be woven in according to the rules of four-voice composition. To the examples.","latin":"Speciem hanc, Josephe, Contrapuncto florido contineri, non ignoras. Quid sit, qua ratione fiat, ex præcedentibus, & exemplis, & dictis nota tibi fore suppono: maximè ex Tricinii speciei hujus exercitio: ut adeò nihil hîc novi addendum sit, præter quartam partem, Semibrevi constantem, juxtaque Quatricinii regulas intexendam. Ad exempla.","issues":["Dots across source bars normalized with editorial ties1–2,4–5,6–7."],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged.","October 2026: collated note by note with Mark Gotham's species corpus (github.com/MarkGotham/species), an independent transcription of this same UNC Chapel Hill scan (IMSLP #286170). Disputed notes were read in this colour scan and in the corpus's 1-bit rendering of it, which drops pencil and light smudges. Soprano, bar 5: the dot after the barline now lengthens B4 (tied from bar 4); it had been encoded as a half rest."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"532205150e5fd08965d74fe78cf16f5a7b531bacde214f7b15c924fc3b363fc0","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-225","downloads":[],"xmlSha256":"532205150e5fd08965d74fe78cf16f5a7b531bacde214f7b15c924fc3b363fc0","integrity":"matched","parts":4,"voices":4,"notes":63,"measures":11,"parser":{"status":"supported","warnings":[],"events":56,"normalizations":[]},"preview":{"path":"previews/edition-137-c.svg","pages":2,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"6de8acb4f3d7e053b14ec7a40c9c9fb522d82f92e2a56feaccd02cebf60af585","playback":true,"corpusLinks":[{"corpusId":"species:gap_203","status":"closing-duration","evidence":{"editionId":"edition:137-c","xmlSha256":"532205150e5fd08965d74fe78cf16f5a7b531bacde214f7b15c924fc3b363fc0","owners":["137-c"],"sourcePages":[137],"agreement":0.928571,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3,4],"corpusEvents":56,"editionEvents":56,"sharedEvents":52,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[40,69,4],1]],"editionOnly":[[[40,69,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[40,62,4],1]],"editionOnly":[[[40,62,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[40,57,4],1]],"editionOnly":[[[40,57,8],1]]},{"corpusPart":4,"editionPart":4,"corpusOnly":[[[40,50,4],1]],"editionOnly":[[[40,50,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:137-c"],"coverage":null,"xmlSha256":"532205150e5fd08965d74fe78cf16f5a7b531bacde214f7b15c924fc3b363fc0"}},{"id":"edition:138-a","collection":"edition","title":"Example 138-a","page":138,"topic":"EXERCISE III. · FIFTH LESSON.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/138-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/138-a.png","sha256":"c77d51dc5adf49da7b2e4f476c22dc0328c464fad09160b175de5a0779f2d05b","label":"Source crop · printed p. 138","local":false}],"owners":["138-a"],"state":"recorded-review","editionStatus":"verified","context":"Having now completed the five species and practiced each separately, I most strongly encourage you to practice them together. Keeping the same cantus firmus, combine, for example, minims, semiminims, and ligatures. By doing this, each part acquiring its own particular motion, a wonderful variety will be added to the composition. As in the example.","latin":"Absolutis jam quinque Speciebus, ubique seorsum exercitatis, id conjunctim nunc ut facias, quàm maximè te cohortor; servato eodem Cantu firmo, conjungas E. G. Minimas, Semiminimas, & Ligaturas; quo facto, qualibet partium peculiarem motum nactâ, mira Compositioni varietas accedet. In exemplo.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"afa3e5eb69fd7efdb9ae95b7824e3b4667ccc3795d0acf171cbda65709e339ff","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-226","downloads":[],"xmlSha256":"afa3e5eb69fd7efdb9ae95b7824e3b4667ccc3795d0acf171cbda65709e339ff","integrity":"matched","parts":4,"voices":4,"notes":93,"measures":11,"parser":{"status":"supported","warnings":[],"events":84,"normalizations":[]},"preview":{"path":"previews/edition-138-a.svg","pages":2,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"6a035acc070a9ef24ca44523e56cadf69dc134a1e362f4f283ce06ef80fd0c2b","playback":true,"corpusLinks":[{"corpusId":"species:gap_204","status":"closing-duration","evidence":{"editionId":"edition:138-a","xmlSha256":"afa3e5eb69fd7efdb9ae95b7824e3b4667ccc3795d0acf171cbda65709e339ff","owners":["138-a"],"sourcePages":[138],"agreement":0.952381,"exact":false,"closingDurationOnly":true,"partMap":[1,2,3,4],"corpusEvents":84,"editionEvents":84,"sharedEvents":80,"differences":[{"corpusPart":1,"editionPart":1,"corpusOnly":[[[40,66,4],1]],"editionOnly":[[[40,66,8],1]]},{"corpusPart":2,"editionPart":2,"corpusOnly":[[[40,57,4],1]],"editionOnly":[[[40,57,8],1]]},{"corpusPart":3,"editionPart":3,"corpusOnly":[[[40,62,4],1]],"editionOnly":[[[40,62,8],1]]},{"corpusPart":4,"editionPart":4,"corpusOnly":[[[40,50,4],1]],"editionOnly":[[[40,50,8],1]]}]}}],"relationship":"corpus-linked","material":{"group":"corpus-linked","reason":"Corresponding complete exercise established by the crosswalk.","relatedEditionIds":["edition:138-a"],"coverage":null,"xmlSha256":"afa3e5eb69fd7efdb9ae95b7824e3b4667ccc3795d0acf171cbda65709e339ff"}},{"id":"edition:140-a-1","collection":"edition","title":"Example 140-a-1","page":140,"topic":"EXERCISE III. · FIFTH LESSON.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/140-a-1.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/140-a.png","sha256":"bc173eb375999bd0c711f39db0e58c3bc8f8e763946ea6ec2088f2df53230c6b","label":"Source crop · printed p. 140","local":false}],"owners":["140-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. Joseph, I forgive your complaint and sympathize with you. But the Muses are said to dwell on a mountain that can be reached only by a steep path. There is no apprentice to any mechanical art, however humble, who is not bound to an apprenticeship of at least three years. What shall I say of music? It far surpasses not only those unlearned and manual arts in ingenuity, difficulty, and abundance of material, but is second to none of the liberal arts. Let the future benefit of your toil spur you on. Let the hope of glory attract you. Let the resulting ease in writing encourage you, together with sure confidence that what you write will be correct. Once this is done, setting aside the cantus firmus for a time, I shall lead you to the knowledge of imitations and fugues. First, however, it must be stated that, outside the restriction of the cantus firmus, some dissonances may also be resolved in another way: for example, a ninth to a sixth and a tenth to a third; a fourth to a sixth and to a third, in the manner written below. For example:","latin":"Aloys. Ignosco Josephe, querelæ tuæ; tibique compatior. Verùm Musæ montem incolere dicuntur, quò, nisi viâ præcipiti non pervenitur. Nullus est utcunque miserabilis artis mechanicæ tyro, qui tyrocinio ad minimum tres annos non obstringatur. Quid dicam de Musica? quæ non has modò inertes, operariasque artes ingenio, difficultate, rerum copiâ longè antecellit, verùm nulli liberalium artium est secunda. Stimulet te futura sudoris utilitas. Alliciat gloriæ spes. Incitet exinde ventura scribendi facilitas; deque, quæ scripturus es, rectâ scriptione certa fiducia. Quo facto, remoto ad tempus Cantu firmo, ad imitationum, fugarumque cognitionem te ducam. Priùs autem præmittendum est, extra Cantûs firmi restrictionem, quasdam dissonantiarum alio quoque modo resolvi posse: V. G. Nonam in Sextam, & Decimam in Tertiam: Quartam in Sextam, & Tertiam infrà scripto modo. E. G.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"4c2d5db3c24b1c798fab03c71342f8aeebf1d522ef5c26f2ee7ae32bcfe2e0ba","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-228","downloads":[],"xmlSha256":"4c2d5db3c24b1c798fab03c71342f8aeebf1d522ef5c26f2ee7ae32bcfe2e0ba","integrity":"matched","parts":2,"voices":2,"notes":6,"measures":2,"parser":{"status":"supported","warnings":[],"events":5,"normalizations":[]},"preview":{"path":"previews/edition-140-a-1.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"39cb06d7a5e369ce26322f787fc500680c70a9fe88ac1793cf885806426f2515","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"4c2d5db3c24b1c798fab03c71342f8aeebf1d522ef5c26f2ee7ae32bcfe2e0ba"}},{"id":"edition:140-a-2","collection":"edition","title":"Example 140-a-2","page":140,"topic":"EXERCISE III. · FIFTH LESSON.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/140-a-2.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/140-a.png","sha256":"bc173eb375999bd0c711f39db0e58c3bc8f8e763946ea6ec2088f2df53230c6b","label":"Source crop · printed p. 140","local":false}],"owners":["140-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. Joseph, I forgive your complaint and sympathize with you. But the Muses are said to dwell on a mountain that can be reached only by a steep path. There is no apprentice to any mechanical art, however humble, who is not bound to an apprenticeship of at least three years. What shall I say of music? It far surpasses not only those unlearned and manual arts in ingenuity, difficulty, and abundance of material, but is second to none of the liberal arts. Let the future benefit of your toil spur you on. Let the hope of glory attract you. Let the resulting ease in writing encourage you, together with sure confidence that what you write will be correct. Once this is done, setting aside the cantus firmus for a time, I shall lead you to the knowledge of imitations and fugues. First, however, it must be stated that, outside the restriction of the cantus firmus, some dissonances may also be resolved in another way: for example, a ninth to a sixth and a tenth to a third; a fourth to a sixth and to a third, in the manner written below. For example:","latin":"Aloys. Ignosco Josephe, querelæ tuæ; tibique compatior. Verùm Musæ montem incolere dicuntur, quò, nisi viâ præcipiti non pervenitur. Nullus est utcunque miserabilis artis mechanicæ tyro, qui tyrocinio ad minimum tres annos non obstringatur. Quid dicam de Musica? quæ non has modò inertes, operariasque artes ingenio, difficultate, rerum copiâ longè antecellit, verùm nulli liberalium artium est secunda. Stimulet te futura sudoris utilitas. Alliciat gloriæ spes. Incitet exinde ventura scribendi facilitas; deque, quæ scripturus es, rectâ scriptione certa fiducia. Quo facto, remoto ad tempus Cantu firmo, ad imitationum, fugarumque cognitionem te ducam. Priùs autem præmittendum est, extra Cantûs firmi restrictionem, quasdam dissonantiarum alio quoque modo resolvi posse: V. G. Nonam in Sextam, & Decimam in Tertiam: Quartam in Sextam, & Tertiam infrà scripto modo. E. G.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"268579020ac43d017d3e7db0cbed8238d05865942dc8e201104cc729b17c9be6","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-228","downloads":[],"xmlSha256":"268579020ac43d017d3e7db0cbed8238d05865942dc8e201104cc729b17c9be6","integrity":"matched","parts":2,"voices":2,"notes":6,"measures":2,"parser":{"status":"supported","warnings":[],"events":5,"normalizations":[]},"preview":{"path":"previews/edition-140-a-2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"b3635a37583e603f8cd73753558e18085b18276a3e771d5a2bdace5be8ff3b06","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"268579020ac43d017d3e7db0cbed8238d05865942dc8e201104cc729b17c9be6"}},{"id":"edition:140-a-3","collection":"edition","title":"Example 140-a-3","page":140,"topic":"EXERCISE III. · FIFTH LESSON.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/140-a-3.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/140-a.png","sha256":"bc173eb375999bd0c711f39db0e58c3bc8f8e763946ea6ec2088f2df53230c6b","label":"Source crop · printed p. 140","local":false}],"owners":["140-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. Joseph, I forgive your complaint and sympathize with you. But the Muses are said to dwell on a mountain that can be reached only by a steep path. There is no apprentice to any mechanical art, however humble, who is not bound to an apprenticeship of at least three years. What shall I say of music? It far surpasses not only those unlearned and manual arts in ingenuity, difficulty, and abundance of material, but is second to none of the liberal arts. Let the future benefit of your toil spur you on. Let the hope of glory attract you. Let the resulting ease in writing encourage you, together with sure confidence that what you write will be correct. Once this is done, setting aside the cantus firmus for a time, I shall lead you to the knowledge of imitations and fugues. First, however, it must be stated that, outside the restriction of the cantus firmus, some dissonances may also be resolved in another way: for example, a ninth to a sixth and a tenth to a third; a fourth to a sixth and to a third, in the manner written below. For example:","latin":"Aloys. Ignosco Josephe, querelæ tuæ; tibique compatior. Verùm Musæ montem incolere dicuntur, quò, nisi viâ præcipiti non pervenitur. Nullus est utcunque miserabilis artis mechanicæ tyro, qui tyrocinio ad minimum tres annos non obstringatur. Quid dicam de Musica? quæ non has modò inertes, operariasque artes ingenio, difficultate, rerum copiâ longè antecellit, verùm nulli liberalium artium est secunda. Stimulet te futura sudoris utilitas. Alliciat gloriæ spes. Incitet exinde ventura scribendi facilitas; deque, quæ scripturus es, rectâ scriptione certa fiducia. Quo facto, remoto ad tempus Cantu firmo, ad imitationum, fugarumque cognitionem te ducam. Priùs autem præmittendum est, extra Cantûs firmi restrictionem, quasdam dissonantiarum alio quoque modo resolvi posse: V. G. Nonam in Sextam, & Decimam in Tertiam: Quartam in Sextam, & Tertiam infrà scripto modo. E. G.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"2d633fe468748bac776dcaa5075868943c4bbc4a79b994c2678abfe9dd3268da","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-228","downloads":[],"xmlSha256":"2d633fe468748bac776dcaa5075868943c4bbc4a79b994c2678abfe9dd3268da","integrity":"matched","parts":2,"voices":2,"notes":6,"measures":2,"parser":{"status":"supported","warnings":[],"events":5,"normalizations":[]},"preview":{"path":"previews/edition-140-a-3.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"159f998695b86175ca3c6d132219816a1d91701a5a4a07e196b51cb879f01887","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"2d633fe468748bac776dcaa5075868943c4bbc4a79b994c2678abfe9dd3268da"}},{"id":"edition:140-a-4","collection":"edition","title":"Example 140-a-4","page":140,"topic":"EXERCISE III. · FIFTH LESSON.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/140-a-4.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/140-a.png","sha256":"bc173eb375999bd0c711f39db0e58c3bc8f8e763946ea6ec2088f2df53230c6b","label":"Source crop · printed p. 140","local":false}],"owners":["140-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. Joseph, I forgive your complaint and sympathize with you. But the Muses are said to dwell on a mountain that can be reached only by a steep path. There is no apprentice to any mechanical art, however humble, who is not bound to an apprenticeship of at least three years. What shall I say of music? It far surpasses not only those unlearned and manual arts in ingenuity, difficulty, and abundance of material, but is second to none of the liberal arts. Let the future benefit of your toil spur you on. Let the hope of glory attract you. Let the resulting ease in writing encourage you, together with sure confidence that what you write will be correct. Once this is done, setting aside the cantus firmus for a time, I shall lead you to the knowledge of imitations and fugues. First, however, it must be stated that, outside the restriction of the cantus firmus, some dissonances may also be resolved in another way: for example, a ninth to a sixth and a tenth to a third; a fourth to a sixth and to a third, in the manner written below. For example:","latin":"Aloys. Ignosco Josephe, querelæ tuæ; tibique compatior. Verùm Musæ montem incolere dicuntur, quò, nisi viâ præcipiti non pervenitur. Nullus est utcunque miserabilis artis mechanicæ tyro, qui tyrocinio ad minimum tres annos non obstringatur. Quid dicam de Musica? quæ non has modò inertes, operariasque artes ingenio, difficultate, rerum copiâ longè antecellit, verùm nulli liberalium artium est secunda. Stimulet te futura sudoris utilitas. Alliciat gloriæ spes. Incitet exinde ventura scribendi facilitas; deque, quæ scripturus es, rectâ scriptione certa fiducia. Quo facto, remoto ad tempus Cantu firmo, ad imitationum, fugarumque cognitionem te ducam. Priùs autem præmittendum est, extra Cantûs firmi restrictionem, quasdam dissonantiarum alio quoque modo resolvi posse: V. G. Nonam in Sextam, & Decimam in Tertiam: Quartam in Sextam, & Tertiam infrà scripto modo. E. G.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"409bf12419eb832e8cc3cecc6b82d6faf5e2ca315226816986e11699834de05c","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-228","downloads":[],"xmlSha256":"409bf12419eb832e8cc3cecc6b82d6faf5e2ca315226816986e11699834de05c","integrity":"matched","parts":2,"voices":2,"notes":6,"measures":2,"parser":{"status":"supported","warnings":[],"events":5,"normalizations":[]},"preview":{"path":"previews/edition-140-a-4.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"898647c6bf24d555944db143f86969c3e42430b4d18b8a3c576447d741c2b853","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"409bf12419eb832e8cc3cecc6b82d6faf5e2ca315226816986e11699834de05c"}},{"id":"edition:140-a-5","collection":"edition","title":"Example 140-a-5","page":140,"topic":"EXERCISE III. · FIFTH LESSON.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/140-a-5.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/140-a.png","sha256":"bc173eb375999bd0c711f39db0e58c3bc8f8e763946ea6ec2088f2df53230c6b","label":"Source crop · printed p. 140","local":false}],"owners":["140-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. Joseph, I forgive your complaint and sympathize with you. But the Muses are said to dwell on a mountain that can be reached only by a steep path. There is no apprentice to any mechanical art, however humble, who is not bound to an apprenticeship of at least three years. What shall I say of music? It far surpasses not only those unlearned and manual arts in ingenuity, difficulty, and abundance of material, but is second to none of the liberal arts. Let the future benefit of your toil spur you on. Let the hope of glory attract you. Let the resulting ease in writing encourage you, together with sure confidence that what you write will be correct. Once this is done, setting aside the cantus firmus for a time, I shall lead you to the knowledge of imitations and fugues. First, however, it must be stated that, outside the restriction of the cantus firmus, some dissonances may also be resolved in another way: for example, a ninth to a sixth and a tenth to a third; a fourth to a sixth and to a third, in the manner written below. For example:","latin":"Aloys. Ignosco Josephe, querelæ tuæ; tibique compatior. Verùm Musæ montem incolere dicuntur, quò, nisi viâ præcipiti non pervenitur. Nullus est utcunque miserabilis artis mechanicæ tyro, qui tyrocinio ad minimum tres annos non obstringatur. Quid dicam de Musica? quæ non has modò inertes, operariasque artes ingenio, difficultate, rerum copiâ longè antecellit, verùm nulli liberalium artium est secunda. Stimulet te futura sudoris utilitas. Alliciat gloriæ spes. Incitet exinde ventura scribendi facilitas; deque, quæ scripturus es, rectâ scriptione certa fiducia. Quo facto, remoto ad tempus Cantu firmo, ad imitationum, fugarumque cognitionem te ducam. Priùs autem præmittendum est, extra Cantûs firmi restrictionem, quasdam dissonantiarum alio quoque modo resolvi posse: V. G. Nonam in Sextam, & Decimam in Tertiam: Quartam in Sextam, & Tertiam infrà scripto modo. E. G.","issues":["B4 ending is the printed third-resolution option. Additional E5 ending is separately encoded in140-a-5-alt; alternative interpretation supported by figures3/6 and dialogue describing two parts."],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"b98e9cdf7f27ae1111de6ecf8889f6a6e485b0261c9475ddbdce923d4a899716","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-228","downloads":[],"xmlSha256":"b98e9cdf7f27ae1111de6ecf8889f6a6e485b0261c9475ddbdce923d4a899716","integrity":"matched","parts":2,"voices":2,"notes":6,"measures":2,"parser":{"status":"supported","warnings":[],"events":5,"normalizations":[]},"preview":{"path":"previews/edition-140-a-5.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"f070e38c094018f2ccd98862eb920ed672aa8a3b977385d58338811d2f7578af","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"b98e9cdf7f27ae1111de6ecf8889f6a6e485b0261c9475ddbdce923d4a899716"}},{"id":"edition:140-a-6","collection":"edition","title":"Example 140-a-6","page":140,"topic":"EXERCISE III. · FIFTH LESSON.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/140-a-6.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/140-a.png","sha256":"bc173eb375999bd0c711f39db0e58c3bc8f8e763946ea6ec2088f2df53230c6b","label":"Source crop · printed p. 140","local":false}],"owners":["140-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. Joseph, I forgive your complaint and sympathize with you. But the Muses are said to dwell on a mountain that can be reached only by a steep path. There is no apprentice to any mechanical art, however humble, who is not bound to an apprenticeship of at least three years. What shall I say of music? It far surpasses not only those unlearned and manual arts in ingenuity, difficulty, and abundance of material, but is second to none of the liberal arts. Let the future benefit of your toil spur you on. Let the hope of glory attract you. Let the resulting ease in writing encourage you, together with sure confidence that what you write will be correct. Once this is done, setting aside the cantus firmus for a time, I shall lead you to the knowledge of imitations and fugues. First, however, it must be stated that, outside the restriction of the cantus firmus, some dissonances may also be resolved in another way: for example, a ninth to a sixth and a tenth to a third; a fourth to a sixth and to a third, in the manner written below. For example:","latin":"Aloys. Ignosco Josephe, querelæ tuæ; tibique compatior. Verùm Musæ montem incolere dicuntur, quò, nisi viâ præcipiti non pervenitur. Nullus est utcunque miserabilis artis mechanicæ tyro, qui tyrocinio ad minimum tres annos non obstringatur. Quid dicam de Musica? quæ non has modò inertes, operariasque artes ingenio, difficultate, rerum copiâ longè antecellit, verùm nulli liberalium artium est secunda. Stimulet te futura sudoris utilitas. Alliciat gloriæ spes. Incitet exinde ventura scribendi facilitas; deque, quæ scripturus es, rectâ scriptione certa fiducia. Quo facto, remoto ad tempus Cantu firmo, ad imitationum, fugarumque cognitionem te ducam. Priùs autem præmittendum est, extra Cantûs firmi restrictionem, quasdam dissonantiarum alio quoque modo resolvi posse: V. G. Nonam in Sextam, & Decimam in Tertiam: Quartam in Sextam, & Tertiam infrà scripto modo. E. G.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"6b7e0e4901d8802cd36f65015a5eabd38a40c151397bf22260b108ed56fc9229","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-228","downloads":[],"xmlSha256":"6b7e0e4901d8802cd36f65015a5eabd38a40c151397bf22260b108ed56fc9229","integrity":"matched","parts":2,"voices":2,"notes":6,"measures":2,"parser":{"status":"supported","warnings":[],"events":5,"normalizations":[]},"preview":{"path":"previews/edition-140-a-6.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"f393672b64a6fc380c7b48f27eebce055761862cdbad513547f093126600cf08","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"6b7e0e4901d8802cd36f65015a5eabd38a40c151397bf22260b108ed56fc9229"}},{"id":"edition:140-a-7","collection":"edition","title":"Example 140-a-7","page":140,"topic":"EXERCISE III. · FIFTH LESSON.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/140-a-7.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/140-a.png","sha256":"bc173eb375999bd0c711f39db0e58c3bc8f8e763946ea6ec2088f2df53230c6b","label":"Source crop · printed p. 140","local":false}],"owners":["140-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. Joseph, I forgive your complaint and sympathize with you. But the Muses are said to dwell on a mountain that can be reached only by a steep path. There is no apprentice to any mechanical art, however humble, who is not bound to an apprenticeship of at least three years. What shall I say of music? It far surpasses not only those unlearned and manual arts in ingenuity, difficulty, and abundance of material, but is second to none of the liberal arts. Let the future benefit of your toil spur you on. Let the hope of glory attract you. Let the resulting ease in writing encourage you, together with sure confidence that what you write will be correct. Once this is done, setting aside the cantus firmus for a time, I shall lead you to the knowledge of imitations and fugues. First, however, it must be stated that, outside the restriction of the cantus firmus, some dissonances may also be resolved in another way: for example, a ninth to a sixth and a tenth to a third; a fourth to a sixth and to a third, in the manner written below. For example:","latin":"Aloys. Ignosco Josephe, querelæ tuæ; tibique compatior. Verùm Musæ montem incolere dicuntur, quò, nisi viâ præcipiti non pervenitur. Nullus est utcunque miserabilis artis mechanicæ tyro, qui tyrocinio ad minimum tres annos non obstringatur. Quid dicam de Musica? quæ non has modò inertes, operariasque artes ingenio, difficultate, rerum copiâ longè antecellit, verùm nulli liberalium artium est secunda. Stimulet te futura sudoris utilitas. Alliciat gloriæ spes. Incitet exinde ventura scribendi facilitas; deque, quæ scripturus es, rectâ scriptione certa fiducia. Quo facto, remoto ad tempus Cantu firmo, ad imitationum, fugarumque cognitionem te ducam. Priùs autem præmittendum est, extra Cantûs firmi restrictionem, quasdam dissonantiarum alio quoque modo resolvi posse: V. G. Nonam in Sextam, & Decimam in Tertiam: Quartam in Sextam, & Tertiam infrà scripto modo. E. G.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"06f1ec252b5095607631419fe6217955a69c8176567bc26ac56d9e491cdf727b","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-228","downloads":[],"xmlSha256":"06f1ec252b5095607631419fe6217955a69c8176567bc26ac56d9e491cdf727b","integrity":"matched","parts":2,"voices":2,"notes":6,"measures":2,"parser":{"status":"supported","warnings":[],"events":5,"normalizations":[]},"preview":{"path":"previews/edition-140-a-7.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"63a7ad9ad360d752f399e040c3b7cf956028de6408c6cafb5557c856edc476b1","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"06f1ec252b5095607631419fe6217955a69c8176567bc26ac56d9e491cdf727b"}},{"id":"edition:140-a-5-alt","collection":"edition","title":"Example 140-a-5-alt","page":140,"topic":"EXERCISE III. · FIFTH LESSON.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/140-a-5-alt.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/140-a.png","sha256":"bc173eb375999bd0c711f39db0e58c3bc8f8e763946ea6ec2088f2df53230c6b","label":"Source crop · printed p. 140","local":false}],"owners":["140-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. Joseph, I forgive your complaint and sympathize with you. But the Muses are said to dwell on a mountain that can be reached only by a steep path. There is no apprentice to any mechanical art, however humble, who is not bound to an apprenticeship of at least three years. What shall I say of music? It far surpasses not only those unlearned and manual arts in ingenuity, difficulty, and abundance of material, but is second to none of the liberal arts. Let the future benefit of your toil spur you on. Let the hope of glory attract you. Let the resulting ease in writing encourage you, together with sure confidence that what you write will be correct. Once this is done, setting aside the cantus firmus for a time, I shall lead you to the knowledge of imitations and fugues. First, however, it must be stated that, outside the restriction of the cantus firmus, some dissonances may also be resolved in another way: for example, a ninth to a sixth and a tenth to a third; a fourth to a sixth and to a third, in the manner written below. For example:","latin":"Aloys. Ignosco Josephe, querelæ tuæ; tibique compatior. Verùm Musæ montem incolere dicuntur, quò, nisi viâ præcipiti non pervenitur. Nullus est utcunque miserabilis artis mechanicæ tyro, qui tyrocinio ad minimum tres annos non obstringatur. Quid dicam de Musica? quæ non has modò inertes, operariasque artes ingenio, difficultate, rerum copiâ longè antecellit, verùm nulli liberalium artium est secunda. Stimulet te futura sudoris utilitas. Alliciat gloriæ spes. Incitet exinde ventura scribendi facilitas; deque, quæ scripturus es, rectâ scriptione certa fiducia. Quo facto, remoto ad tempus Cantu firmo, ad imitationum, fugarumque cognitionem te ducam. Priùs autem præmittendum est, extra Cantûs firmi restrictionem, quasdam dissonantiarum alio quoque modo resolvi posse: V. G. Nonam in Sextam, & Decimam in Tertiam: Quartam in Sextam, & Tertiam infrà scripto modo. E. G.","issues":["Seven independent examples; clef changes in examples4 and6 inherited where subsequent examples omit clefs."],"verificationNotes":["Direct visual reading of source crop; rendering comparison pending."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"bea490e5c9989953ef6e4e31a1e9b3d6fb27bac27837b1c6b2705b2c7524362d","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-228","downloads":[],"xmlSha256":"bea490e5c9989953ef6e4e31a1e9b3d6fb27bac27837b1c6b2705b2c7524362d","integrity":"matched","parts":2,"voices":2,"notes":6,"measures":2,"parser":{"status":"supported","warnings":[],"events":5,"normalizations":[]},"preview":{"path":"previews/edition-140-a-5-alt.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"67955d1c6ac66e17ce7a21a2cb492a19edfc56fe5a23a8b8f900d43b80820df2","playback":true,"corpusLinks":[],"relationship":"alternate-reading","material":{"group":"alternate-reading","reason":"MusicXML work-title is “Alternative resolution to sixth”; same source crop as 140-a-5.","relatedEditionIds":["edition:140-a-5"],"coverage":null,"xmlSha256":"bea490e5c9989953ef6e4e31a1e9b3d6fb27bac27837b1c6b2705b2c7524362d"}},{"id":"edition:140-b","collection":"edition","title":"Example 140-b","page":140,"topic":"EXERCISE IV. · SOLE LESSON, · On imitation.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/140-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/140-b.png","sha256":"fb644c88f0726e3963e6510a88d1302a8557b9b9f01b3ae5eab8c082141a872f","label":"Source crop · printed p. 140","local":false}],"owners":["140-b"],"state":"recorded-review","editionStatus":"verified","context":"Imitation occurs when the following part follows the preceding one after a rest, preserving the same intervals by which the preceding part moved, without regard to mode, whole tone, or semitone. This can take place at the unison, second, third, fourth, fifth, sixth, seventh, and octave, as examples will make clearer.","latin":"Imitatio fit, quando pars sequens antecedentem sequitur post aliquam pausam servatis iisdem intervallis, quibus antecedens incessit, nullâ Modi, Toni, Semitonique habitâ ratione; id quod fieri potest in Unisono, Secundâ, Tertiâ, Quartâ, Quintâ, Sextâ, Septimâ, & Octavâ; quod exemplis clariùs patebit.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"77f5d9edd32088fdaf58e8ea08c068431318e6aed025cbaf9cec3ee1106a3de4","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-229","downloads":[],"xmlSha256":"77f5d9edd32088fdaf58e8ea08c068431318e6aed025cbaf9cec3ee1106a3de4","integrity":"matched","parts":2,"voices":2,"notes":33,"measures":11,"parser":{"status":"supported","warnings":[],"events":31,"normalizations":[]},"preview":{"path":"previews/edition-140-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"a911c512c9d83e22c262317271b949cd0b9a91c62dbda06f4da5dcac6b11b1e4","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"77f5d9edd32088fdaf58e8ea08c068431318e6aed025cbaf9cec3ee1106a3de4"}},{"id":"edition:141-a","collection":"edition","title":"Example 141-a","page":141,"topic":"EXERCISE IV. · SOLE LESSON, · On imitation.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/141-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/141-a.png","sha256":"1f3ec05a9790319102d9119c28aec9b119f397326459ba34df99904173bac859","label":"Source crop · printed p. 141","local":false}],"owners":["141-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. You have inferred correctly. For that is the task of canons, not imitations, in which it is enough to follow certain notes.","latin":"Aloys. Rectè collegisti. Id enim muneris est Canonum, non imitationum, in quibus satis est, quasdam Notas prosequi.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"486c20ebd0b3e325498a5369553c29435667aa870f4a063266eb0c2de4a2809f","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-230","downloads":[],"xmlSha256":"486c20ebd0b3e325498a5369553c29435667aa870f4a063266eb0c2de4a2809f","integrity":"matched","parts":2,"voices":2,"notes":37,"measures":10,"parser":{"status":"supported","warnings":[],"events":34,"normalizations":[]},"preview":{"path":"previews/edition-141-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"830088e772a4030e9cb862924d53343683c175111ed9a751ad88ee4052a25dfe","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"486c20ebd0b3e325498a5369553c29435667aa870f4a063266eb0c2de4a2809f"}},{"id":"edition:141-b","collection":"edition","title":"Example 141-b","page":141,"topic":"EXERCISE IV. · SOLE LESSON, · On imitation.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/141-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/141-b.png","sha256":"0ed1c97051f1f68c993381f4dfb588bb03fba06b146399e3eb1ec7a491730a28","label":"Source crop · printed p. 141","local":false}],"owners":["141-b"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. You have inferred correctly. For that is the task of canons, not imitations, in which it is enough to follow certain notes.","latin":"Aloys. Rectè collegisti. Id enim muneris est Canonum, non imitationum, in quibus satis est, quasdam Notas prosequi.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"79fd5215a38800e1a28d73990e62025c48a0fdbdc16fcda5bc2e6787caa46830","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-231","downloads":[],"xmlSha256":"79fd5215a38800e1a28d73990e62025c48a0fdbdc16fcda5bc2e6787caa46830","integrity":"matched","parts":2,"voices":2,"notes":29,"measures":10,"parser":{"status":"supported","warnings":[],"events":28,"normalizations":[]},"preview":{"path":"previews/edition-141-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"3be606cb924943bb1c6b4a8f9cf4e7d1f8bda5209504ce071b51fcb5068214da","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"79fd5215a38800e1a28d73990e62025c48a0fdbdc16fcda5bc2e6787caa46830"}},{"id":"edition:141-c","collection":"edition","title":"Example 141-c","page":141,"topic":"EXERCISE IV. · SOLE LESSON, · On imitation.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/141-c.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/141-c.png","sha256":"246355d6c1031266d3a4bf543848b596df281b04d14bd8a02ea3b78a5e1874c5","label":"Source crop · printed p. 141","local":false}],"owners":["141-c"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. You have inferred correctly. For that is the task of canons, not imitations, in which it is enough to follow certain notes.","latin":"Aloys. Rectè collegisti. Id enim muneris est Canonum, non imitationum, in quibus satis est, quasdam Notas prosequi.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"18234f1a02eb99b474269fca819be99a097cd3dc6ad749e5288ca044d56ae05b","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-232","downloads":[],"xmlSha256":"18234f1a02eb99b474269fca819be99a097cd3dc6ad749e5288ca044d56ae05b","integrity":"matched","parts":2,"voices":2,"notes":33,"measures":10,"parser":{"status":"supported","warnings":[],"events":32,"normalizations":[]},"preview":{"path":"previews/edition-141-c.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"ecb9343cba5d68b18f807d641d998d466701378257aac1da910030f9cd38c5f1","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"18234f1a02eb99b474269fca819be99a097cd3dc6ad749e5288ca044d56ae05b"}},{"id":"edition:142-a","collection":"edition","title":"Example 142-a","page":142,"topic":"EXERCISE IV. · SOLE LESSON, · On imitation.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/142-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/142-a.png","sha256":"3d5922cb884d7b34fd25e9849b4a247cc301906d11ad7782f7a859f54f1604aa","label":"Source crop · printed p. 142","local":false}],"owners":["142-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. You have already forgotten what I said a little earlier: imitation is bound by no constraint of mode or tonal placement, and it is enough that the imitating part follows the footsteps of the preceding part in whatever manner. Moreover, imitation is customarily used less at the beginning of a composition than in its middle, where the strictness of the mode is not greatly attended to.","latin":"Aloys. Jam oblivio te cœpit illius, quod paulò antè dixi, imitationem nullo modi, vel toni vinculo obstrictam, satis esse, quocunque modo partem imitantem antecedentis vestigia sequatur: præterquam, quod imitatio non tam in principio Concentûs, quàm in medio usurpari soleat. Ubi rigor modi haud multùm attenditur.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"7d5bb997582294b8d48ac347dba1080c96640223dd41a38223e9c3448de06fd2","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-233","downloads":[],"xmlSha256":"7d5bb997582294b8d48ac347dba1080c96640223dd41a38223e9c3448de06fd2","integrity":"matched","parts":2,"voices":2,"notes":29,"measures":9,"parser":{"status":"supported","warnings":[],"events":27,"normalizations":[]},"preview":{"path":"previews/edition-142-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"d3907289360aef6c98164f6f77faeb48561ef2107536e673be40d01301c3497e","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"7d5bb997582294b8d48ac347dba1080c96640223dd41a38223e9c3448de06fd2"}},{"id":"edition:142-b","collection":"edition","title":"Example 142-b","page":142,"topic":"EXERCISE IV. · SOLE LESSON, · On imitation.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/142-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/142-b.png","sha256":"3df4fc8d362be03d436d1cb37c25544f35f26727fd87f0c6ec848416a90723e0","label":"Source crop · printed p. 142","local":false}],"owners":["142-b"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. You have already forgotten what I said a little earlier: imitation is bound by no constraint of mode or tonal placement, and it is enough that the imitating part follows the footsteps of the preceding part in whatever manner. Moreover, imitation is customarily used less at the beginning of a composition than in its middle, where the strictness of the mode is not greatly attended to.","latin":"Aloys. Jam oblivio te cœpit illius, quod paulò antè dixi, imitationem nullo modi, vel toni vinculo obstrictam, satis esse, quocunque modo partem imitantem antecedentis vestigia sequatur: præterquam, quod imitatio non tam in principio Concentûs, quàm in medio usurpari soleat. Ubi rigor modi haud multùm attenditur.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"071a0ee721152aaca1d762cb4ca7e050fa8d37e0ea3271d246e234f0d9e21371","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-234","downloads":[],"xmlSha256":"071a0ee721152aaca1d762cb4ca7e050fa8d37e0ea3271d246e234f0d9e21371","integrity":"matched","parts":2,"voices":2,"notes":35,"measures":10,"parser":{"status":"supported","warnings":[],"events":34,"normalizations":[]},"preview":{"path":"previews/edition-142-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"4ef76f45385eaa8da5341d3e2fa10c487c0dfc9c7e48e564b91e03e96761bb04","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"071a0ee721152aaca1d762cb4ca7e050fa8d37e0ea3271d246e234f0d9e21371"}},{"id":"edition:142-c","collection":"edition","title":"Example 142-c","page":142,"topic":"EXERCISE IV. · SOLE LESSON, · On imitation.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/142-c.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/142-c.png","sha256":"11165a63383f4a8e2e843e1f38ad73a4fffaa220b16fdd09a858d5ee44348978","label":"Source crop · printed p. 142","local":false}],"owners":["142-c"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. You have already forgotten what I said a little earlier: imitation is bound by no constraint of mode or tonal placement, and it is enough that the imitating part follows the footsteps of the preceding part in whatever manner. Moreover, imitation is customarily used less at the beginning of a composition than in its middle, where the strictness of the mode is not greatly attended to.","latin":"Aloys. Jam oblivio te cœpit illius, quod paulò antè dixi, imitationem nullo modi, vel toni vinculo obstrictam, satis esse, quocunque modo partem imitantem antecedentis vestigia sequatur: præterquam, quod imitatio non tam in principio Concentûs, quàm in medio usurpari soleat. Ubi rigor modi haud multùm attenditur.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"0d83466c66f1550ac86f011571643272b34144bcf7cfc4ce067a4700075d6433","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-235","downloads":[],"xmlSha256":"0d83466c66f1550ac86f011571643272b34144bcf7cfc4ce067a4700075d6433","integrity":"matched","parts":2,"voices":2,"notes":28,"measures":7,"parser":{"status":"supported","warnings":[],"events":27,"normalizations":[]},"preview":{"path":"previews/edition-142-c.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"44c663e1c8da00644f792831c7ac87d3b5aea28338301feb72c6911159a1401e","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"0d83466c66f1550ac86f011571643272b34144bcf7cfc4ce067a4700075d6433"}},{"id":"edition:142-d","collection":"edition","title":"Example 142-d","page":142,"topic":"EXERCISE IV. · SOLE LESSON, · On imitation.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/142-d.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/142-d.png","sha256":"8604d2ddc779483bc6f667bf63cad56c71424da0b966f08453a4931decfcd2fe","label":"Source crop · printed p. 142","local":false}],"owners":["142-d"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. You have already forgotten what I said a little earlier: imitation is bound by no constraint of mode or tonal placement, and it is enough that the imitating part follows the footsteps of the preceding part in whatever manner. Moreover, imitation is customarily used less at the beginning of a composition than in its middle, where the strictness of the mode is not greatly attended to.","latin":"Aloys. Jam oblivio te cœpit illius, quod paulò antè dixi, imitationem nullo modi, vel toni vinculo obstrictam, satis esse, quocunque modo partem imitantem antecedentis vestigia sequatur: præterquam, quod imitatio non tam in principio Concentûs, quàm in medio usurpari soleat. Ubi rigor modi haud multùm attenditur.","issues":[],"verificationNotes":["Direct visual reading of source notes, clefs and rhythms.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"7b939e3f85dcbbb4847e197928634d162d6d9f718ed427adabe7d71f73438d5e","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-236","downloads":[],"xmlSha256":"7b939e3f85dcbbb4847e197928634d162d6d9f718ed427adabe7d71f73438d5e","integrity":"matched","parts":2,"voices":2,"notes":32,"measures":9,"parser":{"status":"supported","warnings":[],"events":30,"normalizations":[]},"preview":{"path":"previews/edition-142-d.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"badb13f7a7ae240e766e5195ef56dd865cea5db481b8c0863361303e04b65b0b","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"7b939e3f85dcbbb4847e197928634d162d6d9f718ed427adabe7d71f73438d5e"}},{"id":"edition:advanced-143-a-1","collection":"edition","title":"Example advanced-143-a-1","page":143,"topic":"EXERCISE V. · FIRST LESSON, · On fugues in general.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-143-a-1.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/143-a.png","sha256":"8852f51040820a82c8c5cbdb66beb5cc9c61ade95647327969078806b90a7491","label":"Source crop · printed p. 143","local":false}],"owners":["143-a"],"state":"recorded-review","editionStatus":"verified","context":"Since the variety in the position of the semitones is found to be sixfold, six modes must also be established. These are shown in the following octave systems, namely D, E, F, G, A, C.","latin":"Cùm varietas sitûs Semitoniorum sextuplex reperiatur, sex Modi quoque statuendi sunt: qui sequentibus Octavarum Sistematibus exhibentur, nempe: D. E. F. G. A. C.","issues":["Stemless filled diamonds indicate semitone positions. Equal whole-note playback units are editorial in this unmetered scale.","Stemless filled diamonds indicate semitone positions. Equal whole-note playback units are editorial in this unmetered scale."],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Two tenor-clef modal scale examples, eight stemless diamonds each; filled heads mark mi/fa. Unmetered source.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","All referenced MusicXML files passed the shared MusicXML schema validator, parsed to playable timelines, and rendered with Verovio. Astra visually compared proof contact sheets 0/6/12/18 to source: clefs, staff positions, accidental, head-fill indications, chord membership and printed lyrics match; unmetered playback assumptions remain explicitly documented."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"d383740aa79e9465c484074ff6602c7cf6d3d049841ee84687f357fcdbbd9154","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-237","downloads":[],"xmlSha256":"d383740aa79e9465c484074ff6602c7cf6d3d049841ee84687f357fcdbbd9154","integrity":"matched","parts":1,"voices":1,"notes":8,"measures":1,"parser":{"status":"supported","warnings":[],"events":8,"normalizations":[]},"preview":{"path":"previews/edition-advanced-143-a-1.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"9baad25743f0259a049c6a58521dc5407360cc5bd0ccf13ba3690ce65b49bba6","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"d383740aa79e9465c484074ff6602c7cf6d3d049841ee84687f357fcdbbd9154"}},{"id":"edition:advanced-143-a-2","collection":"edition","title":"Example advanced-143-a-2","page":143,"topic":"EXERCISE V. · FIRST LESSON, · On fugues in general.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-143-a-2.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/143-a.png","sha256":"8852f51040820a82c8c5cbdb66beb5cc9c61ade95647327969078806b90a7491","label":"Source crop · printed p. 143","local":false}],"owners":["143-a"],"state":"recorded-review","editionStatus":"verified","context":"Since the variety in the position of the semitones is found to be sixfold, six modes must also be established. These are shown in the following octave systems, namely D, E, F, G, A, C.","latin":"Cùm varietas sitûs Semitoniorum sextuplex reperiatur, sex Modi quoque statuendi sunt: qui sequentibus Octavarum Sistematibus exhibentur, nempe: D. E. F. G. A. C.","issues":["Stemless filled diamonds indicate semitone positions. Equal whole-note playback units are editorial in this unmetered scale.","Stemless filled diamonds indicate semitone positions. Equal whole-note playback units are editorial in this unmetered scale."],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Two tenor-clef modal scale examples, eight stemless diamonds each; filled heads mark mi/fa. Unmetered source.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","All referenced MusicXML files passed the shared MusicXML schema validator, parsed to playable timelines, and rendered with Verovio. Astra visually compared proof contact sheets 0/6/12/18 to source: clefs, staff positions, accidental, head-fill indications, chord membership and printed lyrics match; unmetered playback assumptions remain explicitly documented."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"6842b2a79b37b6fa121ad54324642a288aa0a4f3645ca0542c93c7123d23eff0","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-237","downloads":[],"xmlSha256":"6842b2a79b37b6fa121ad54324642a288aa0a4f3645ca0542c93c7123d23eff0","integrity":"matched","parts":1,"voices":1,"notes":8,"measures":1,"parser":{"status":"supported","warnings":[],"events":8,"normalizations":[]},"preview":{"path":"previews/edition-advanced-143-a-2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"aa6576f36fb80a96b2dbfe79a478d1be2747020f3503c37d4df245a9e791bc7c","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"6842b2a79b37b6fa121ad54324642a288aa0a4f3645ca0542c93c7123d23eff0"}},{"id":"edition:advanced-144-a-1","collection":"edition","title":"Example advanced-144-a-1","page":144,"topic":"EXERCISE V. · FIRST LESSON, · On fugues in general.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-144-a-1.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/144-a.png","sha256":"f0ce0ffcdf7ab1b5f860967dcbd2787eb21d5d8669d71389caa7663a1579cf58","label":"Source crop · printed p. 144","local":false}],"owners":["144-a"],"state":"recorded-review","editionStatus":"verified","context":"Since the variety in the position of the semitones is found to be sixfold, six modes must also be established. These are shown in the following octave systems, namely D, E, F, G, A, C.","latin":"Cùm varietas sitûs Semitoniorum sextuplex reperiatur, sex Modi quoque statuendi sunt: qui sequentibus Octavarum Sistematibus exhibentur, nempe: D. E. F. G. A. C.","issues":["Equal whole-note playback units editorial; filled diamonds retained as printed semitone indicators.","Equal whole-note playback units editorial; filled diamonds retained as printed semitone indicators.","Equal whole-note playback units editorial; filled diamonds retained as printed semitone indicators.","Equal whole-note playback units editorial; filled diamonds retained as printed semitone indicators."],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Four eight-note modal scales; first tenor, middle two bass, last tenor. Filled diamonds mark mi/fa rather than quarter durations.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","All referenced MusicXML files passed the shared MusicXML schema validator, parsed to playable timelines, and rendered with Verovio. Astra visually compared proof contact sheets 0/6/12/18 to source: clefs, staff positions, accidental, head-fill indications, chord membership and printed lyrics match; unmetered playback assumptions remain explicitly documented."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"55fdfd0f8e8ce83fcafc7a6659f3db1658d10e0328d77c4954ed9b4cb229e100","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-239","downloads":[],"xmlSha256":"55fdfd0f8e8ce83fcafc7a6659f3db1658d10e0328d77c4954ed9b4cb229e100","integrity":"matched","parts":1,"voices":1,"notes":8,"measures":1,"parser":{"status":"supported","warnings":[],"events":8,"normalizations":[]},"preview":{"path":"previews/edition-advanced-144-a-1.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"02140fa72c0220eff773d4b453cce0a4db2c36c5ad056887823e4bdef4db2926","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"55fdfd0f8e8ce83fcafc7a6659f3db1658d10e0328d77c4954ed9b4cb229e100"}},{"id":"edition:advanced-144-a-2","collection":"edition","title":"Example advanced-144-a-2","page":144,"topic":"EXERCISE V. · FIRST LESSON, · On fugues in general.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-144-a-2.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/144-a.png","sha256":"f0ce0ffcdf7ab1b5f860967dcbd2787eb21d5d8669d71389caa7663a1579cf58","label":"Source crop · printed p. 144","local":false}],"owners":["144-a"],"state":"recorded-review","editionStatus":"verified","context":"Since the variety in the position of the semitones is found to be sixfold, six modes must also be established. These are shown in the following octave systems, namely D, E, F, G, A, C.","latin":"Cùm varietas sitûs Semitoniorum sextuplex reperiatur, sex Modi quoque statuendi sunt: qui sequentibus Octavarum Sistematibus exhibentur, nempe: D. E. F. G. A. C.","issues":["Equal whole-note playback units editorial; filled diamonds retained as printed semitone indicators.","Equal whole-note playback units editorial; filled diamonds retained as printed semitone indicators.","Equal whole-note playback units editorial; filled diamonds retained as printed semitone indicators.","Equal whole-note playback units editorial; filled diamonds retained as printed semitone indicators."],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Four eight-note modal scales; first tenor, middle two bass, last tenor. Filled diamonds mark mi/fa rather than quarter durations.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","All referenced MusicXML files passed the shared MusicXML schema validator, parsed to playable timelines, and rendered with Verovio. Astra visually compared proof contact sheets 0/6/12/18 to source: clefs, staff positions, accidental, head-fill indications, chord membership and printed lyrics match; unmetered playback assumptions remain explicitly documented."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"9f10c29863f027ab0527c41caa568131f99baafd6142d3d0bfbd7e49aa27f5f9","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-239","downloads":[],"xmlSha256":"9f10c29863f027ab0527c41caa568131f99baafd6142d3d0bfbd7e49aa27f5f9","integrity":"matched","parts":1,"voices":1,"notes":8,"measures":1,"parser":{"status":"supported","warnings":[],"events":8,"normalizations":[]},"preview":{"path":"previews/edition-advanced-144-a-2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"264f1733f67a8f24dea37b079a912b4f0e23bdf11da9daf3369b9083e9f3949d","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"9f10c29863f027ab0527c41caa568131f99baafd6142d3d0bfbd7e49aa27f5f9"}},{"id":"edition:advanced-144-a-3","collection":"edition","title":"Example advanced-144-a-3","page":144,"topic":"EXERCISE V. · FIRST LESSON, · On fugues in general.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-144-a-3.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/144-a.png","sha256":"f0ce0ffcdf7ab1b5f860967dcbd2787eb21d5d8669d71389caa7663a1579cf58","label":"Source crop · printed p. 144","local":false}],"owners":["144-a"],"state":"recorded-review","editionStatus":"verified","context":"Since the variety in the position of the semitones is found to be sixfold, six modes must also be established. These are shown in the following octave systems, namely D, E, F, G, A, C.","latin":"Cùm varietas sitûs Semitoniorum sextuplex reperiatur, sex Modi quoque statuendi sunt: qui sequentibus Octavarum Sistematibus exhibentur, nempe: D. E. F. G. A. C.","issues":["Equal whole-note playback units editorial; filled diamonds retained as printed semitone indicators.","Equal whole-note playback units editorial; filled diamonds retained as printed semitone indicators.","Equal whole-note playback units editorial; filled diamonds retained as printed semitone indicators.","Equal whole-note playback units editorial; filled diamonds retained as printed semitone indicators."],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Four eight-note modal scales; first tenor, middle two bass, last tenor. Filled diamonds mark mi/fa rather than quarter durations.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","All referenced MusicXML files passed the shared MusicXML schema validator, parsed to playable timelines, and rendered with Verovio. Astra visually compared proof contact sheets 0/6/12/18 to source: clefs, staff positions, accidental, head-fill indications, chord membership and printed lyrics match; unmetered playback assumptions remain explicitly documented."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"85d27e023e58269b070a044835859dfd314872b77cee5f6c615bb5b8f24a3c2c","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-239","downloads":[],"xmlSha256":"85d27e023e58269b070a044835859dfd314872b77cee5f6c615bb5b8f24a3c2c","integrity":"matched","parts":1,"voices":1,"notes":8,"measures":1,"parser":{"status":"supported","warnings":[],"events":8,"normalizations":[]},"preview":{"path":"previews/edition-advanced-144-a-3.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"b00bdddf17aeb5b4a4ab5baece3c78f42fdca1a4ff9e7714ecd7de01191b59a8","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"85d27e023e58269b070a044835859dfd314872b77cee5f6c615bb5b8f24a3c2c"}},{"id":"edition:advanced-144-a-4","collection":"edition","title":"Example advanced-144-a-4","page":144,"topic":"EXERCISE V. · FIRST LESSON, · On fugues in general.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-144-a-4.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/144-a.png","sha256":"f0ce0ffcdf7ab1b5f860967dcbd2787eb21d5d8669d71389caa7663a1579cf58","label":"Source crop · printed p. 144","local":false}],"owners":["144-a"],"state":"recorded-review","editionStatus":"verified","context":"Since the variety in the position of the semitones is found to be sixfold, six modes must also be established. These are shown in the following octave systems, namely D, E, F, G, A, C.","latin":"Cùm varietas sitûs Semitoniorum sextuplex reperiatur, sex Modi quoque statuendi sunt: qui sequentibus Octavarum Sistematibus exhibentur, nempe: D. E. F. G. A. C.","issues":["Equal whole-note playback units editorial; filled diamonds retained as printed semitone indicators.","Equal whole-note playback units editorial; filled diamonds retained as printed semitone indicators.","Equal whole-note playback units editorial; filled diamonds retained as printed semitone indicators.","Equal whole-note playback units editorial; filled diamonds retained as printed semitone indicators."],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Four eight-note modal scales; first tenor, middle two bass, last tenor. Filled diamonds mark mi/fa rather than quarter durations.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","All referenced MusicXML files passed the shared MusicXML schema validator, parsed to playable timelines, and rendered with Verovio. Astra visually compared proof contact sheets 0/6/12/18 to source: clefs, staff positions, accidental, head-fill indications, chord membership and printed lyrics match; unmetered playback assumptions remain explicitly documented."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"3b09a3261228cd64480822a506f925935e0fcbd535ed42dec83460a1c28bfb59","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-239","downloads":[],"xmlSha256":"3b09a3261228cd64480822a506f925935e0fcbd535ed42dec83460a1c28bfb59","integrity":"matched","parts":1,"voices":1,"notes":8,"measures":1,"parser":{"status":"supported","warnings":[],"events":8,"normalizations":[]},"preview":{"path":"previews/edition-advanced-144-a-4.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"5f5b9b7a51622f2220b76f52f1df68d8fde62e02b80c7261332c62b05a1a1600","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"3b09a3261228cd64480822a506f925935e0fcbd535ed42dec83460a1c28bfb59"}},{"id":"edition:advanced-144-b-1","collection":"edition","title":"Example advanced-144-b-1","page":144,"topic":"EXERCISE V. · FIRST LESSON, · On fugues in general.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-144-b-1.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/144-b.png","sha256":"65ffde99ae7d153a4f3659be664bba849e7403c2ba2c14ad44b5d31bad9357cb","label":"Source crop · printed p. 144","local":false}],"owners":["144-b"],"state":"recorded-review","editionStatus":"verified","context":"You see the semitones in six different positions, counting from the first note of each mode. This difference is indicated by the blackened notes. Which of these is first, second, third, and so forth we shall pass over for the present, numbering them meanwhile in the order in which they are placed here. Furthermore, a mode is bounded by the limits of the fourth and fifth contained within the octave; fugue subjects must be regulated according to these limits. For example:","latin":"Vides in sex diversis locis Semitoniorum existentiam; numerando de cujusvis Modi prima Nota: quæ diversitas nigredine Notarum indicatur; qui horum autem primus, secundus, tertiusve sit &c. in præsentia transibimus; interim eo, quo hîc positi sunt ordine, eos numerantes. Porrò Modus Quartæ, & Quintæ intrà Octavam existentium limitibus terminatur: juxta quos limites Fugarum themata regulanda sunt. E. C.","issues":["Isolated unmetered chord; whole-note duration used as printed.","Isolated unmetered chord; whole-note duration used as printed.","Isolated unmetered chord; whole-note duration used as printed.","Isolated unmetered chord; whole-note duration used as printed.","Isolated unmetered chord; whole-note duration used as printed.","Isolated unmetered chord; whole-note duration used as printed."],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Six unmetered triads: three tenor-clef then three bass-clef examples.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","All referenced MusicXML files passed the shared MusicXML schema validator, parsed to playable timelines, and rendered with Verovio. Astra visually compared proof contact sheets 0/6/12/18 to source: clefs, staff positions, accidental, head-fill indications, chord membership and printed lyrics match; unmetered playback assumptions remain explicitly documented."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"1fa380786bb0b908bf072f0248dff5a9cb33c208a4c3ea41ab98290c5f99bcd3","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-240","downloads":[],"xmlSha256":"1fa380786bb0b908bf072f0248dff5a9cb33c208a4c3ea41ab98290c5f99bcd3","integrity":"matched","parts":1,"voices":1,"notes":3,"measures":1,"parser":{"status":"supported","warnings":[],"events":3,"normalizations":[]},"preview":{"path":"previews/edition-advanced-144-b-1.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"17c228b60cc9042f147c4ced79120efdee332a8b3c7c86f3ce6f17019cdd6566","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"1fa380786bb0b908bf072f0248dff5a9cb33c208a4c3ea41ab98290c5f99bcd3"}},{"id":"edition:advanced-144-b-2","collection":"edition","title":"Example advanced-144-b-2","page":144,"topic":"EXERCISE V. · FIRST LESSON, · On fugues in general.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-144-b-2.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/144-b.png","sha256":"65ffde99ae7d153a4f3659be664bba849e7403c2ba2c14ad44b5d31bad9357cb","label":"Source crop · printed p. 144","local":false}],"owners":["144-b"],"state":"recorded-review","editionStatus":"verified","context":"You see the semitones in six different positions, counting from the first note of each mode. This difference is indicated by the blackened notes. Which of these is first, second, third, and so forth we shall pass over for the present, numbering them meanwhile in the order in which they are placed here. Furthermore, a mode is bounded by the limits of the fourth and fifth contained within the octave; fugue subjects must be regulated according to these limits. For example:","latin":"Vides in sex diversis locis Semitoniorum existentiam; numerando de cujusvis Modi prima Nota: quæ diversitas nigredine Notarum indicatur; qui horum autem primus, secundus, tertiusve sit &c. in præsentia transibimus; interim eo, quo hîc positi sunt ordine, eos numerantes. Porrò Modus Quartæ, & Quintæ intrà Octavam existentium limitibus terminatur: juxta quos limites Fugarum themata regulanda sunt. E. C.","issues":["Isolated unmetered chord; whole-note duration used as printed.","Isolated unmetered chord; whole-note duration used as printed.","Isolated unmetered chord; whole-note duration used as printed.","Isolated unmetered chord; whole-note duration used as printed.","Isolated unmetered chord; whole-note duration used as printed.","Isolated unmetered chord; whole-note duration used as printed."],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Six unmetered triads: three tenor-clef then three bass-clef examples.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","All referenced MusicXML files passed the shared MusicXML schema validator, parsed to playable timelines, and rendered with Verovio. Astra visually compared proof contact sheets 0/6/12/18 to source: clefs, staff positions, accidental, head-fill indications, chord membership and printed lyrics match; unmetered playback assumptions remain explicitly documented."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"4128ca20fdeb6a9b05449ec52659dd4bf83de95bbf457db6e478752145680ea0","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-240","downloads":[],"xmlSha256":"4128ca20fdeb6a9b05449ec52659dd4bf83de95bbf457db6e478752145680ea0","integrity":"matched","parts":1,"voices":1,"notes":3,"measures":1,"parser":{"status":"supported","warnings":[],"events":3,"normalizations":[]},"preview":{"path":"previews/edition-advanced-144-b-2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"f234675dda329bafd72cf062548bfac451ec77299522ae68ad3ea8d2c6055afb","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"4128ca20fdeb6a9b05449ec52659dd4bf83de95bbf457db6e478752145680ea0"}},{"id":"edition:advanced-144-b-3","collection":"edition","title":"Example advanced-144-b-3","page":144,"topic":"EXERCISE V. · FIRST LESSON, · On fugues in general.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-144-b-3.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/144-b.png","sha256":"65ffde99ae7d153a4f3659be664bba849e7403c2ba2c14ad44b5d31bad9357cb","label":"Source crop · printed p. 144","local":false}],"owners":["144-b"],"state":"recorded-review","editionStatus":"verified","context":"You see the semitones in six different positions, counting from the first note of each mode. This difference is indicated by the blackened notes. Which of these is first, second, third, and so forth we shall pass over for the present, numbering them meanwhile in the order in which they are placed here. Furthermore, a mode is bounded by the limits of the fourth and fifth contained within the octave; fugue subjects must be regulated according to these limits. For example:","latin":"Vides in sex diversis locis Semitoniorum existentiam; numerando de cujusvis Modi prima Nota: quæ diversitas nigredine Notarum indicatur; qui horum autem primus, secundus, tertiusve sit &c. in præsentia transibimus; interim eo, quo hîc positi sunt ordine, eos numerantes. Porrò Modus Quartæ, & Quintæ intrà Octavam existentium limitibus terminatur: juxta quos limites Fugarum themata regulanda sunt. E. C.","issues":["Isolated unmetered chord; whole-note duration used as printed.","Isolated unmetered chord; whole-note duration used as printed.","Isolated unmetered chord; whole-note duration used as printed.","Isolated unmetered chord; whole-note duration used as printed.","Isolated unmetered chord; whole-note duration used as printed.","Isolated unmetered chord; whole-note duration used as printed."],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Six unmetered triads: three tenor-clef then three bass-clef examples.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","All referenced MusicXML files passed the shared MusicXML schema validator, parsed to playable timelines, and rendered with Verovio. Astra visually compared proof contact sheets 0/6/12/18 to source: clefs, staff positions, accidental, head-fill indications, chord membership and printed lyrics match; unmetered playback assumptions remain explicitly documented."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"7457a1c6f35f03851f32533ff998a1e59469c3941ce1d79548451ecc52637bb8","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-240","downloads":[],"xmlSha256":"7457a1c6f35f03851f32533ff998a1e59469c3941ce1d79548451ecc52637bb8","integrity":"matched","parts":1,"voices":1,"notes":3,"measures":1,"parser":{"status":"supported","warnings":[],"events":3,"normalizations":[]},"preview":{"path":"previews/edition-advanced-144-b-3.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"bf78035c6cb5d2120378d1345f7c91790fd8fe4d0e075bb84061c83e0b90fea9","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"7457a1c6f35f03851f32533ff998a1e59469c3941ce1d79548451ecc52637bb8"}},{"id":"edition:advanced-144-b-4","collection":"edition","title":"Example advanced-144-b-4","page":144,"topic":"EXERCISE V. · FIRST LESSON, · On fugues in general.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-144-b-4.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/144-b.png","sha256":"65ffde99ae7d153a4f3659be664bba849e7403c2ba2c14ad44b5d31bad9357cb","label":"Source crop · printed p. 144","local":false}],"owners":["144-b"],"state":"recorded-review","editionStatus":"verified","context":"You see the semitones in six different positions, counting from the first note of each mode. This difference is indicated by the blackened notes. Which of these is first, second, third, and so forth we shall pass over for the present, numbering them meanwhile in the order in which they are placed here. Furthermore, a mode is bounded by the limits of the fourth and fifth contained within the octave; fugue subjects must be regulated according to these limits. For example:","latin":"Vides in sex diversis locis Semitoniorum existentiam; numerando de cujusvis Modi prima Nota: quæ diversitas nigredine Notarum indicatur; qui horum autem primus, secundus, tertiusve sit &c. in præsentia transibimus; interim eo, quo hîc positi sunt ordine, eos numerantes. Porrò Modus Quartæ, & Quintæ intrà Octavam existentium limitibus terminatur: juxta quos limites Fugarum themata regulanda sunt. E. C.","issues":["Isolated unmetered chord; whole-note duration used as printed.","Isolated unmetered chord; whole-note duration used as printed.","Isolated unmetered chord; whole-note duration used as printed.","Isolated unmetered chord; whole-note duration used as printed.","Isolated unmetered chord; whole-note duration used as printed.","Isolated unmetered chord; whole-note duration used as printed."],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Six unmetered triads: three tenor-clef then three bass-clef examples.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","All referenced MusicXML files passed the shared MusicXML schema validator, parsed to playable timelines, and rendered with Verovio. Astra visually compared proof contact sheets 0/6/12/18 to source: clefs, staff positions, accidental, head-fill indications, chord membership and printed lyrics match; unmetered playback assumptions remain explicitly documented."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"65e238fd39a63a8e18282fb0674dbfaf7b03de8df3d83ca037989915b69014c8","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-240","downloads":[],"xmlSha256":"65e238fd39a63a8e18282fb0674dbfaf7b03de8df3d83ca037989915b69014c8","integrity":"matched","parts":1,"voices":1,"notes":3,"measures":1,"parser":{"status":"supported","warnings":[],"events":3,"normalizations":[]},"preview":{"path":"previews/edition-advanced-144-b-4.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"e875bdf3e2e4ff6378b404a70f4b16a423f973561703c8dba93ba2979f8848df","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"65e238fd39a63a8e18282fb0674dbfaf7b03de8df3d83ca037989915b69014c8"}},{"id":"edition:advanced-144-b-5","collection":"edition","title":"Example advanced-144-b-5","page":144,"topic":"EXERCISE V. · FIRST LESSON, · On fugues in general.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-144-b-5.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/144-b.png","sha256":"65ffde99ae7d153a4f3659be664bba849e7403c2ba2c14ad44b5d31bad9357cb","label":"Source crop · printed p. 144","local":false}],"owners":["144-b"],"state":"recorded-review","editionStatus":"verified","context":"You see the semitones in six different positions, counting from the first note of each mode. This difference is indicated by the blackened notes. Which of these is first, second, third, and so forth we shall pass over for the present, numbering them meanwhile in the order in which they are placed here. Furthermore, a mode is bounded by the limits of the fourth and fifth contained within the octave; fugue subjects must be regulated according to these limits. For example:","latin":"Vides in sex diversis locis Semitoniorum existentiam; numerando de cujusvis Modi prima Nota: quæ diversitas nigredine Notarum indicatur; qui horum autem primus, secundus, tertiusve sit &c. in præsentia transibimus; interim eo, quo hîc positi sunt ordine, eos numerantes. Porrò Modus Quartæ, & Quintæ intrà Octavam existentium limitibus terminatur: juxta quos limites Fugarum themata regulanda sunt. E. C.","issues":["Isolated unmetered chord; whole-note duration used as printed.","Isolated unmetered chord; whole-note duration used as printed.","Isolated unmetered chord; whole-note duration used as printed.","Isolated unmetered chord; whole-note duration used as printed.","Isolated unmetered chord; whole-note duration used as printed.","Isolated unmetered chord; whole-note duration used as printed."],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Six unmetered triads: three tenor-clef then three bass-clef examples.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","All referenced MusicXML files passed the shared MusicXML schema validator, parsed to playable timelines, and rendered with Verovio. Astra visually compared proof contact sheets 0/6/12/18 to source: clefs, staff positions, accidental, head-fill indications, chord membership and printed lyrics match; unmetered playback assumptions remain explicitly documented."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"990292c4c64319e30d4c81de923cac81f2eda4c017617a7817e08b513b5d58f5","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-240","downloads":[],"xmlSha256":"990292c4c64319e30d4c81de923cac81f2eda4c017617a7817e08b513b5d58f5","integrity":"matched","parts":1,"voices":1,"notes":3,"measures":1,"parser":{"status":"supported","warnings":[],"events":3,"normalizations":[]},"preview":{"path":"previews/edition-advanced-144-b-5.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"e71ddc55f56f095d24ccd44a629ec748a2d990af801ce8884313ef3c368d5574","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"990292c4c64319e30d4c81de923cac81f2eda4c017617a7817e08b513b5d58f5"}},{"id":"edition:advanced-144-b-6","collection":"edition","title":"Example advanced-144-b-6","page":144,"topic":"EXERCISE V. · FIRST LESSON, · On fugues in general.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-144-b-6.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/144-b.png","sha256":"65ffde99ae7d153a4f3659be664bba849e7403c2ba2c14ad44b5d31bad9357cb","label":"Source crop · printed p. 144","local":false}],"owners":["144-b"],"state":"recorded-review","editionStatus":"verified","context":"You see the semitones in six different positions, counting from the first note of each mode. This difference is indicated by the blackened notes. Which of these is first, second, third, and so forth we shall pass over for the present, numbering them meanwhile in the order in which they are placed here. Furthermore, a mode is bounded by the limits of the fourth and fifth contained within the octave; fugue subjects must be regulated according to these limits. For example:","latin":"Vides in sex diversis locis Semitoniorum existentiam; numerando de cujusvis Modi prima Nota: quæ diversitas nigredine Notarum indicatur; qui horum autem primus, secundus, tertiusve sit &c. in præsentia transibimus; interim eo, quo hîc positi sunt ordine, eos numerantes. Porrò Modus Quartæ, & Quintæ intrà Octavam existentium limitibus terminatur: juxta quos limites Fugarum themata regulanda sunt. E. C.","issues":["Isolated unmetered chord; whole-note duration used as printed.","Isolated unmetered chord; whole-note duration used as printed.","Isolated unmetered chord; whole-note duration used as printed.","Isolated unmetered chord; whole-note duration used as printed.","Isolated unmetered chord; whole-note duration used as printed.","Isolated unmetered chord; whole-note duration used as printed."],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Six unmetered triads: three tenor-clef then three bass-clef examples.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","All referenced MusicXML files passed the shared MusicXML schema validator, parsed to playable timelines, and rendered with Verovio. Astra visually compared proof contact sheets 0/6/12/18 to source: clefs, staff positions, accidental, head-fill indications, chord membership and printed lyrics match; unmetered playback assumptions remain explicitly documented."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"e325afda87ba11e1acfa3e62ae0c0208f0fdc5e9e2162f6f71a3705966f0c1b3","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-240","downloads":[],"xmlSha256":"e325afda87ba11e1acfa3e62ae0c0208f0fdc5e9e2162f6f71a3705966f0c1b3","integrity":"matched","parts":1,"voices":1,"notes":3,"measures":1,"parser":{"status":"supported","warnings":[],"events":3,"normalizations":[]},"preview":{"path":"previews/edition-advanced-144-b-6.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"91a2fb9dd9a428028b28edc29c99a7b10711d6ac88b8732c64d14f07d77e15b1","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"e325afda87ba11e1acfa3e62ae0c0208f0fdc5e9e2162f6f71a3705966f0c1b3"}},{"id":"edition:advanced-144-c-1","collection":"edition","title":"Example advanced-144-c-1","page":144,"topic":"EXERCISE V. · FIRST LESSON, · On fugues in general.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-144-c-1.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/144-c.png","sha256":"a3461c01f5ae552246dac888067270e31b2e61271b1ea3e71e6ef8f51a5598c3","label":"Source crop · printed p. 144","local":false}],"owners":["144-c"],"state":"recorded-review","editionStatus":"verified","context":"Thus, if the beginning part makes the leap of a fifth, the following part must make the leap of a fourth, lest it exceed the limit of the mode or octave, and conversely. For example:","latin":"Adeò, si pars incipiens, Quintæ saltum efficiat, ne pars sequens Modi, vel Octavæ limitem excedat, Quartæ saltum faciat, necesse sit, & vice versâ. E. G.","issues":[],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Two three-measure two-voice fragments on one staff, with alto then soprano clef, tied suspensions and half rests.","Voice assignment checked against Latin explanation: first voice leaps a fifth/fourth, second enters one bar later with fourth/fifth response. Single-staff voices preserved.","Voice assignment checked against Latin explanation: first voice leaps a fifth/fourth, second enters one bar later with fourth/fifth response. Single-staff voices preserved.","Source single-staff polyphony retained with MusicXMLvoice1/voice2 and backups; complete rendered comparison matches both three-measure examples and their first/second-voice fifth/fourth entries. XSD and playback parser accepted."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"6fc8e9b4691eb899ebd9ef3c64332101d78dc9d123b7e97aa11f17c551d810e4","hints":{"unmatched_ties":["P1 bar 2 start","P1 bar 3 stop"]}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-241","downloads":[],"xmlSha256":"6fc8e9b4691eb899ebd9ef3c64332101d78dc9d123b7e97aa11f17c551d810e4","integrity":"matched","parts":1,"voices":1,"notes":5,"measures":3,"parser":{"status":"supported","warnings":[],"events":4,"normalizations":[]},"preview":{"path":"previews/edition-advanced-144-c-1.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"dd246d57bd40d2edb8fceec1e868796dd91b1a68d0ca17167a50a93ee1bf8b10","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"6fc8e9b4691eb899ebd9ef3c64332101d78dc9d123b7e97aa11f17c551d810e4"}},{"id":"edition:advanced-144-c-2","collection":"edition","title":"Example advanced-144-c-2","page":144,"topic":"EXERCISE V. · FIRST LESSON, · On fugues in general.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-144-c-2.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/144-c.png","sha256":"a3461c01f5ae552246dac888067270e31b2e61271b1ea3e71e6ef8f51a5598c3","label":"Source crop · printed p. 144","local":false}],"owners":["144-c"],"state":"recorded-review","editionStatus":"verified","context":"Thus, if the beginning part makes the leap of a fifth, the following part must make the leap of a fourth, lest it exceed the limit of the mode or octave, and conversely. For example:","latin":"Adeò, si pars incipiens, Quintæ saltum efficiat, ne pars sequens Modi, vel Octavæ limitem excedat, Quartæ saltum faciat, necesse sit, & vice versâ. E. G.","issues":[],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Two three-measure two-voice fragments on one staff, with alto then soprano clef, tied suspensions and half rests.","Voice assignment checked against Latin explanation: first voice leaps a fifth/fourth, second enters one bar later with fourth/fifth response. Single-staff voices preserved.","Voice assignment checked against Latin explanation: first voice leaps a fifth/fourth, second enters one bar later with fourth/fifth response. Single-staff voices preserved.","Source single-staff polyphony retained with MusicXMLvoice1/voice2 and backups; complete rendered comparison matches both three-measure examples and their first/second-voice fifth/fourth entries. XSD and playback parser accepted."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"4198449934051c0bc93a6339ed7b2ba3607fca44363c47bdc7542fd98bff886e","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-241","downloads":[],"xmlSha256":"4198449934051c0bc93a6339ed7b2ba3607fca44363c47bdc7542fd98bff886e","integrity":"matched","parts":1,"voices":1,"notes":5,"measures":3,"parser":{"status":"supported","warnings":[],"events":5,"normalizations":[]},"preview":{"path":"previews/edition-advanced-144-c-2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"22c481871d4c7fe1df8fce1e593cfe57661fd1d0f8cb94623b9f5f4f1f992dac","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"4198449934051c0bc93a6339ed7b2ba3607fca44363c47bdc7542fd98bff886e"}},{"id":"edition:advanced-144-d-1","collection":"edition","title":"Example advanced-144-d-1","page":144,"topic":"EXERCISE V. · FIRST LESSON, · On fugues in general.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-144-d-1.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/144-d.png","sha256":"43a30e8c671e60fc925a72040a388cbae6628e3debf22e87ad213b1f37aeb068","label":"Source crop · printed p. 144","local":false}],"owners":["144-d"],"state":"needs-review","editionStatus":"needs-review","context":"Imitation is not bound to this; it is enough for it to follow the same steps and leaps. For example:","latin":"Ad quod imitatio non obstringitur; cui sufficit, eosdem gradus, ac saltus sequi. E. G.","issues":["Both examples transcribed. First example final G4 read as one open half-note, without an invented high note; two stem crossbars remain uninterpreted source detail. Parent second-eye agrees stem terminal does not justify an extra note. Candidate retained for that notation detail."],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Two three-measure two-voice fragments on one staff, alto then soprano clef; first upper voice has dotted half plus quarter leap.","Voice assignment checked against Latin explanation: first voice leaps a fifth/fourth, second enters one bar later with fourth/fifth response. Single-staff voices preserved.","Voice assignment checked against Latin explanation: first voice leaps a fifth/fourth, second enters one bar later with fourth/fifth response. Single-staff voices preserved.","Both single-staff candidate examples rendered and compared. Second is clear; first main open G4half preserved without invented upper note, crossbars retained only as unresolved source detail per parent second-eye."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"ba62af012f6f2bf64052f36dff8634f0f459c01ba05a957f30e202684b75ebc0","hints":{"unmatched_ties":["P1 bar 2 start","P1 bar 3 stop"]}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-242","downloads":[],"xmlSha256":"ba62af012f6f2bf64052f36dff8634f0f459c01ba05a957f30e202684b75ebc0","integrity":"matched","parts":1,"voices":1,"notes":6,"measures":3,"parser":{"status":"supported","warnings":[],"events":5,"normalizations":[]},"preview":{"path":"previews/edition-advanced-144-d-1.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"fc956c5f05a12edfa55ec99b15d587c3a6cd5c01add75d1d439399fe68cf0587","playback":false,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"ba62af012f6f2bf64052f36dff8634f0f459c01ba05a957f30e202684b75ebc0"}},{"id":"edition:advanced-144-d-2","collection":"edition","title":"Example advanced-144-d-2","page":144,"topic":"EXERCISE V. · FIRST LESSON, · On fugues in general.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-144-d-2.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/144-d.png","sha256":"43a30e8c671e60fc925a72040a388cbae6628e3debf22e87ad213b1f37aeb068","label":"Source crop · printed p. 144","local":false}],"owners":["144-d"],"state":"needs-review","editionStatus":"needs-review","context":"Imitation is not bound to this; it is enough for it to follow the same steps and leaps. For example:","latin":"Ad quod imitatio non obstringitur; cui sufficit, eosdem gradus, ac saltus sequi. E. G.","issues":["Both examples transcribed. First example final G4 read as one open half-note, without an invented high note; two stem crossbars remain uninterpreted source detail. Parent second-eye agrees stem terminal does not justify an extra note. Candidate retained for that notation detail."],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Two three-measure two-voice fragments on one staff, alto then soprano clef; first upper voice has dotted half plus quarter leap.","Voice assignment checked against Latin explanation: first voice leaps a fifth/fourth, second enters one bar later with fourth/fifth response. Single-staff voices preserved.","Voice assignment checked against Latin explanation: first voice leaps a fifth/fourth, second enters one bar later with fourth/fifth response. Single-staff voices preserved.","Both single-staff candidate examples rendered and compared. Second is clear; first main open G4half preserved without invented upper note, crossbars retained only as unresolved source detail per parent second-eye."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"e7ac782eac4abb38d0a5692416679da27bef782f58b0aafe66f62aedb372fdca","hints":{"unmatched_ties":["P1 bar 2 start","P1 bar 3 stop"]}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-242","downloads":[],"xmlSha256":"e7ac782eac4abb38d0a5692416679da27bef782f58b0aafe66f62aedb372fdca","integrity":"matched","parts":1,"voices":1,"notes":5,"measures":3,"parser":{"status":"supported","warnings":[],"events":4,"normalizations":[]},"preview":{"path":"previews/edition-advanced-144-d-2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"89e108c4e5514344114c0be94e700231246db7d67a57ef83ac72f9aa9f7d3409","playback":false,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"e7ac782eac4abb38d0a5692416679da27bef782f58b0aafe66f62aedb372fdca"}},{"id":"edition:advanced-145-a","collection":"edition","title":"Example advanced-145-a","page":145,"topic":"EXERCISE V. · FIRST LESSON, · On fugues in general.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-145-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/145-a.png","sha256":"bb91344eb399f0621c2527289ad1102ca2ba1e47aa574076ee4f64cd40437da7","label":"Source crop · printed p. 145","local":false}],"owners":["145-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. That is so; talk of them is heard more frequently than knowledge of them. So that nothing about them may remain unknown to you, I shall explain what you have asked. The preceding demonstration establishes that there are six different modes, and therefore each mode must have its own appropriate subject. It follows that a theme proper to the first mode is by no means suited to the second, third, fourth, fifth, or sixth, because of the differing position of whole tones and semitones found in each mode, as the examples will show.","latin":"Aloys. Ità est, frequentior de illis auditur sermo, quàm scientia. Ut itaque nihil earum te lateat, quod quæsîsti, exponam. Sex differentes modos dari, ex antè dictâ demonstratione constat. Ideoque cuivis Modorum etiam proprium suum subjectum aptandum esse. Ex quo infertur, thema primo Modo proprium, secundo, tertio, quarto, quinto, sexto minimè convenire, propter tonorum, semitoniorumque situm, in quolibet Modo differenter repertum, ut exempla monstrabunt.","issues":[],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Alto clef, cut time: D4 F4 E4 D4 whole notes, re fa mi re.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","All referenced MusicXML files passed the shared MusicXML schema validator, parsed to playable timelines, and rendered with Verovio. Astra visually compared proof contact sheets 0/6/12/18 to source: clefs, staff positions, accidental, head-fill indications, chord membership and printed lyrics match; unmetered playback assumptions remain explicitly documented."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"7fde92c186b4e2ffc8d8f936a2f060406007144f15877ca27039815e45a95a7c","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-243","downloads":[],"xmlSha256":"7fde92c186b4e2ffc8d8f936a2f060406007144f15877ca27039815e45a95a7c","integrity":"matched","parts":1,"voices":1,"notes":4,"measures":1,"parser":{"status":"supported","warnings":[],"events":4,"normalizations":[]},"preview":{"path":"previews/edition-advanced-145-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"70d45881103336067d396b3ab419bc7c806046c73358cf020cfb35810a3f0e16","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"7fde92c186b4e2ffc8d8f936a2f060406007144f15877ca27039815e45a95a7c"}},{"id":"edition:advanced-145-b","collection":"edition","title":"Example advanced-145-b","page":145,"topic":"EXERCISE V. · FIRST LESSON, · On fugues in general.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-145-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/145-b.png","sha256":"d736bdb18eae5bed8b001194fdc45ffbb98422d986b454bc6419657ddf51d161","label":"Source crop · printed p. 145","local":false}],"owners":["145-b"],"state":"recorded-review","editionStatus":"verified","context":"This theme, taken up by the following part at the fifth, preserves the same whole tones and semitones. For example:","latin":"Hoc thema, à parte sequente in Quinta reassumptum eosdem tonos, & semitonia servat. E. G.","issues":[],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Soprano clef, cut time: A4 C5 B4 A4 whole notes, re fa mi re.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","All referenced MusicXML files passed the shared MusicXML schema validator, parsed to playable timelines, and rendered with Verovio. Astra visually compared proof contact sheets 0/6/12/18 to source: clefs, staff positions, accidental, head-fill indications, chord membership and printed lyrics match; unmetered playback assumptions remain explicitly documented."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"a234b636dd5d739334eb75eaa625f3bf81b81f65d15d9747be4ca570fba38360","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-244","downloads":[],"xmlSha256":"a234b636dd5d739334eb75eaa625f3bf81b81f65d15d9747be4ca570fba38360","integrity":"matched","parts":1,"voices":1,"notes":4,"measures":1,"parser":{"status":"supported","warnings":[],"events":4,"normalizations":[]},"preview":{"path":"previews/edition-advanced-145-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"9f0320b7d7c86380cebac7403377f09668a7cd2dbae37914f299ae71f8be309b","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"a234b636dd5d739334eb75eaa625f3bf81b81f65d15d9747be4ca570fba38360"}},{"id":"edition:advanced-145-c-1","collection":"edition","title":"Example advanced-145-c-1","page":145,"topic":"EXERCISE V. · FIRST LESSON, · On fugues in general.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-145-c-1.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/145-c.png","sha256":"61917f6fe29f5c071d4b34d8aaebc470eb38f296ce3e259b09ea112682643371","label":"Source crop · printed p. 145","local":false}],"owners":["145-c"],"state":"recorded-review","editionStatus":"verified","context":"This cannot occur for this subject in any of the other modes. Let us examine the mode A, la, mi, re, which alone comes closest in similarity to the mode D, la, sol, re:","latin":"Id quod in nullo cæterorum Modorum huic subjecto usuvenire potest. Videamus Modum A, la, mi, re, qui solus Modo D, la, sol, re, æqualitate proximus est:","issues":["Four printed whole notes without internal barlines; source spacing retained as a single free-length measure.","Four printed whole notes without internal barlines; source spacing retained as a single free-length measure."],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Alto-clef separate D-mode and E-mode motifs: A3 C4 B3 A3; E4 G4 F4 E4, four whole notes each.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","All referenced MusicXML files passed the shared MusicXML schema validator, parsed to playable timelines, and rendered with Verovio. Astra visually compared proof contact sheets 0/6/12/18 to source: clefs, staff positions, accidental, head-fill indications, chord membership and printed lyrics match; unmetered playback assumptions remain explicitly documented."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"9df11b39563f2d50e8881d1bdcb9fdc1369071e8cb7e2b341238d55b7eef88b8","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-245","downloads":[],"xmlSha256":"9df11b39563f2d50e8881d1bdcb9fdc1369071e8cb7e2b341238d55b7eef88b8","integrity":"matched","parts":1,"voices":1,"notes":4,"measures":1,"parser":{"status":"supported","warnings":[],"events":4,"normalizations":[]},"preview":{"path":"previews/edition-advanced-145-c-1.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"993c77adcfc754ffee2abf54e5d1a5f5138b9713a69007083c05a10398bec85d","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"9df11b39563f2d50e8881d1bdcb9fdc1369071e8cb7e2b341238d55b7eef88b8"}},{"id":"edition:advanced-145-c-2","collection":"edition","title":"Example advanced-145-c-2","page":145,"topic":"EXERCISE V. · FIRST LESSON, · On fugues in general.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-145-c-2.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/145-c.png","sha256":"61917f6fe29f5c071d4b34d8aaebc470eb38f296ce3e259b09ea112682643371","label":"Source crop · printed p. 145","local":false}],"owners":["145-c"],"state":"recorded-review","editionStatus":"verified","context":"This cannot occur for this subject in any of the other modes. Let us examine the mode A, la, mi, re, which alone comes closest in similarity to the mode D, la, sol, re:","latin":"Id quod in nullo cæterorum Modorum huic subjecto usuvenire potest. Videamus Modum A, la, mi, re, qui solus Modo D, la, sol, re, æqualitate proximus est:","issues":["Four printed whole notes without internal barlines; source spacing retained as a single free-length measure.","Four printed whole notes without internal barlines; source spacing retained as a single free-length measure."],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Alto-clef separate D-mode and E-mode motifs: A3 C4 B3 A3; E4 G4 F4 E4, four whole notes each.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","All referenced MusicXML files passed the shared MusicXML schema validator, parsed to playable timelines, and rendered with Verovio. Astra visually compared proof contact sheets 0/6/12/18 to source: clefs, staff positions, accidental, head-fill indications, chord membership and printed lyrics match; unmetered playback assumptions remain explicitly documented."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"7a83bca5d42d9743ec827d81aedaea0ef9b87399f17fd37312608ff429453e9d","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-245","downloads":[],"xmlSha256":"7a83bca5d42d9743ec827d81aedaea0ef9b87399f17fd37312608ff429453e9d","integrity":"matched","parts":1,"voices":1,"notes":4,"measures":1,"parser":{"status":"supported","warnings":[],"events":4,"normalizations":[]},"preview":{"path":"previews/edition-advanced-145-c-2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"e484a6dd373b53c9e82ce7e8f595dd75c286b8989e1ed9a5364a1a1b8cdcf39a","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"7a83bca5d42d9743ec827d81aedaea0ef9b87399f17fd37312608ff429453e9d"}},{"id":"edition:advanced-145-d","collection":"edition","title":"Example advanced-145-d","page":145,"topic":"EXERCISE V. · FIRST LESSON, · On fugues in general.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-145-d.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/145-d.png","sha256":"b020f819631762e49c8837315f1050a6fe9b62c87d73f78c9db4cba5fc5ec09f","label":"Source crop · printed p. 145","local":false}],"owners":["145-d"],"state":"recorded-review","editionStatus":"verified","context":"Here, in the penultimate note of the following part, fa comes instead of mi, and the position of whole tone and semitone is reversed. The arrangement of the subject proposed in the first part cannot otherwise be obtained except with the aid of a sharp placed before the penultimate note. For example:","latin":"Ubi in partis sequentis penultima Nota loco mi, fa venit, & toni, semitoniique situs invertitur; nec subjecti sistema in prima parte propositum, aliter haberi potest, nisi Diesis penultimæ Notæ præpositæ adminiculo. E. G.","issues":["Printed cross-shaped accidental transcribed as single sharp; no meter printed."],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Alto-clef E4 G4 F-sharp4 E4, whole notes; sharp before third note, re fa mi re.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","All referenced MusicXML files passed the shared MusicXML schema validator, parsed to playable timelines, and rendered with Verovio. Astra visually compared proof contact sheets 0/6/12/18 to source: clefs, staff positions, accidental, head-fill indications, chord membership and printed lyrics match; unmetered playback assumptions remain explicitly documented."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"95bf5ea6dec729da2d939ac0605412dbc3446895048ae47fd9dada08b18d4613","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-246","downloads":[],"xmlSha256":"95bf5ea6dec729da2d939ac0605412dbc3446895048ae47fd9dada08b18d4613","integrity":"matched","parts":1,"voices":1,"notes":4,"measures":1,"parser":{"status":"supported","warnings":[],"events":4,"normalizations":[]},"preview":{"path":"previews/edition-advanced-145-d.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"acdc23fdbdce5a69db8b2b1b3e4c8fd1b06b6c68e2a8868199954933d542549a","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"95bf5ea6dec729da2d939ac0605412dbc3446895048ae47fd9dada08b18d4613"}},{"id":"edition:advanced-146-147-fuga-a2","collection":"edition","title":"Example advanced-146-147-fuga-a2","page":146,"topic":"EXERCISE V. · SECOND LESSON, · On fugue for two parts","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-146-147-fuga-a2.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/146-a.png","sha256":"ee3d3e136a992f52fdacd01493de49b10c6ebf5502a2bf52c489b8c5d7dba059","label":"Source crop · printed p. 146","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/147-a.png","sha256":"a1b3bc32a2822fed10ef0de8a39f8466bbf47d6e4616f60bc34db27908b84e6b","label":"Source crop · printed p. 147","local":false}],"owners":["146-a","147-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. It is best to defer your doubt for now until the obscure matter is clarified by an example. I shall therefore take the subject with which the nature of the mode was demonstrated a little earlier and, conducting it in the manner prescribed, make a fugue. This model will lay an easier and more direct path for you. For example:","latin":"Aloys. Differre dubium tuum nunc expedit, donec res obscura Paradigmate clarefacta. Accipiam itaque subjectum, quò paulò ante Modi natura demonstrata est, præscriptoque modo id ducendo, Fugam efficiam; quâ normâ facilior, & expeditior via tibi strata erit. E. G.","issues":[],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Two-voice fugue begins146-a and continues147-a; soprano/alto clefs, cadences marked in fifth and third. Final breves147-a.","All27measures of both voices directly visually transcribed; source cropped detail confirmed146-a lower measure8 contains two filled quarter notes plus tied half, with no intervening rest.","Schema validated, parsed and Verovio rendered. Astra compared all staff positions, printed rhythmic values/rests, ties, accidentals and closing breves against source; source147 terminal breves separately enlarged to confirm D5/D4 octave.","Each printed after-bar dot explicitly audited against previous half-note pitch; editorial split tie now sustains the sounding note.","Latest XSD validation, playable timeline and Verovio proof all accepted; complete source-to-render comparison includes every after-bar augmentation dot as held continuation, never a new rest."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"b0c6a83b1c8717a0e658a093ae4eb1f2c568d60c9fa50579cd9c726cf2b4d64f","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-247","downloads":[],"xmlSha256":"b0c6a83b1c8717a0e658a093ae4eb1f2c568d60c9fa50579cd9c726cf2b4d64f","integrity":"matched","parts":2,"voices":2,"notes":89,"measures":27,"parser":{"status":"supported","warnings":[],"events":76,"normalizations":[]},"preview":{"path":"previews/edition-advanced-146-147-fuga-a2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"55dc33cdc2bfcb31f2e10144901578489c43eddc2c7452902c788cce529a584d","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"b0c6a83b1c8717a0e658a093ae4eb1f2c568d60c9fa50579cd9c726cf2b4d64f"}},{"id":"edition:advanced-148-a-1","collection":"edition","title":"Example advanced-148-a-1","page":148,"topic":"EXERCISE V. · SECOND LESSON, · On fugue for two parts","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-148-a-1.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/148-a.png","sha256":"fbf8756ed6a0cf3d89c1aa45f3286d6b5def1d0a08ecf8674d32d3ad961440a7","label":"Source crop · printed p. 148","local":false}],"owners":["148-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. I think the precept should be understood of subjects, where, in order to recognize the nature and differences of the modes, the semitones must occur naturally, without the aid of a sharp or flat. The case is different in melodic continuation, where the use of sharps and flats is not only not forbidden but is sometimes necessary to avoid the harsh relation of mi against fa. These circumstances arise generally from the following opposition of mi against fa.","latin":"Aloys. Intelligendum puto de subjectis, ubi ad noscendam Modorum naturam differentiamque, Semitonia naturali ratione venire debent, absque Diesis, vel b mollis adminiculo. Alia ratio est in Modulatione, ubi Diesis, atque b mollis usus non solùm non prohibitus, verùm etiam ad evitandam asperam mi contra fa relationem nonnunquam necessarius est. Oriuntur autem dictæ rationes ex sequenti fermè mi contra fa oppositione.","issues":["Isolated interval, no meter printed.","Isolated interval, no meter printed."],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Two paired whole-note intervals with soprano and alto clefs; both separated by double bars.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","All referenced MusicXML files passed the shared MusicXML schema validator, parsed to playable timelines, and rendered with Verovio. Astra visually compared proof contact sheets 0/6/12/18 to source: clefs, staff positions, accidental, head-fill indications, chord membership and printed lyrics match; unmetered playback assumptions remain explicitly documented."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"1a7c12ce61183a1a2d7452715d0b6073c3bcec5337486eb048f318715d1f301f","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-249","downloads":[],"xmlSha256":"1a7c12ce61183a1a2d7452715d0b6073c3bcec5337486eb048f318715d1f301f","integrity":"matched","parts":2,"voices":2,"notes":2,"measures":1,"parser":{"status":"supported","warnings":[],"events":2,"normalizations":[]},"preview":{"path":"previews/edition-advanced-148-a-1.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"0fbbaa244d99157b7c4dfe0030dc6513c8cc0fa8f3d6906d35915224fbe445e7","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"1a7c12ce61183a1a2d7452715d0b6073c3bcec5337486eb048f318715d1f301f"}},{"id":"edition:advanced-148-a-2","collection":"edition","title":"Example advanced-148-a-2","page":148,"topic":"EXERCISE V. · SECOND LESSON, · On fugue for two parts","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-148-a-2.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/148-a.png","sha256":"fbf8756ed6a0cf3d89c1aa45f3286d6b5def1d0a08ecf8674d32d3ad961440a7","label":"Source crop · printed p. 148","local":false}],"owners":["148-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. I think the precept should be understood of subjects, where, in order to recognize the nature and differences of the modes, the semitones must occur naturally, without the aid of a sharp or flat. The case is different in melodic continuation, where the use of sharps and flats is not only not forbidden but is sometimes necessary to avoid the harsh relation of mi against fa. These circumstances arise generally from the following opposition of mi against fa.","latin":"Aloys. Intelligendum puto de subjectis, ubi ad noscendam Modorum naturam differentiamque, Semitonia naturali ratione venire debent, absque Diesis, vel b mollis adminiculo. Alia ratio est in Modulatione, ubi Diesis, atque b mollis usus non solùm non prohibitus, verùm etiam ad evitandam asperam mi contra fa relationem nonnunquam necessarius est. Oriuntur autem dictæ rationes ex sequenti fermè mi contra fa oppositione.","issues":["Isolated interval, no meter printed.","Isolated interval, no meter printed."],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Two paired whole-note intervals with soprano and alto clefs; both separated by double bars.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","All referenced MusicXML files passed the shared MusicXML schema validator, parsed to playable timelines, and rendered with Verovio. Astra visually compared proof contact sheets 0/6/12/18 to source: clefs, staff positions, accidental, head-fill indications, chord membership and printed lyrics match; unmetered playback assumptions remain explicitly documented."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"72d69f5ba508138e1568c3042273032cb24ff77c6704905058f43e137e13cd97","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-249","downloads":[],"xmlSha256":"72d69f5ba508138e1568c3042273032cb24ff77c6704905058f43e137e13cd97","integrity":"matched","parts":2,"voices":2,"notes":2,"measures":1,"parser":{"status":"supported","warnings":[],"events":2,"normalizations":[]},"preview":{"path":"previews/edition-advanced-148-a-2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"767dc8ec4404734d27fa7b9fce0719d38f95de84595b9335dc84fbffbdebe139","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"72d69f5ba508138e1568c3042273032cb24ff77c6704905058f43e137e13cd97"}},{"id":"edition:advanced-148-b","collection":"edition","title":"Example advanced-148-b","page":148,"topic":"EXERCISE V. · SECOND LESSON, · On fugue for two parts","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-148-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/148-b.png","sha256":"edd288e9619b6262c6fd112533336533fbcd6613ebe14d91e14a4bb870e72d91","label":"Source crop · printed p. 148","local":false}],"owners":["148-b"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. In the first place, reference was made to the fundamental note and the following arrangement:","latin":"Aloys. Primo loco respectus habitus est ad Notam fundamentalem, sequensque sistema:","issues":[],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Isolated tenor-clef chords, three-note then two-note.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","All referenced MusicXML files passed the shared MusicXML schema validator, parsed to playable timelines, and rendered with Verovio. Astra visually compared proof contact sheets 0/6/12/18 to source: clefs, staff positions, accidental, head-fill indications, chord membership and printed lyrics match; unmetered playback assumptions remain explicitly documented."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"f14dbbff508f512b196d345c1b987b94bd53c9e0114d2a528791660aa762dd4e","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-250","downloads":[],"xmlSha256":"f14dbbff508f512b196d345c1b987b94bd53c9e0114d2a528791660aa762dd4e","integrity":"matched","parts":1,"voices":1,"notes":3,"measures":1,"parser":{"status":"supported","warnings":[],"events":3,"normalizations":[]},"preview":{"path":"previews/edition-advanced-148-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"99ce3ecb0f739143159fd6cc2dc7c47b41fb4af0e52f65212df070892711c4dc","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"f14dbbff508f512b196d345c1b987b94bd53c9e0114d2a528791660aa762dd4e"}},{"id":"edition:advanced-148-c","collection":"edition","title":"Example advanced-148-c","page":148,"topic":"EXERCISE V. · SECOND LESSON, · On fugue for two parts","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-148-c.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/148-c.png","sha256":"38d0dfc3932ce6b0f0ef14763e53de7be21fa6dac3d12c005500e433b6ef526e","label":"Source crop · printed p. 148","local":false}],"owners":["148-c"],"state":"recorded-review","editionStatus":"verified","context":"This certainly contains no fourth. In the second place, however, omitting the fundamental note and considering the upper part, I referred to the following arrangement:","latin":"Cui quarta utique non inest: secundo verò loco omissâ Notâ fundamentali, habitoque respectu partis superioris ad sequens sistema respexi:","issues":[],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Isolated tenor-clef chords, three-note then two-note.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","All referenced MusicXML files passed the shared MusicXML schema validator, parsed to playable timelines, and rendered with Verovio. Astra visually compared proof contact sheets 0/6/12/18 to source: clefs, staff positions, accidental, head-fill indications, chord membership and printed lyrics match; unmetered playback assumptions remain explicitly documented."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"5a8c0d1aee85a9524a32aa444cc9e48125869d62faaacad9427716e8a00a2072","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-251","downloads":[],"xmlSha256":"5a8c0d1aee85a9524a32aa444cc9e48125869d62faaacad9427716e8a00a2072","integrity":"matched","parts":1,"voices":1,"notes":2,"measures":1,"parser":{"status":"supported","warnings":[],"events":2,"normalizations":[]},"preview":{"path":"previews/edition-advanced-148-c.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"98d287871918161caaf10454a46684b138e3e86d350a3a192d3ac856a8a0ba5a","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"5a8c0d1aee85a9524a32aa444cc9e48125869d62faaacad9427716e8a00a2072"}},{"id":"edition:advanced-148-d","collection":"edition","title":"Example advanced-148-d","page":148,"topic":"EXERCISE V. · SECOND LESSON, · On fugue for two parts","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-148-d.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/148-d.png","sha256":"26ed02b91177cd4f328e44aa4e1c30d42daca0e06ffd64410feac678bd1d1ffc","label":"Source crop · printed p. 148","local":false}],"owners":["148-d"],"state":"recorded-review","editionStatus":"verified","context":"Although even in this case that A may be called the fifth, because the fundamental note D must be understood; hence the second part of the following example must be regarded as following at the fifth. For example:","latin":"Quanquam etiam hoc in casu A. illud Quinta dici possit, quia Nota fundamentalis D. subintelligi debet; unde sequentis exempli pars secunda in Quinta sequi censenda est. E. G.","issues":["As printed: different B3→A3 pitches retained; curve encoded as slur; no editorial pitch repair."],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Complete three-system two-voice fugue in soprano/alto clefs; final breves. Several ties, dotted values and flats/sharps.","All23measures of both voices entered from visual inspection; enlarged lower final system confirms distinct pitches under one curved mark.","Each printed after-bar dot explicitly audited against previous half-note pitch; editorial split tie now sustains the sounding note.","Latest corrected proof compared against source; all after-bar dots now held notes, redundant second B-flat sign removed; all23measures otherwise match.","Parent second-eye confirms curve lies below lowest staff and connects different printed pitches. Exact-current as-printed full proof compared again; no pitch/duration repaired. XSD and playback accepted; full version now verified independently of the retained opening excerpt."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"b5fede84773db8cc3d39c3efbf9d9154700b817a782dc08fc2ae49da55e0ea77","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-252","downloads":[],"xmlSha256":"b5fede84773db8cc3d39c3efbf9d9154700b817a782dc08fc2ae49da55e0ea77","integrity":"matched","parts":2,"voices":2,"notes":74,"measures":23,"parser":{"status":"supported","warnings":[],"events":64,"normalizations":[]},"preview":{"path":"previews/edition-advanced-148-d.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"d6222b39665c5e3c40d549ede48c664006d0825979f0aac7b27709d21e70a70c","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"b5fede84773db8cc3d39c3efbf9d9154700b817a782dc08fc2ae49da55e0ea77"}},{"id":"edition:advanced-148-d-verified-prefix","collection":"edition","title":"Example advanced-148-d-verified-prefix","page":148,"topic":"EXERCISE V. · SECOND LESSON, · On fugue for two parts","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-148-d-verified-prefix.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/148-d.png","sha256":"26ed02b91177cd4f328e44aa4e1c30d42daca0e06ffd64410feac678bd1d1ffc","label":"Source crop · printed p. 148","local":false}],"owners":["148-d"],"state":"recorded-review","editionStatus":"verified","context":"Although even in this case that A may be called the fifth, because the fundamental note D must be understood; hence the second part of the following example must be regarded as following at the fifth. For example:","latin":"Quanquam etiam hoc in casu A. illud Quinta dici possit, quia Nota fundamentalis D. subintelligi debet; unde sequentis exempli pars secunda in Quinta sequi censenda est. E. G.","issues":["Opening excerpt only; full source continues beyond the boundary."],"verificationNotes":["Known source-checked measures derived from full candidate without adding notes or a cadence. Full primary file unchanged.","Derived prefix proof fully compared to retained source-checked notes. XSD and playback parser accepted. Full primary unchanged; no new notes, rests or cadence. Outgoing playback ties removed only at cut, with notation-only source tie and explicit excerpt-boundary label retained."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"a3fe857b9345b69e1d19727ec02eb06d75286be04a8019e19b4444241b21c364","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-252","downloads":[],"xmlSha256":"a3fe857b9345b69e1d19727ec02eb06d75286be04a8019e19b4444241b21c364","integrity":"matched","parts":2,"voices":2,"notes":61,"measures":19,"parser":{"status":"supported","warnings":[],"events":54,"normalizations":[]},"preview":{"path":"previews/edition-advanced-148-d-verified-prefix.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"6f699a54d060a4e600ad1a4bb9ec87d663116d51fa1a687cb6ea2f0ac76e1b5f","playback":true,"corpusLinks":[],"relationship":"derived-reading","material":{"group":"derived-reading","reason":"The edition explicitly records this as an excerpt or instrumental reading of existing material.","relatedEditionIds":["edition:advanced-148-d"],"coverage":{"kind":"excerpt","label":"Verified opening · measures 1–19 of 23; full score continues","lastMeasure":19,"totalMeasures":23},"xmlSha256":"a3fe857b9345b69e1d19727ec02eb06d75286be04a8019e19b4444241b21c364"}},{"id":"edition:advanced-149-a","collection":"edition","title":"Example advanced-149-a","page":149,"topic":"EXERCISE V. · SECOND LESSON, · On fugue for two parts","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-149-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/149-a.png","sha256":"b3a61d27e48b459ea08838d444292f9bbb500caf4270cc3a4e183acc082a5e86","label":"Source crop · printed p. 149","local":false}],"owners":["149-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. I say that it is not only permitted at times to tie notes that were untied, but that this adds a certain charm to the composition. Indeed, very often, where subjects cannot otherwise be drawn into close overlap, this breaking up of note forms is necessary. Now take up the second mode, E, yourself, and, choosing a subject suitable to none of the other modes, try to compose a fugue on the model of the preceding example. There is this difference, however: whereas in the first and all the other modes the first cadence is on the fifth, in this mode it must be made on the sixth. For, with a third part added that requires a major third, the melodic course would be too foreign to this mode, and the very bad course arising from mi against fa would offend the ears because of the F immediately following. For example:","latin":"Aloys. Dico, non solùm permissum esse subinde solutas Notas ligari, verùm etiam, nescio quid grati per hoc accedere Compositioni: imò persæpe, ubi subjecta in angustum contrahi aliter non possunt, hâc figurarum fractione opus esse. Nunc tu ipse alterum modum E. ad manus accipe, & electo subjecto, nulli alteri Modorum conveniente, ad prioris exempli normam Fugam conficere tenta: hoc tamen discrimine, quod, sicut & in priori, & omnibus aliis Modis prima Clausula in Quinta sit, ita in hoc in Sexta facienda sit; ob rationem, quod accedente parte tertiâ, Tertiam majorem exigente, nimis aliena foret ab hoc Modo modulatio; pessimâque ex mi contra fa oriunda modulatio propter mox secuturum F. aures offenderet. E. G.","issues":[],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Three-voice four-measure demonstration, soprano/alto/tenor clefs. Blank unprinted voice spans cannot silently be filled with notes.","Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.","All four three-voice bars compared to source, including blank spans advanced invisibly and explicit D-sharp. XSD/parser/renderer accepted; no invented notes or rest signs."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"50b4164293c7b7907f3b03282db19371fa492bbb6d12bcc86915e405fd7385cc","hints":{"invisible_gaps":[["4","P1"],["1","P2"],["1","P3"],["4","P3"]]}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-253","downloads":[],"xmlSha256":"50b4164293c7b7907f3b03282db19371fa492bbb6d12bcc86915e405fd7385cc","integrity":"matched","parts":3,"voices":3,"notes":10,"measures":4,"parser":{"status":"supported","warnings":[],"events":9,"normalizations":[]},"preview":{"path":"previews/edition-advanced-149-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"b3ab71dfe92b9d98c5544ba51b312e529897dbd9871561f22c7f3ae463c9741a","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"50b4164293c7b7907f3b03282db19371fa492bbb6d12bcc86915e405fd7385cc"}},{"id":"edition:advanced-149b-150a-modus-e","collection":"edition","title":"Example advanced-149b-150a-modus-e","page":149,"topic":"EXERCISE V. · SECOND LESSON, · On fugue for two parts","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-149b-150a-modus-e.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/149-b.png","sha256":"fa6470a8b504249a913567a9adedab4517f3e3fd4287354f8e2bcf75dba681df","label":"Source crop · printed p. 149","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/150-a.png","sha256":"e606845067aa48cc1e3b949709a7d673233621b901d3113b530905e77e049c65","label":"Source crop · printed p. 150","local":false}],"owners":["149-b","150-a"],"state":"needs-review","editionStatus":"needs-review","context":"Aloysius. Put aside your fear, for you know my patience; nor am I ignorant of the difficulty of this study for beginners.","latin":"Aloys. Mitte timorem; noscis enim patientiam meam; neque ego ignoro hujus studii in tyronibus difficultatem.","issues":["Complete24-measure candidate. Upper measure22 first quarter-note pitch is obscured by manuscript/ink; tentative B4 encoded with A4 alternative recorded, so not verified. Remaining notes, rests, ties, source augmentation-dot holds, F-sharp and final E5/E4 breves directly transcribed."],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Modus E two-part fugue starts149-b and ends150-a with breves. Soprano/alto clefs; hand-added accidental around penultimate system requires checking.","Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.","Latest complete candidate proof compared to source and XSD/parser accepted; manuscript-obscured note issue remains explicit rather than silently resolved."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"1ab5866b23616b8af6ce0c113afab6b923e7c48db1dd8ab06575609a14cec1b7","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-254","downloads":[],"xmlSha256":"1ab5866b23616b8af6ce0c113afab6b923e7c48db1dd8ab06575609a14cec1b7","integrity":"matched","parts":2,"voices":2,"notes":87,"measures":24,"parser":{"status":"supported","warnings":[],"events":80,"normalizations":[]},"preview":{"path":"previews/edition-advanced-149b-150a-modus-e.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"2600410c8045bfb0f7e9ae17587278b9955f6372744dd087f2d100dc871f5e42","playback":false,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"1ab5866b23616b8af6ce0c113afab6b923e7c48db1dd8ab06575609a14cec1b7"}},{"id":"edition:advanced-149b-150a-modus-e-verified-prefix","collection":"edition","title":"Example advanced-149b-150a-modus-e-verified-prefix","page":149,"topic":"EXERCISE V. · SECOND LESSON, · On fugue for two parts","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-149b-150a-modus-e-verified-prefix.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/149-b.png","sha256":"fa6470a8b504249a913567a9adedab4517f3e3fd4287354f8e2bcf75dba681df","label":"Source crop · printed p. 149","local":false}],"owners":["149-b"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. Put aside your fear, for you know my patience; nor am I ignorant of the difficulty of this study for beginners.","latin":"Aloys. Mitte timorem; noscis enim patientiam meam; neque ego ignoro hujus studii in tyronibus difficultatem.","issues":["Opening excerpt only; full source continues beyond the boundary."],"verificationNotes":["Known source-checked measures derived from full candidate without adding notes or a cadence. Full primary file unchanged.","Derived prefix proof fully compared to retained source-checked notes. XSD and playback parser accepted. Full primary unchanged; no new notes, rests or cadence. Outgoing playback ties removed only at cut, with notation-only source tie and explicit excerpt-boundary label retained."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"cfda059f1c50dfcf937e0a95a142614899ade80854b8a3057937f4ab17f66fea","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-254","downloads":[],"xmlSha256":"cfda059f1c50dfcf937e0a95a142614899ade80854b8a3057937f4ab17f66fea","integrity":"matched","parts":2,"voices":2,"notes":75,"measures":21,"parser":{"status":"supported","warnings":[],"events":70,"normalizations":[]},"preview":{"path":"previews/edition-advanced-149b-150a-modus-e-verified-prefix.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"5ee4a487af4ed2cfe44942dc225079d062e04969d101f926154433b7d6b810b9","playback":true,"corpusLinks":[],"relationship":"derived-reading","material":{"group":"derived-reading","reason":"The edition explicitly records this as an excerpt or instrumental reading of existing material.","relatedEditionIds":["edition:advanced-149b-150a-modus-e"],"coverage":{"kind":"excerpt","label":"Verified opening · measures 1–21 of 24; full score continues","lastMeasure":21,"totalMeasures":24},"xmlSha256":"cfda059f1c50dfcf937e0a95a142614899ade80854b8a3057937f4ab17f66fea"}},{"id":"edition:advanced-150-b","collection":"edition","title":"Example advanced-150-b","page":150,"topic":"EXERCISE V. · SECOND LESSON, · On fugue for two parts","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-150-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/150-b.png","sha256":"c0d54ad5472a0073fd6ee9ae55500dff581ef5f1a39d712462994d87eed2d0f4","label":"Source crop · printed p. 150","local":false}],"owners":["150-b"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. Take heart, Joseph: both the skillfully invented subject and its treatment almost surpass your beginner’s standing, and you give promise of no ordinary future progress in this art. Proceed now to mode F and the other pitches of the remaining modes.","latin":"Aloys. Mactè animo, Josephe, & subjectum tam scitè inventum, ejusdemque tractus fermè Tyrocinium tuum excedunt; spemque facis haud vulgaris hac in arte futuri progressûs. Perge nunc ad Modum F. & cæteras superstitum Modorum claves.","issues":[],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Complete Modus F fugue, three systems, tenor and bass clefs, final breves.","All30measures of both voices directly visually transcribed; enlarged second-system bass confirmed B2–C3 half notes in measure13.","Each printed after-bar dot explicitly audited against previous half-note pitch; editorial split tie now sustains the sounding note.","Latest XSD validation, playable timeline and Verovio proof all accepted; complete source-to-render comparison includes every after-bar augmentation dot as held continuation, never a new rest."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"fe42633f40b74aa26a12d02e86b494778ea07d392ec649977372eb274158ff1a","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-257","downloads":[],"xmlSha256":"fe42633f40b74aa26a12d02e86b494778ea07d392ec649977372eb274158ff1a","integrity":"matched","parts":2,"voices":2,"notes":110,"measures":30,"parser":{"status":"supported","warnings":[],"events":104,"normalizations":[]},"preview":{"path":"previews/edition-advanced-150-b.svg","pages":2,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"9ea625d52f103ca7929d7ba04862ad687c7fc0b180405947b55752af2a4280c7","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"fe42633f40b74aa26a12d02e86b494778ea07d392ec649977372eb274158ff1a"}},{"id":"edition:advanced-151-a","collection":"edition","title":"Example advanced-151-a","page":151,"topic":"EXERCISE V. · SECOND LESSON, · On fugue for two parts","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-151-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/151-a.png","sha256":"6de03f00d929380cc7575297df1470282b82903383295ee70e2aa9862866b530","label":"Source crop · printed p. 151","local":false}],"owners":["151-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. Take heart, Joseph: both the skillfully invented subject and its treatment almost surpass your beginner’s standing, and you give promise of no ordinary future progress in this art. Proceed now to mode F and the other pitches of the remaining modes.","latin":"Aloys. Mactè animo, Josephe, & subjectum tam scitè inventum, ejusdemque tractus fermè Tyrocinium tuum excedunt; spemque facis haud vulgaris hac in arte futuri progressûs. Perge nunc ad Modum F. & cæteras superstitum Modorum claves.","issues":[],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Complete three-system two-voice fugue, alto and tenor clefs; numerous single sharps and tied suspensions.","Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.","Latest XSD validation, playable timeline and Verovio proof all accepted; complete source-to-render comparison includes every after-bar augmentation dot as held continuation, never a new rest."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"01fdc8c36704b666edb4a556d23b522605367b62d4818da7e781a1c298edc26a","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-258","downloads":[],"xmlSha256":"01fdc8c36704b666edb4a556d23b522605367b62d4818da7e781a1c298edc26a","integrity":"matched","parts":2,"voices":2,"notes":78,"measures":25,"parser":{"status":"supported","warnings":[],"events":71,"normalizations":[]},"preview":{"path":"previews/edition-advanced-151-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"96c1cfa66385b2c6be2b81a6d6c28d7a4b06c774d69564dd192dce2baa84a349","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"01fdc8c36704b666edb4a556d23b522605367b62d4818da7e781a1c298edc26a"}},{"id":"edition:advanced-151-b","collection":"edition","title":"Example advanced-151-b","page":151,"topic":"EXERCISE V. · SECOND LESSON, · On fugue for two parts","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-151-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/151-b.png","sha256":"bed6982fd83d9e34ca202ecaa21987b9682697bc38490ea38c99208028f9cbcd","label":"Source crop · printed p. 151","local":false}],"owners":["151-b"],"state":"needs-review","editionStatus":"needs-review","context":"Joseph. In making the second cadence I hesitated somewhat as to whether it should be made as it is or in the following way. For example:","latin":"Joseph. In clausula secunda conficienda nonnihil hæsitabam, an sic, vel sequenti modo facienda sit. E. G.","issues":["Printed three-measure reading D4/C-sharp4/D4 over B3/A-sharp3/B3. Final upper whole note has superimposed manuscript alteration and diagonal mark; printed D4 retained as candidate, manuscript alternative unresolved."],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Three-measure two-part cadence; final upper note has manuscript alteration superimposed on print.","Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.","Latest complete candidate proof compared to source and XSD/parser accepted; manuscript-obscured note issue remains explicit rather than silently resolved."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"3fd247eeda734140a76e86ede48392c14e254b73fdff6148d0cb19ba7e3e2a9c","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-259","downloads":[],"xmlSha256":"3fd247eeda734140a76e86ede48392c14e254b73fdff6148d0cb19ba7e3e2a9c","integrity":"matched","parts":2,"voices":2,"notes":7,"measures":3,"parser":{"status":"supported","warnings":[],"events":6,"normalizations":[]},"preview":{"path":"previews/edition-advanced-151-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"0981f39dcca15b36b05f9af791e5e80ed4dbb7e42f09651fe425bb205c21491b","playback":false,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"3fd247eeda734140a76e86ede48392c14e254b73fdff6148d0cb19ba7e3e2a9c"}},{"id":"edition:advanced-151c-152a-fugue","collection":"edition","title":"Example advanced-151c-152a-fugue","page":151,"topic":"EXERCISE V. · SECOND LESSON, · On fugue for two parts","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-151c-152a-fugue.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/151-c.png","sha256":"9088f1229348ecc7c9d7f592a82fed4467bbacb369a00fb32479665edb54a9bc","label":"Source crop · printed p. 151","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/152-a.png","sha256":"9ab16da67c62b99f8bc2e4ace18008d72f3f030f56b10a843c71a66f0a5650b4","label":"Source crop · printed p. 152","local":false}],"owners":["151-c","152-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. That cadence, which requires two sharps, indeed three when a third part is added, departs too far from the nature of this mode and is more suitable to a transposed mode, of which we shall speak below. The cadence by the seventh and sixth that you used is therefore valid. Now let us proceed to mode A, the fifth in our order. Since it differs somewhat from the other modes, I shall place an example before your eyes. For example:","latin":"Aloys. Clausula ista, cui duabus opus est Diesibus, imò tribus, accedente parte tertiâ, nimis ab hujus Modi natura recedit; magisque conveniens est Modo transposito, de quibus infrà dicetur. Valet itaque clausula per Septimam, & Sextam à te usurpata. Jam ad Modum A. ordine nostro quintum procedamus, cujus, quum aliquantò discrepet ab aliis Modis, exemplum ego tibi ante oculos ponam. E. G.","issues":[],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Two-part fugue begins151-c, continues152-a, ends with breves. Alto and tenor clefs, mixed rhythm and ties.","Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.","Latest XSD validation, playable timeline and Verovio proof all accepted; complete source-to-render comparison includes every after-bar augmentation dot as held continuation, never a new rest."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"252d244d7d8dffe8bd18ae9fe69038a432514da0743bfbbc7ec89f93384e9e13","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-260","downloads":[],"xmlSha256":"252d244d7d8dffe8bd18ae9fe69038a432514da0743bfbbc7ec89f93384e9e13","integrity":"matched","parts":2,"voices":2,"notes":97,"measures":31,"parser":{"status":"supported","warnings":[],"events":84,"normalizations":[]},"preview":{"path":"previews/edition-advanced-151c-152a-fugue.svg","pages":2,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"d492ec5732e0fff258f2dc0be6d4b0cbcd2c7d7ec95c6b3e9112cdd33a675ee2","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"252d244d7d8dffe8bd18ae9fe69038a432514da0743bfbbc7ec89f93384e9e13"}},{"id":"edition:advanced-153-a","collection":"edition","title":"Example advanced-153-a","page":153,"topic":"EXERCISE V. · SECOND LESSON, · On fugue for two parts","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-153-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/153-a.png","sha256":"e9ceaf47cdf003d3dd8289ab97fba5c6bfaa9bafe1cf3364eea1fdc83e90e57a","label":"Source crop · printed p. 153","local":false}],"owners":["153-a"],"state":"needs-review","editionStatus":"needs-review","context":"Aloysius. That is so. Subjects capable of being treated in this manner must therefore first be tested and sought out; reflection is needed before choosing. You may perhaps hear someone laughingly object: how commonplace and meager these subjects are, without any flavor! I shall by no means deny that this is so. For what is considered here is not sublimity of invention, but only the true nature of the modes in the diatonic genus, which is enclosed within rather narrow bounds. There will be greater freedom to range abroad and choose richer subjects when the use of the mixed genus is allowed, of which ample discussion was given at the end of Book One. Now proceed to the last mode, C.","latin":"Aloys. Ità est. Probanda itaque primò, inquirendaque subjecta sunt, hac ratione tractabilia: ideoque ante selectum ad reflectendum erit. Cæterùm nonneminem fortassis audies cachinando tibi objicientem: quàm trita, jejuna sunt hæc subjecta; nulliusque saporis? Rem verò ità se habere, neutiquam inficias ivero. Non enim ad conceptûs sublimitatem hîc respicitur, sed solùm ad genuinam in Genere Diatonico Modorum naturam, quod Genus limitibus satis angustis includitur: major excurrendi, succosioraque capiendi subjecta libertas erit, ubi mixti Generis usus concedetur, de quo ad finem Libri Primi abundanter dictum est. Nunc ad ultimum Modum C. progredere.","issues":["Upper penultimate measure26 has an apparently filled tied C5 followed by an open stemmed B4. Literal quarter+half gives3quarter units against4in lower voice; C5 may instead be an ink-clogged half. Literal candidate retained; no invented rest or automatic correction."],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Four-system two-part fugue in soprano/alto clefs; final breves.","Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.","XSD valid and rendered; source-to-proof comparison completed, with only the concrete penultimate C5 duration ambiguity preventing verified status. Root second-eye inspection confirms clogged-half possibility without sufficient evidence to choose it."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"dc36dab3aa46269796a7467fb741095658209f4265f2755d0d8a459e44451690","hints":{"unequal_parts":[["26","P1",3,4]]}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-262","downloads":[],"xmlSha256":"dc36dab3aa46269796a7467fb741095658209f4265f2755d0d8a459e44451690","integrity":"matched","parts":2,"voices":2,"notes":101,"measures":27,"parser":{"status":"supported","warnings":[],"events":95,"normalizations":[]},"preview":{"path":"previews/edition-advanced-153-a.svg","pages":2,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"dc32b6ba1e99a35a2dd0ef9325b848bf5c2d550dc02f5ffd304bfc0de9bf4cff","playback":false,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"dc36dab3aa46269796a7467fb741095658209f4265f2755d0d8a459e44451690"}},{"id":"edition:advanced-153-a-verified-prefix","collection":"edition","title":"Example advanced-153-a-verified-prefix","page":153,"topic":"EXERCISE V. · SECOND LESSON, · On fugue for two parts","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-153-a-verified-prefix.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/153-a.png","sha256":"e9ceaf47cdf003d3dd8289ab97fba5c6bfaa9bafe1cf3364eea1fdc83e90e57a","label":"Source crop · printed p. 153","local":false}],"owners":["153-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. That is so. Subjects capable of being treated in this manner must therefore first be tested and sought out; reflection is needed before choosing. You may perhaps hear someone laughingly object: how commonplace and meager these subjects are, without any flavor! I shall by no means deny that this is so. For what is considered here is not sublimity of invention, but only the true nature of the modes in the diatonic genus, which is enclosed within rather narrow bounds. There will be greater freedom to range abroad and choose richer subjects when the use of the mixed genus is allowed, of which ample discussion was given at the end of Book One. Now proceed to the last mode, C.","latin":"Aloys. Ità est. Probanda itaque primò, inquirendaque subjecta sunt, hac ratione tractabilia: ideoque ante selectum ad reflectendum erit. Cæterùm nonneminem fortassis audies cachinando tibi objicientem: quàm trita, jejuna sunt hæc subjecta; nulliusque saporis? Rem verò ità se habere, neutiquam inficias ivero. Non enim ad conceptûs sublimitatem hîc respicitur, sed solùm ad genuinam in Genere Diatonico Modorum naturam, quod Genus limitibus satis angustis includitur: major excurrendi, succosioraque capiendi subjecta libertas erit, ubi mixti Generis usus concedetur, de quo ad finem Libri Primi abundanter dictum est. Nunc ad ultimum Modum C. progredere.","issues":["Opening excerpt only; full source continues beyond the boundary."],"verificationNotes":["Known source-checked measures derived from full candidate without adding notes or a cadence. Full primary file unchanged.","Derived prefix proof fully compared to retained source-checked notes. XSD and playback parser accepted. Full primary unchanged; no new notes, rests or cadence. Outgoing playback ties removed only at cut, with notation-only source tie and explicit excerpt-boundary label retained."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"65091fc64c7c154680b9fb9e2deddb19c1703a57693171480d6729c2cb55ba5b","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-262","downloads":[],"xmlSha256":"65091fc64c7c154680b9fb9e2deddb19c1703a57693171480d6729c2cb55ba5b","integrity":"matched","parts":2,"voices":2,"notes":96,"measures":25,"parser":{"status":"supported","warnings":[],"events":91,"normalizations":[]},"preview":{"path":"previews/edition-advanced-153-a-verified-prefix.svg","pages":2,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"8c5888e4144e924d37964d43e366354a89a15b07159bfabb9543f7d0d3ab1fc5","playback":true,"corpusLinks":[],"relationship":"derived-reading","material":{"group":"derived-reading","reason":"The edition explicitly records this as an excerpt or instrumental reading of existing material.","relatedEditionIds":["edition:advanced-153-a"],"coverage":{"kind":"excerpt","label":"Verified opening · measures 1–25 of 27; full score continues","lastMeasure":25,"totalMeasures":27},"xmlSha256":"65091fc64c7c154680b9fb9e2deddb19c1703a57693171480d6729c2cb55ba5b"}},{"id":"edition:advanced-155-a-1","collection":"edition","title":"Example advanced-155-a-1","page":155,"topic":"EXERCISE V. · THIRD LESSON, · On fugues for three parts.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-155-a-1.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/155-a.png","sha256":"e86c0cc7c29d35bd67afa0215e54e5301b36b14fc313d1604ff95a1e310e0a6b","label":"Source crop · printed p. 155","local":false}],"owners":["155-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. You know that a formal or complete cadence concludes with a major third and proceeds from there to an octave. A deceptive cadence, however, using a minor third instead of a major one, eludes the formal cadence expected by the ear and deceives the listener’s expectation. Hence the Italians call it Inganno. Let us examine examples.","latin":"Aloys. Clausulam formalem, sive absolutam, Tertiâ majore concludi, inde in Octavam labi, non ignoras. Clausula verò ficta loco Tertiæ majoris, minore utens, clausulam formalem auribus expectatam evitando eludit, atque audientis opinionem fallit. Unde ab Italis Inganno nuncupata est. Videantur exempla.","issues":[],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Three adjacent two-part cadential examples, formal and ficta; alto/tenor clefs, suspensions.","All voices directly visually transcribed, including source suspension ties and blank voice spans. Latest render comparison pending.","All listed files passed XSD/parser/renderer checks and complete source-to-proof comparison, including blank-staff forward spans, clefs and all suspension ties."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"d9b071cc59c0b6e51515c2788c64aefb8d77b03f14884bfc5442b6c7335de9ef","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-263","downloads":[],"xmlSha256":"d9b071cc59c0b6e51515c2788c64aefb8d77b03f14884bfc5442b6c7335de9ef","integrity":"matched","parts":2,"voices":2,"notes":7,"measures":3,"parser":{"status":"supported","warnings":[],"events":6,"normalizations":[]},"preview":{"path":"previews/edition-advanced-155-a-1.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"cc9958a0a388eedcaf896363c141eb2262be0913deed1ecefd7e9941944553c4","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"d9b071cc59c0b6e51515c2788c64aefb8d77b03f14884bfc5442b6c7335de9ef"}},{"id":"edition:advanced-155-a-2","collection":"edition","title":"Example advanced-155-a-2","page":155,"topic":"EXERCISE V. · THIRD LESSON, · On fugues for three parts.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-155-a-2.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/155-a.png","sha256":"e86c0cc7c29d35bd67afa0215e54e5301b36b14fc313d1604ff95a1e310e0a6b","label":"Source crop · printed p. 155","local":false}],"owners":["155-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. You know that a formal or complete cadence concludes with a major third and proceeds from there to an octave. A deceptive cadence, however, using a minor third instead of a major one, eludes the formal cadence expected by the ear and deceives the listener’s expectation. Hence the Italians call it Inganno. Let us examine examples.","latin":"Aloys. Clausulam formalem, sive absolutam, Tertiâ majore concludi, inde in Octavam labi, non ignoras. Clausula verò ficta loco Tertiæ majoris, minore utens, clausulam formalem auribus expectatam evitando eludit, atque audientis opinionem fallit. Unde ab Italis Inganno nuncupata est. Videantur exempla.","issues":[],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Three adjacent two-part cadential examples, formal and ficta; alto/tenor clefs, suspensions.","All voices directly visually transcribed, including source suspension ties and blank voice spans. Latest render comparison pending.","All listed files passed XSD/parser/renderer checks and complete source-to-proof comparison, including blank-staff forward spans, clefs and all suspension ties."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"1cc03adfa13c214314c2e626aa0ee715168439e6f3c2a88ab44a0399f10c6017","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-263","downloads":[],"xmlSha256":"1cc03adfa13c214314c2e626aa0ee715168439e6f3c2a88ab44a0399f10c6017","integrity":"matched","parts":2,"voices":2,"notes":9,"measures":3,"parser":{"status":"supported","warnings":[],"events":7,"normalizations":[]},"preview":{"path":"previews/edition-advanced-155-a-2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"96c4f3a2b82a098c6d05aa7dac1f1ca4ad68ad1cfe8685a1b07ca64f804ab018","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"1cc03adfa13c214314c2e626aa0ee715168439e6f3c2a88ab44a0399f10c6017"}},{"id":"edition:advanced-155-a-3","collection":"edition","title":"Example advanced-155-a-3","page":155,"topic":"EXERCISE V. · THIRD LESSON, · On fugues for three parts.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-155-a-3.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/155-a.png","sha256":"e86c0cc7c29d35bd67afa0215e54e5301b36b14fc313d1604ff95a1e310e0a6b","label":"Source crop · printed p. 155","local":false}],"owners":["155-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. You know that a formal or complete cadence concludes with a major third and proceeds from there to an octave. A deceptive cadence, however, using a minor third instead of a major one, eludes the formal cadence expected by the ear and deceives the listener’s expectation. Hence the Italians call it Inganno. Let us examine examples.","latin":"Aloys. Clausulam formalem, sive absolutam, Tertiâ majore concludi, inde in Octavam labi, non ignoras. Clausula verò ficta loco Tertiæ majoris, minore utens, clausulam formalem auribus expectatam evitando eludit, atque audientis opinionem fallit. Unde ab Italis Inganno nuncupata est. Videantur exempla.","issues":[],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Three adjacent two-part cadential examples, formal and ficta; alto/tenor clefs, suspensions.","All voices directly visually transcribed, including source suspension ties and blank voice spans. Latest render comparison pending.","All listed files passed XSD/parser/renderer checks and complete source-to-proof comparison, including blank-staff forward spans, clefs and all suspension ties."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"fcb21af76e50694e85cb66223da6ad54e5bffe936f138c34f537ee1e5265880e","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-263","downloads":[],"xmlSha256":"fcb21af76e50694e85cb66223da6ad54e5bffe936f138c34f537ee1e5265880e","integrity":"matched","parts":2,"voices":2,"notes":7,"measures":3,"parser":{"status":"supported","warnings":[],"events":6,"normalizations":[]},"preview":{"path":"previews/edition-advanced-155-a-3.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"c42290fa31fa981b49d1ed4459f453d47681cb887d34893053c0e0c25c826de1","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"fcb21af76e50694e85cb66223da6ad54e5bffe936f138c34f537ee1e5265880e"}},{"id":"edition:advanced-155-b-1","collection":"edition","title":"Example advanced-155-b-1","page":155,"topic":"EXERCISE V. · THIRD LESSON, · On fugues for three parts.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-155-b-1.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/155-b.png","sha256":"3f006ae6750d2c9b60a5e4feb7c341ed39f2da72330d03f1d16aaf2ba9d04c0a","label":"Source crop · printed p. 155","local":false}],"owners":["155-b"],"state":"recorded-review","editionStatus":"verified","context":"A formal cadence can also be avoided while retaining the major third in the upper part, when the foundational part evades the octave and takes another consonance. For example:","latin":"Potest etiam Clausula formalis evitari servatâ in parte superiori Tertiâ majore, cùm pars fundamentalis Octavam effugiens aliam assumit Consonantiam. E. G.","issues":["Blank opening bass span encoded as forward time; no new printed rest invented.","Blank opening bass span encoded as forward time; no new printed rest invented.","Blank opening bass span encoded as forward time; no new printed rest invented."],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Three adjacent two-part cadential examples; alto and bass, source omits bass notes in first measure of each.","All voices directly visually transcribed, including source suspension ties and blank voice spans. Latest render comparison pending.","All listed files passed XSD/parser/renderer checks and complete source-to-proof comparison, including blank-staff forward spans, clefs and all suspension ties."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"cd131a9687414ce032997e7e86ab9451ff0ddb2e7e743dfd6a66f1d1b2f0a83a","hints":{"invisible_gaps":[["1","P2"]]}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-264","downloads":[],"xmlSha256":"cd131a9687414ce032997e7e86ab9451ff0ddb2e7e743dfd6a66f1d1b2f0a83a","integrity":"matched","parts":2,"voices":2,"notes":6,"measures":3,"parser":{"status":"supported","warnings":[],"events":5,"normalizations":[]},"preview":{"path":"previews/edition-advanced-155-b-1.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"6a603a233f2d391f4118370f24113dba27a10cd917da031cc9255a9a833e7749","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"cd131a9687414ce032997e7e86ab9451ff0ddb2e7e743dfd6a66f1d1b2f0a83a"}},{"id":"edition:advanced-155-b-2","collection":"edition","title":"Example advanced-155-b-2","page":155,"topic":"EXERCISE V. · THIRD LESSON, · On fugues for three parts.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-155-b-2.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/155-b.png","sha256":"3f006ae6750d2c9b60a5e4feb7c341ed39f2da72330d03f1d16aaf2ba9d04c0a","label":"Source crop · printed p. 155","local":false}],"owners":["155-b"],"state":"recorded-review","editionStatus":"verified","context":"A formal cadence can also be avoided while retaining the major third in the upper part, when the foundational part evades the octave and takes another consonance. For example:","latin":"Potest etiam Clausula formalis evitari servatâ in parte superiori Tertiâ majore, cùm pars fundamentalis Octavam effugiens aliam assumit Consonantiam. E. G.","issues":["Blank opening bass span encoded as forward time; no new printed rest invented.","Blank opening bass span encoded as forward time; no new printed rest invented.","Blank opening bass span encoded as forward time; no new printed rest invented."],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Three adjacent two-part cadential examples; alto and bass, source omits bass notes in first measure of each.","All voices directly visually transcribed, including source suspension ties and blank voice spans. Latest render comparison pending.","All listed files passed XSD/parser/renderer checks and complete source-to-proof comparison, including blank-staff forward spans, clefs and all suspension ties."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"d5ad6ef2165dd8b44f2ace28241be9057df495c335298e03d8a7a2b4894c9dd9","hints":{"invisible_gaps":[["1","P2"]]}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-264","downloads":[],"xmlSha256":"d5ad6ef2165dd8b44f2ace28241be9057df495c335298e03d8a7a2b4894c9dd9","integrity":"matched","parts":2,"voices":2,"notes":6,"measures":3,"parser":{"status":"supported","warnings":[],"events":5,"normalizations":[]},"preview":{"path":"previews/edition-advanced-155-b-2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"40c4f8273ba237570a6872084be58928a373561cf5f8663fb7beb19a9b09b102","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"d5ad6ef2165dd8b44f2ace28241be9057df495c335298e03d8a7a2b4894c9dd9"}},{"id":"edition:advanced-155-b-3","collection":"edition","title":"Example advanced-155-b-3","page":155,"topic":"EXERCISE V. · THIRD LESSON, · On fugues for three parts.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-155-b-3.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/155-b.png","sha256":"3f006ae6750d2c9b60a5e4feb7c341ed39f2da72330d03f1d16aaf2ba9d04c0a","label":"Source crop · printed p. 155","local":false}],"owners":["155-b"],"state":"recorded-review","editionStatus":"verified","context":"A formal cadence can also be avoided while retaining the major third in the upper part, when the foundational part evades the octave and takes another consonance. For example:","latin":"Potest etiam Clausula formalis evitari servatâ in parte superiori Tertiâ majore, cùm pars fundamentalis Octavam effugiens aliam assumit Consonantiam. E. G.","issues":["Blank opening bass span encoded as forward time; no new printed rest invented.","Blank opening bass span encoded as forward time; no new printed rest invented.","Blank opening bass span encoded as forward time; no new printed rest invented."],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Three adjacent two-part cadential examples; alto and bass, source omits bass notes in first measure of each.","All voices directly visually transcribed, including source suspension ties and blank voice spans. Latest render comparison pending.","All listed files passed XSD/parser/renderer checks and complete source-to-proof comparison, including blank-staff forward spans, clefs and all suspension ties."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"7f14e29ab666fb31fa883d3f656aa81435c57bcea7949d44bb1fafa7528ab8b4","hints":{"invisible_gaps":[["1","P2"]]}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-264","downloads":[],"xmlSha256":"7f14e29ab666fb31fa883d3f656aa81435c57bcea7949d44bb1fafa7528ab8b4","integrity":"matched","parts":2,"voices":2,"notes":6,"measures":3,"parser":{"status":"supported","warnings":[],"events":5,"normalizations":[]},"preview":{"path":"previews/edition-advanced-155-b-3.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"cb58532738f20fed3355abf9c7b0154c00162b38551d6711fc51ac9f8e391cdb","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"7f14e29ab666fb31fa883d3f656aa81435c57bcea7949d44bb1fafa7528ab8b4"}},{"id":"edition:advanced-155-c","collection":"edition","title":"Example advanced-155-c","page":155,"topic":"EXERCISE V. · THIRD LESSON, · On fugues for three parts.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-155-c.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/155-c.png","sha256":"9112277676e43afffe7fd64750d7a3b3f07c5e2e675ce5cc8e07c12bedb46328","label":"Source crop · printed p. 155","local":false}],"owners":["155-c"],"state":"recorded-review","editionStatus":"verified","context":"This occurs with much greater elegance in composition for several parts. For example:","latin":"Id quod in plurium partium concentu multò elegantiùs usuvenit. E. G.","issues":[],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Three-part cadence, three measures; alto/tenor/bass with bass suspension and sharp.","Every printed note and rest entered, including source clefs, final breves, ties and cross-shaped single sharp when present.","Every printed note and rest entered, including source clefs, final breves, ties and cross-shaped single sharp when present.","Schema validated, parsed and Verovio rendered. Astra compared all staff positions, printed rhythmic values/rests, ties, accidentals and closing breves against source; source147 terminal breves separately enlarged to confirm D5/D4 octave."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"79b4c1fd74b5713a714767539e3b7d7769069212e4cdb6409e289d65e787d86c","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-265","downloads":[],"xmlSha256":"79b4c1fd74b5713a714767539e3b7d7769069212e4cdb6409e289d65e787d86c","integrity":"matched","parts":3,"voices":3,"notes":11,"measures":3,"parser":{"status":"supported","warnings":[],"events":10,"normalizations":[]},"preview":{"path":"previews/edition-advanced-155-c.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"1ccdad5b7ae44b5cf21181adbb9c2bc7349785c4bf0e28006dcb40a1deefe06f","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"79b4c1fd74b5713a714767539e3b7d7769069212e4cdb6409e289d65e787d86c"}},{"id":"edition:advanced-155-d","collection":"edition","title":"Example advanced-155-d","page":155,"topic":"EXERCISE V. · THIRD LESSON, · On fugues for three parts.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-155-d.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/155-d.png","sha256":"ae7973180aa8f05fd5de1a8fc2543da6d6f665d7310795cb41d8773166d04742","label":"Source crop · printed p. 155","local":false}],"owners":["155-d"],"state":"recorded-review","editionStatus":"verified","context":"This occurs with much greater elegance in composition for several parts. For example:","latin":"Id quod in plurium partium concentu multò elegantiùs usuvenit. E. G.","issues":[],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Four-part three-measure cadence, soprano/alto/tenor/bass; soprano and alto ties.","All voices directly visually transcribed, including source suspension ties and blank voice spans. Latest render comparison pending.","All listed files passed XSD/parser/renderer checks and complete source-to-proof comparison, including blank-staff forward spans, clefs and all suspension ties."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"9b5163ae0e3ea26d6dfa8ba7e2aa3e93270e3cd63840c48c3a0c4c2bce864e29","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-266","downloads":[],"xmlSha256":"9b5163ae0e3ea26d6dfa8ba7e2aa3e93270e3cd63840c48c3a0c4c2bce864e29","integrity":"matched","parts":4,"voices":4,"notes":13,"measures":3,"parser":{"status":"supported","warnings":[],"events":11,"normalizations":[]},"preview":{"path":"previews/edition-advanced-155-d.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"4b580960cfa07dfb929132de81578a36fa20b23144e01f7e2a901a7d2f8b2ae6","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"9b5163ae0e3ea26d6dfa8ba7e2aa3e93270e3cd63840c48c3a0c4c2bce864e29"}},{"id":"edition:advanced-156-a","collection":"edition","title":"Example advanced-156-a","page":156,"topic":"EXERCISE V. · THIRD LESSON, · On fugues for three parts.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-156-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/156-a.png","sha256":"0df4a4c5ff8140d3a470e36f9db478d6febec94cff08d2b85e9348d4d08b531e","label":"Source crop · printed p. 156","local":false}],"owners":["156-a"],"state":"recorded-review","editionStatus":"verified","context":"Let us now see how a formal cadence can stand by virtue of the subject entering even at an interval not very customary in the mode. For example, using the following subject:","latin":"Videamus nunc, quo modo Clausula formalis subsistere possit beneficio subjecti intrantis etiam in intervallo, modo non multùm consueto. E. G. Subjecti sequentis usu:","issues":[],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Alto-clef four whole notes D4 F4 E4 D4, four bars.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","Events explicitly transcribed to deterministic MusicXML. Rendering comparison pending.","All referenced MusicXML files passed the shared MusicXML schema validator, parsed to playable timelines, and rendered with Verovio. Astra visually compared proof contact sheets 0/6/12/18 to source: clefs, staff positions, accidental, head-fill indications, chord membership and printed lyrics match; unmetered playback assumptions remain explicitly documented."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"4d87e0eac82d18a72946736fd3628cdf0bb5ed47b0713b7e1a552585993c24a7","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-267","downloads":[],"xmlSha256":"4d87e0eac82d18a72946736fd3628cdf0bb5ed47b0713b7e1a552585993c24a7","integrity":"matched","parts":1,"voices":1,"notes":4,"measures":4,"parser":{"status":"supported","warnings":[],"events":4,"normalizations":[]},"preview":{"path":"previews/edition-advanced-156-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"4e8b1f16073c63a88612df2eb2280dafe9c8598ac8896c438ddd954ac3dcfcdd","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"4d87e0eac82d18a72946736fd3628cdf0bb5ed47b0713b7e1a552585993c24a7"}},{"id":"edition:advanced-156-b","collection":"edition","title":"Example advanced-156-b","page":156,"topic":"EXERCISE V. · THIRD LESSON, · On fugues for three parts.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-156-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/156-b.png","sha256":"dbfe9bd57b12e55fafc69f34fc0edcda838df2213c6a3e4a48b470aaadeeb9d1","label":"Source crop · printed p. 156","local":false}],"owners":["156-b"],"state":"recorded-review","editionStatus":"verified","context":"Let us now see how a formal cadence can stand by virtue of the subject entering even at an interval not very customary in the mode. For example, using the following subject:","latin":"Videamus nunc, quo modo Clausula formalis subsistere possit beneficio subjecti intrantis etiam in intervallo, modo non multùm consueto. E. G. Subjecti sequentis usu:","issues":[],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Six-measure three-voice excerpt; soprano/alto/tenor, starts with active soprano and tenor, dotted and beamed/flagged durations.","Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.","Complete six-bar three-voice proof matched original, with after-bar dot holds and quarter/eighth distinctions checked. XSD and timeline accepted."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"5a20b3011df5b6d21589f2a040a475aee2dac0e59ab7a3c7f39a3f9547becdf2","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-268","downloads":[],"xmlSha256":"5a20b3011df5b6d21589f2a040a475aee2dac0e59ab7a3c7f39a3f9547becdf2","integrity":"matched","parts":3,"voices":3,"notes":32,"measures":6,"parser":{"status":"supported","warnings":[],"events":29,"normalizations":[]},"preview":{"path":"previews/edition-advanced-156-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"0bdb01b93e28b7565eb69b3180407da6f93d64fcb53f6bea72382f6e3c9b8bfd","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"5a20b3011df5b6d21589f2a040a475aee2dac0e59ab7a3c7f39a3f9547becdf2"}},{"id":"edition:advanced-156-c","collection":"edition","title":"Example advanced-156-c","page":156,"topic":"EXERCISE V. · THIRD LESSON, · On fugues for three parts.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-156-c.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/156-c.png","sha256":"082400cb8c40757c76a850b0c72eb14fb6658f8967015d65f062d8a4eca49048","label":"Source crop · printed p. 156","local":false}],"owners":["156-c"],"state":"recorded-review","editionStatus":"verified","context":"This example demonstrates not only how a formal cadence can be formed on the first note of the subject, but also how the other parts must be arranged for it. Let us now examine a cadence constructed on the second note of the subject:","latin":"Hoc exemplo demonstratur non solùm, quo modo Clausula formalis in prima subjecti Nota formari possit, verùm etiam, quâ ratione reliquæ partes eò disponendæ sint. Videamus nunc clausulam in secunda subjecti Nota exstructam:","issues":[],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Three-measure three-part cadence with flats in first measure and sharp soprano second measure.","All voices directly visually transcribed, including source suspension ties and blank voice spans. Latest render comparison pending.","All listed files passed XSD/parser/renderer checks and complete source-to-proof comparison, including blank-staff forward spans, clefs and all suspension ties."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"0c9247ebb5cf04fb0040c0a9dc8d32d69bc8f3e132a00e1415ffecb4d496176d","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-269","downloads":[],"xmlSha256":"0c9247ebb5cf04fb0040c0a9dc8d32d69bc8f3e132a00e1415ffecb4d496176d","integrity":"matched","parts":3,"voices":3,"notes":16,"measures":3,"parser":{"status":"supported","warnings":[],"events":15,"normalizations":[]},"preview":{"path":"previews/edition-advanced-156-c.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"2acd617546f51f332820ec023c78a0d164d08ade5a0d7e3f9f4cf2944b67d487","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"0c9247ebb5cf04fb0040c0a9dc8d32d69bc8f3e132a00e1415ffecb4d496176d"}},{"id":"edition:advanced-156-d-1","collection":"edition","title":"Example advanced-156-d-1","page":156,"topic":"EXERCISE V. · THIRD LESSON, · On fugues for three parts.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-156-d-1.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/156-d.png","sha256":"4bc03eb5125fa01db47bad5b685206468bafde6d662bdaab609cc710752e606b","label":"Source crop · printed p. 156","local":false}],"owners":["156-d"],"state":"recorded-review","editionStatus":"verified","context":"I declare that formal cadences of this kind are not only permitted, but also add no little ornament to the composition. So much for joining a formal cadence to subjects. I shall now teach by examples how cadences interwoven with subjects are to be evaded, including those involving a major third, by means of the foundational part. Let us take the subject used in the first fugue for two voices.","latin":"Ejusmodi clausulas formales non solùm permitti pronuntio; verùm etiam per eas haud parùm ornamenti Compositioni accedere. Hæc de clausula formali subjectis innectenda. Nunc exemplis docebo, quo modo clausulæ subjectis immixtæ, vel Tertiæ majoris adjumento, in parte fundamenti, effugiendæ sint. Accipiamus subjectum primæ Fugæ in Bicinio assumptum.","issues":[],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Two independent four-measure three-part examples; soprano/alto/tenor clefs, tied suspensions and flats/sharps.","All voices directly visually transcribed, including source suspension ties and blank voice spans. Latest render comparison pending.","All listed files passed XSD/parser/renderer checks and complete source-to-proof comparison, including blank-staff forward spans, clefs and all suspension ties."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"280f025c9ccd4dc4df5cf40602fb9e83767413e8bd20a2bf996f60ade1362f01","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-270","downloads":[],"xmlSha256":"280f025c9ccd4dc4df5cf40602fb9e83767413e8bd20a2bf996f60ade1362f01","integrity":"matched","parts":3,"voices":3,"notes":15,"measures":4,"parser":{"status":"supported","warnings":[],"events":13,"normalizations":[]},"preview":{"path":"previews/edition-advanced-156-d-1.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"28f0829a276607d6240e546b163bece6d7d0d51391e27db5d888010b73a5e8ed","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"280f025c9ccd4dc4df5cf40602fb9e83767413e8bd20a2bf996f60ade1362f01"}},{"id":"edition:advanced-156-d-2","collection":"edition","title":"Example advanced-156-d-2","page":156,"topic":"EXERCISE V. · THIRD LESSON, · On fugues for three parts.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-156-d-2.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/156-d.png","sha256":"4bc03eb5125fa01db47bad5b685206468bafde6d662bdaab609cc710752e606b","label":"Source crop · printed p. 156","local":false}],"owners":["156-d"],"state":"recorded-review","editionStatus":"verified","context":"I declare that formal cadences of this kind are not only permitted, but also add no little ornament to the composition. So much for joining a formal cadence to subjects. I shall now teach by examples how cadences interwoven with subjects are to be evaded, including those involving a major third, by means of the foundational part. Let us take the subject used in the first fugue for two voices.","latin":"Ejusmodi clausulas formales non solùm permitti pronuntio; verùm etiam per eas haud parùm ornamenti Compositioni accedere. Hæc de clausula formali subjectis innectenda. Nunc exemplis docebo, quo modo clausulæ subjectis immixtæ, vel Tertiæ majoris adjumento, in parte fundamenti, effugiendæ sint. Accipiamus subjectum primæ Fugæ in Bicinio assumptum.","issues":[],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Two independent four-measure three-part examples; soprano/alto/tenor clefs, tied suspensions and flats/sharps.","All voices directly visually transcribed, including source suspension ties and blank voice spans. Latest render comparison pending.","All listed files passed XSD/parser/renderer checks and complete source-to-proof comparison, including blank-staff forward spans, clefs and all suspension ties."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"8177c4bb3d2ebf73c2ec8af95de9dafc89a5da5bbedb023c03716a0548a7fc20","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-270","downloads":[],"xmlSha256":"8177c4bb3d2ebf73c2ec8af95de9dafc89a5da5bbedb023c03716a0548a7fc20","integrity":"matched","parts":3,"voices":3,"notes":19,"measures":5,"parser":{"status":"supported","warnings":[],"events":16,"normalizations":[]},"preview":{"path":"previews/edition-advanced-156-d-2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"01a8cbabed2873496cc150b862859e96e68108838f70ff7ae82d9bb037d16048","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"8177c4bb3d2ebf73c2ec8af95de9dafc89a5da5bbedb023c03716a0548a7fc20"}},{"id":"edition:advanced-157-a-1","collection":"edition","title":"Example advanced-157-a-1","page":157,"topic":"EXERCISE V. · THIRD LESSON, · On fugues for three parts.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-157-a-1.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/157-a.png","sha256":"3ae717b68892bda3b23bc26d84138adc473f9bb583b1ac6ffca55e03b8367b66","label":"Source crop · printed p. 157","local":false}],"owners":["157-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. You know that the cadences allowed in two voices differ in nature from formal cadences: they consist of a seventh and sixth, or a second and third, and possess less repose. On examining the matter more carefully, one finds that cadences based on a seventh and sixth or a second and third are preparations for formal cadences rather than deserving that name themselves, because when a third part is added, with nothing else changed, they become formal cadences. For example:","latin":"Aloys. Clausulas in Bicinio concessas naturâ differentes esse à clausulis formalibus, haud ignoras: utpote Septimâ, & Sextâ, vel Secundâ, & Tertiâ constantes, minusque quietis habentes. Unde hac re accuratiùs inspectâ, compertum est, clausulas Septimâ, & Sextâ, vel Secundâ, & Tertiâ nixas esse potiùs dispositiones ad clausulas formales, quàm ut ipsæ tales appellandæ sint: quia accedente parte tertiâ, cæteris nihil immutatis tales efficiuntur. E. G.","issues":[],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Two adjacent three-measure two-voice cadences, soprano and alto clefs; second melody differs by octave placement.","All voices directly visually transcribed, including source suspension ties and blank voice spans. Latest render comparison pending.","All listed files passed XSD/parser/renderer checks and complete source-to-proof comparison, including blank-staff forward spans, clefs and all suspension ties."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"42f7876e93ffe96793f9c21250e418058abdba11be8b8a5cce5f79f66b6a23a5","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-271","downloads":[],"xmlSha256":"42f7876e93ffe96793f9c21250e418058abdba11be8b8a5cce5f79f66b6a23a5","integrity":"matched","parts":2,"voices":2,"notes":7,"measures":3,"parser":{"status":"supported","warnings":[],"events":6,"normalizations":[]},"preview":{"path":"previews/edition-advanced-157-a-1.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"df50913a3e60742841671ef1887f48aa323989347bb5702142ec11be0d34fe25","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"42f7876e93ffe96793f9c21250e418058abdba11be8b8a5cce5f79f66b6a23a5"}},{"id":"edition:advanced-157-a-2","collection":"edition","title":"Example advanced-157-a-2","page":157,"topic":"EXERCISE V. · THIRD LESSON, · On fugues for three parts.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-157-a-2.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/157-a.png","sha256":"3ae717b68892bda3b23bc26d84138adc473f9bb583b1ac6ffca55e03b8367b66","label":"Source crop · printed p. 157","local":false}],"owners":["157-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. You know that the cadences allowed in two voices differ in nature from formal cadences: they consist of a seventh and sixth, or a second and third, and possess less repose. On examining the matter more carefully, one finds that cadences based on a seventh and sixth or a second and third are preparations for formal cadences rather than deserving that name themselves, because when a third part is added, with nothing else changed, they become formal cadences. For example:","latin":"Aloys. Clausulas in Bicinio concessas naturâ differentes esse à clausulis formalibus, haud ignoras: utpote Septimâ, & Sextâ, vel Secundâ, & Tertiâ constantes, minusque quietis habentes. Unde hac re accuratiùs inspectâ, compertum est, clausulas Septimâ, & Sextâ, vel Secundâ, & Tertiâ nixas esse potiùs dispositiones ad clausulas formales, quàm ut ipsæ tales appellandæ sint: quia accedente parte tertiâ, cæteris nihil immutatis tales efficiuntur. E. G.","issues":[],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Two adjacent three-measure two-voice cadences, soprano and alto clefs; second melody differs by octave placement.","All voices directly visually transcribed, including source suspension ties and blank voice spans. Latest render comparison pending.","All listed files passed XSD/parser/renderer checks and complete source-to-proof comparison, including blank-staff forward spans, clefs and all suspension ties."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"537496ea35a804a2e0e19ae44b7dbad94a763206652bb565283d4bc658184c3a","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-271","downloads":[],"xmlSha256":"537496ea35a804a2e0e19ae44b7dbad94a763206652bb565283d4bc658184c3a","integrity":"matched","parts":2,"voices":2,"notes":7,"measures":3,"parser":{"status":"supported","warnings":[],"events":6,"normalizations":[]},"preview":{"path":"previews/edition-advanced-157-a-2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"305efa1c7edfdd334bb370c2e895cd629d091e74a85bc7e41a1f9546282cff7a","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"537496ea35a804a2e0e19ae44b7dbad94a763206652bb565283d4bc658184c3a"}},{"id":"edition:advanced-157-b-1","collection":"edition","title":"Example advanced-157-b-1","page":157,"topic":"EXERCISE V. · THIRD LESSON, · On fugues for three parts.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-157-b-1.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/157-b.png","sha256":"39579a21ebfe64b22aa2a7d93cf4791d72466e654f6bea30b31af2d9e454ed4c","label":"Source crop · printed p. 157","local":false}],"owners":["157-b"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. You know that the cadences allowed in two voices differ in nature from formal cadences: they consist of a seventh and sixth, or a second and third, and possess less repose. On examining the matter more carefully, one finds that cadences based on a seventh and sixth or a second and third are preparations for formal cadences rather than deserving that name themselves, because when a third part is added, with nothing else changed, they become formal cadences. For example:","latin":"Aloys. Clausulas in Bicinio concessas naturâ differentes esse à clausulis formalibus, haud ignoras: utpote Septimâ, & Sextâ, vel Secundâ, & Tertiâ constantes, minusque quietis habentes. Unde hac re accuratiùs inspectâ, compertum est, clausulas Septimâ, & Sextâ, vel Secundâ, & Tertiâ nixas esse potiùs dispositiones ad clausulas formales, quàm ut ipsæ tales appellandæ sint: quia accedente parte tertiâ, cæteris nihil immutatis tales efficiuntur. E. G.","issues":["Blank opening tenor span encoded as forward time, without a printed rest.","Blank opening tenor span encoded as forward time, without a printed rest."],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Three-part expansion of157-a, tenor added below soprano/alto; two adjacent three-measure examples.","All voices directly visually transcribed, including source suspension ties and blank voice spans. Latest render comparison pending.","All listed files passed XSD/parser/renderer checks and complete source-to-proof comparison, including blank-staff forward spans, clefs and all suspension ties."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"9fc8c90e37a68dac48eedf10303165026659488b24f07dbb4fbc99189647f243","hints":{"invisible_gaps":[["1","P3"]]}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-272","downloads":[],"xmlSha256":"9fc8c90e37a68dac48eedf10303165026659488b24f07dbb4fbc99189647f243","integrity":"matched","parts":3,"voices":3,"notes":9,"measures":3,"parser":{"status":"supported","warnings":[],"events":8,"normalizations":[]},"preview":{"path":"previews/edition-advanced-157-b-1.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"a89a7e12c80c8510cda671869953224b9da9470d8d5a28fc3b425c63b1925211","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"9fc8c90e37a68dac48eedf10303165026659488b24f07dbb4fbc99189647f243"}},{"id":"edition:advanced-157-b-2","collection":"edition","title":"Example advanced-157-b-2","page":157,"topic":"EXERCISE V. · THIRD LESSON, · On fugues for three parts.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-157-b-2.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/157-b.png","sha256":"39579a21ebfe64b22aa2a7d93cf4791d72466e654f6bea30b31af2d9e454ed4c","label":"Source crop · printed p. 157","local":false}],"owners":["157-b"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. You know that the cadences allowed in two voices differ in nature from formal cadences: they consist of a seventh and sixth, or a second and third, and possess less repose. On examining the matter more carefully, one finds that cadences based on a seventh and sixth or a second and third are preparations for formal cadences rather than deserving that name themselves, because when a third part is added, with nothing else changed, they become formal cadences. For example:","latin":"Aloys. Clausulas in Bicinio concessas naturâ differentes esse à clausulis formalibus, haud ignoras: utpote Septimâ, & Sextâ, vel Secundâ, & Tertiâ constantes, minusque quietis habentes. Unde hac re accuratiùs inspectâ, compertum est, clausulas Septimâ, & Sextâ, vel Secundâ, & Tertiâ nixas esse potiùs dispositiones ad clausulas formales, quàm ut ipsæ tales appellandæ sint: quia accedente parte tertiâ, cæteris nihil immutatis tales efficiuntur. E. G.","issues":["Blank opening tenor span encoded as forward time, without a printed rest.","Blank opening tenor span encoded as forward time, without a printed rest."],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Three-part expansion of157-a, tenor added below soprano/alto; two adjacent three-measure examples.","All voices directly visually transcribed, including source suspension ties and blank voice spans. Latest render comparison pending.","All listed files passed XSD/parser/renderer checks and complete source-to-proof comparison, including blank-staff forward spans, clefs and all suspension ties."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"b8254c45d8658f4ec31a1890408ed05c858fb18a68e71edfe8a713d92eb3b521","hints":{"invisible_gaps":[["1","P3"]]}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-272","downloads":[],"xmlSha256":"b8254c45d8658f4ec31a1890408ed05c858fb18a68e71edfe8a713d92eb3b521","integrity":"matched","parts":3,"voices":3,"notes":9,"measures":3,"parser":{"status":"supported","warnings":[],"events":8,"normalizations":[]},"preview":{"path":"previews/edition-advanced-157-b-2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"795f2c032ceb16bb3b146d9dadc98ddc6f1adb2e1a5a676bb21f661d913232a3","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"b8254c45d8658f4ec31a1890408ed05c858fb18a68e71edfe8a713d92eb3b521"}},{"id":"edition:advanced-158-a","collection":"edition","title":"Example advanced-158-a","page":158,"topic":"EXERCISE V. · THIRD LESSON, · On fugues for three parts.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-158-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/158-a.png","sha256":"4b31b283d59db01756ae2bcfa02c5e01c42f68e0edffca6275b568a44a728582","label":"Source crop · printed p. 158","local":false}],"owners":["158-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. So be it—after I have first shown how the foundational part must be fitted to two parts proceeding downward through a seventh and sixth, and through a second and third. This will add no small ease to melodic continuation.","latin":"Aloys. Fiat. Posteaquàm antè demonstravero, qua ratione duabus partibus per Septimam, & Sextam, perque Secundam, & Tertiam descendendo progressis pars fundamentalis accommodanda sit; quo haud parva modulationi facilitas accedet.","issues":[],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Three-voice descending suspension chain, two G clefs above bass, ten measures ending breves. G-clef reference line requires specific verification before pitch encoding.","Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.","Full three-part source-to-proof comparison complete; XSD validation and timeline passed; both historical G clefs at158-a confirmed on line2, all10measures and final breves matched."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"2755e5d7aaa59a1b5d7d56060f052ebbcae7b51d0aad9305e65e15911f7bb729","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-273","downloads":[],"xmlSha256":"2755e5d7aaa59a1b5d7d56060f052ebbcae7b51d0aad9305e65e15911f7bb729","integrity":"matched","parts":3,"voices":3,"notes":48,"measures":10,"parser":{"status":"supported","warnings":[],"events":40,"normalizations":[]},"preview":{"path":"previews/edition-advanced-158-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"d65983de116a25dac099b5cb0392cec2539b8aa8afe4ad3871d0fb311a605177","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"2755e5d7aaa59a1b5d7d56060f052ebbcae7b51d0aad9305e65e15911f7bb729"}},{"id":"edition:advanced-158-b","collection":"edition","title":"Example advanced-158-b","page":158,"topic":"EXERCISE V. · THIRD LESSON, · On fugues for three parts.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-158-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/158-b.png","sha256":"73f4375a20054adc7e5a3cef2991e04e7f58b57c3cbdf49eb21a3126e51e60f8","label":"Source crop · printed p. 158","local":false}],"owners":["158-b"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. So be it—after I have first shown how the foundational part must be fitted to two parts proceeding downward through a seventh and sixth, and through a second and third. This will add no small ease to melodic continuation.","latin":"Aloys. Fiat. Posteaquàm antè demonstravero, qua ratione duabus partibus per Septimam, & Sextam, perque Secundam, & Tertiam descendendo progressis pars fundamentalis accommodanda sit; quo haud parva modulationi facilitas accedet.","issues":[],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Two-system ten-measure three-voice descending suspension demonstration; soprano/alto/bass, active bass quarter notes.","Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.","Full three-part source-to-proof comparison complete; XSD validation and timeline passed; both historical G clefs at158-a confirmed on line2, all10measures and final breves matched."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"b6e64a2777cf89c7eeb0ae007df7404006ced28dd7d29432007cf8236b8357e0","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-274","downloads":[],"xmlSha256":"b6e64a2777cf89c7eeb0ae007df7404006ced28dd7d29432007cf8236b8357e0","integrity":"matched","parts":3,"voices":3,"notes":67,"measures":10,"parser":{"status":"supported","warnings":[],"events":59,"normalizations":[]},"preview":{"path":"previews/edition-advanced-158-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"5bee73b1cd3a77377b3922eb5f8c0a0e7efbaa4fc54c37398e81908a8b551f8a","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"b6e64a2777cf89c7eeb0ae007df7404006ced28dd7d29432007cf8236b8357e0"}},{"id":"edition:advanced-159-160-fugue","collection":"edition","title":"Example advanced-159-160-fugue","page":159,"topic":"EXERCISE V. · THIRD LESSON, · On fugues for three parts.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-159-160-fugue.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/159-a.png","sha256":"a22c06dc0de3a0d30b6fa377eb612790a24894a73c8d5aa3ef9ac79a88bc29df","label":"Source crop · printed p. 159","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/160-a.png","sha256":"cf29cc6236c99eedea5ff6a7595979c9fc9ff8612dd974a201829226ab63ff72","label":"Source crop · printed p. 160","local":false}],"owners":["159-a","160-a"],"state":"recorded-review","editionStatus":"verified","context":"From these examples it must be inferred that, for a fifth and sixth placed together to have a place, there must be found between the upper parts a seventh resolved to a sixth, or a second resolved to a third. Understand the same also of a fourth and fifth occurring together. By means of some portion of this or a similar melodic progression, either outside or within the subject, you can help yourself and prepare the way for the entering subject. Let us therefore proceed to three voices, retaining the subjects of the preceding two-voice compositions and developing them in a texture of three parts. I shall provide the first example, which you are then to imitate in the other modes.","latin":"Ex quibus exemplis colligendum est, ut Quintæ, & Sextæ conjunctim positis locus sit, inter partes superiores Septimam in Sextam, vel Secundam in Tertiam resolutam reperiri debere. Id quod etiam de Quarta, & Quinta aggregatim existentibus intelligendum puta. Hujus, similisque modulationis aliqua parte, vel extra, vel intrà subjectum te juvare, & ingresso subjecto viam sternere poteris. Pergamus itaque ad Tricinium, Bicinii superioris subjecta servantes, trium partium texturâ deducenda. Primum exemplum ego subjiciam, per cæteros deinde modos tibi imitandum.","issues":[],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Three-part fugue starts159-a and concludes160-a; soprano/alto/tenor, final breves; four systems total, flats and sharps.","Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.","Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.","Full latest source-to-render comparison passed with XSD and playable timeline. 159–160closing inter-staff ∩ is correctly assigned to tenor A3whole-note tie31–32; no alto slur added. Historical after-bar augmentation dots and independent inversion clefs preserved."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"d960719fe171b8899aad27971e294e676536663ba163a985a3eaa1c205affc0f","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-275","downloads":[],"xmlSha256":"d960719fe171b8899aad27971e294e676536663ba163a985a3eaa1c205affc0f","integrity":"matched","parts":3,"voices":3,"notes":150,"measures":33,"parser":{"status":"supported","warnings":[],"events":136,"normalizations":[]},"preview":{"path":"previews/edition-advanced-159-160-fugue.svg","pages":3,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"cc6cdd1c41d1caceefbe2a5437ea9fb1dc16a48cf7dc80beb72a3bf5a510451b","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"d960719fe171b8899aad27971e294e676536663ba163a985a3eaa1c205affc0f"}},{"id":"edition:advanced-161-a","collection":"edition","title":"Example advanced-161-a","page":161,"topic":"EXERCISE V. · THIRD LESSON, · On fugues for three parts.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-161-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/161-a.png","sha256":"da03749ae3c05845ed8863e6d14eece5b56c199d0de8dbecee3e737297e6b097","label":"Source crop · printed p. 161","local":false}],"owners":["161-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. Indeed. Either the old subject or certainly a new one, to be repeated afterward in the other parts, must be introduced after a rest, unless you wish to experience the Gospel rebuke, Matthew chapter 22: “Friend, how did you enter here without a wedding garment?” Now take up mode E and try to compose a fugue for three parts in this or another not very different manner. Do not hesitate over the interval at which you construct cadences, provided the subject has an opportunity to enter elegantly in them. It will help, however, first to show the final cadence of this mode, which differs from those of the other modes.","latin":"Aloys. Ità sanè. Aut subjectum vetus, aut certè novum, idque cæteris partibus deinceps repetendum, post pausam induci necesse est: nisi objurgationem in te experiri velis Evangelicam, Math. 22. cap. Amice, quomodo huc intrâsti, non habens vestem nuptialem. Jam modum E. ad manus accipe, Fugamque trium partium eo, vel alio haud multùm dissimili modo conficere tenta: neque hæsitans, quo intervallo clausulas exstruas, dummodo in iis subjecto eleganter intrandi facultas detur. Juvabit autem anteà clausulam finalem hujus Modi monstrare, quæ diversa ab aliis Modis est.","issues":[],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Two-measure three-part terminal harmony; soprano/alto/bass, whole notes then breves, sharp on soprano breve.","All voices directly visually transcribed. Clef changes across independent inversions retained in separate complete scores; source dots treated as augmentation.","Full latest source-to-render comparison passed with XSD and playable timeline. 159–160closing inter-staff ∩ is correctly assigned to tenor A3whole-note tie31–32; no alto slur added. Historical after-bar augmentation dots and independent inversion clefs preserved."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"96ee095104764c4560416df267172178e4e9cc3e62ca6c2be4dc50520af371be","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-278","downloads":[],"xmlSha256":"96ee095104764c4560416df267172178e4e9cc3e62ca6c2be4dc50520af371be","integrity":"matched","parts":3,"voices":3,"notes":6,"measures":2,"parser":{"status":"supported","warnings":[],"events":6,"normalizations":[]},"preview":{"path":"previews/edition-advanced-161-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"e0ba3326e17f4763fe58de58c1410efe57a864b72bb185e5cfad2e7b45cb00b2","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"96ee095104764c4560416df267172178e4e9cc3e62ca6c2be4dc50520af371be"}},{"id":"edition:advanced-161b-162a-fugue","collection":"edition","title":"Example advanced-161b-162a-fugue","page":161,"topic":"EXERCISE V. · THIRD LESSON, · On fugues for three parts.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-161b-162a-fugue.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/161-b.png","sha256":"78c763f4d05b6903d46da72389447b66a3761e8b09d52f30a24fc029fc607b9c","label":"Source crop · printed p. 161","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/162-a.png","sha256":"93e250d04a3a2bedc7c6b80648c6e5a50cceb39633df80e8b3588374f473dc9e","label":"Source crop · printed p. 162","local":false}],"owners":["161-b","162-a"],"state":"needs-review","editionStatus":"needs-review","context":"Aloysius. Indeed. Either the old subject or certainly a new one, to be repeated afterward in the other parts, must be introduced after a rest, unless you wish to experience the Gospel rebuke, Matthew chapter 22: “Friend, how did you enter here without a wedding garment?” Now take up mode E and try to compose a fugue for three parts in this or another not very different manner. Do not hesitate over the interval at which you construct cadences, provided the subject has an opportunity to enter elegantly in them. It will help, however, first to show the final cadence of this mode, which differs from those of the other modes.","latin":"Aloys. Ità sanè. Aut subjectum vetus, aut certè novum, idque cæteris partibus deinceps repetendum, post pausam induci necesse est: nisi objurgationem in te experiri velis Evangelicam, Math. 22. cap. Amice, quomodo huc intrâsti, non habens vestem nuptialem. Jam modum E. ad manus accipe, Fugamque trium partium eo, vel alio haud multùm dissimili modo conficere tenta: neque hæsitans, quo intervallo clausulas exstruas, dummodo in iis subjecto eleganter intrandi facultas detur. Juvabit autem anteà clausulam finalem hujus Modi monstrare, quæ diversa ab aliis Modis est.","issues":["Complete34-measure candidate. Measures1–33 directly source-checked. Final34 has upper half+quarter+quarter+breve=12 nominal quarter units, while the two wide stemmed lower final glyphs are longa/maxima-like with fermatas. Lower long16 is a documented nominal candidate only; no rest/hold synchronization invented. Fermata points are not augmentation dots. A verified opening excludes34."],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Three-part fugue begins161-b and ends162-a, five systems total; soprano/alto/tenor. Final lower voices use dotted long notes and fermatas.","Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.","Full candidate rendered for comparison. All preclosing notes reviewed; source final wide long-note classification and nominal duration remain explicitly unresolved, with fermata points distinguished from augmentation dots. Verified opening supplied separately."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"a751f6715d1f7b82cb88a33bf18bea18487bd16dbf5548e2b7ecf576bfeb50eb","hints":{"unequal_parts":[["34","P1",12,16]]}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-279","downloads":[],"xmlSha256":"a751f6715d1f7b82cb88a33bf18bea18487bd16dbf5548e2b7ecf576bfeb50eb","integrity":"matched","parts":3,"voices":3,"notes":150,"measures":34,"parser":{"status":"supported","warnings":[],"events":134,"normalizations":[]},"preview":{"path":"previews/edition-advanced-161b-162a-fugue.svg","pages":3,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"60e6510358e16dd07b2af3f0b50751b4db3f96b25fdaa9aaaf57d60af9838e1c","playback":false,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"a751f6715d1f7b82cb88a33bf18bea18487bd16dbf5548e2b7ecf576bfeb50eb"}},{"id":"edition:advanced-161b-162a-fugue-verified-prefix","collection":"edition","title":"Example advanced-161b-162a-fugue-verified-prefix","page":161,"topic":"EXERCISE V. · THIRD LESSON, · On fugues for three parts.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-161b-162a-fugue-verified-prefix.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/161-b.png","sha256":"78c763f4d05b6903d46da72389447b66a3761e8b09d52f30a24fc029fc607b9c","label":"Source crop · printed p. 161","local":false}],"owners":["161-b"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. Indeed. Either the old subject or certainly a new one, to be repeated afterward in the other parts, must be introduced after a rest, unless you wish to experience the Gospel rebuke, Matthew chapter 22: “Friend, how did you enter here without a wedding garment?” Now take up mode E and try to compose a fugue for three parts in this or another not very different manner. Do not hesitate over the interval at which you construct cadences, provided the subject has an opportunity to enter elegantly in them. It will help, however, first to show the final cadence of this mode, which differs from those of the other modes.","latin":"Aloys. Ità sanè. Aut subjectum vetus, aut certè novum, idque cæteris partibus deinceps repetendum, post pausam induci necesse est: nisi objurgationem in te experiri velis Evangelicam, Math. 22. cap. Amice, quomodo huc intrâsti, non habens vestem nuptialem. Jam modum E. ad manus accipe, Fugamque trium partium eo, vel alio haud multùm dissimili modo conficere tenta: neque hæsitans, quo intervallo clausulas exstruas, dummodo in iis subjecto eleganter intrandi facultas detur. Juvabit autem anteà clausulam finalem hujus Modi monstrare, quæ diversa ab aliis Modis est.","issues":["Verified opening only; uncertain final long-note/fermata measure34 is excluded."],"verificationNotes":["Known source-checked measures derived from full candidate without adding notes or a cadence. Full primary file unchanged.","Both exact-current prefix proof pages compared to source-checked measures1–33. No sound/cadence added at cutoff; outgoing A4tie retained as notation only. XSD/parser accepted and all retained measures balance. Full primary unchanged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"4c7bd52a31f4639476e17eb967d9afcb84ddd37f3d4cf801fdca6ce4c4920c6b","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-279","downloads":[],"xmlSha256":"4c7bd52a31f4639476e17eb967d9afcb84ddd37f3d4cf801fdca6ce4c4920c6b","integrity":"matched","parts":3,"voices":3,"notes":144,"measures":33,"parser":{"status":"supported","warnings":[],"events":129,"normalizations":[]},"preview":{"path":"previews/edition-advanced-161b-162a-fugue-verified-prefix.svg","pages":3,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"831478b90090c71abeb14614d059610093b7ecb4d918a31b0056d174901319a5","playback":true,"corpusLinks":[],"relationship":"derived-reading","material":{"group":"derived-reading","reason":"The edition explicitly records this as an excerpt or instrumental reading of existing material.","relatedEditionIds":["edition:advanced-161b-162a-fugue"],"coverage":{"kind":"excerpt","label":"Verified opening · measures 1–33 of 34; full score continues","lastMeasure":33,"totalMeasures":34},"xmlSha256":"4c7bd52a31f4639476e17eb967d9afcb84ddd37f3d4cf801fdca6ce4c4920c6b"}},{"id":"edition:advanced-163-164-fugue","collection":"edition","title":"Example advanced-163-164-fugue","page":163,"topic":"EXERCISE V. · THIRD LESSON, · On fugues for three parts.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-163-164-fugue.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/163-a.png","sha256":"b7a8bf2294498b0c54d9da084a83ae7e62407508131515cfaa88b6b6caa43315","label":"Source crop · printed p. 163","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/164-a.png","sha256":"16189a24c48e12c23221b219b3ae81ad72e9de898ff9f7b1ccf85aec8dd2867d","label":"Source crop · printed p. 164","local":false}],"owners":["163-a","164-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. Put aside your fear, Joseph. Far from censuring you, I marvel that, as a beginner in this matter, you have managed both to weave the subject so skillfully and to find melodic continuation so proper to the mode. The very character of the subject led you to repeat the cadence on A more often. This does not impair variety, since it is continually varied in different ways by the accompanying notes. If anything seems to lack the charm so much desired in musical phrases, it must be attributed to the restriction of the diatonic genus, and especially to the poverty of this mode. I also praise the graceful melody of the parts, neither impeded by the other, each moving most freely. Proceed now to mode F, and from there to the others.","latin":"Aloys. Mitte timorem Josephe. Longè ab reprehensione miror, quod in hac re Tyroni, & subjectum tam scitè intexere, modulationem, Modo tam propriam reperire tibi contigerit. Ad clausulam enim sæpiùs in A. repetitam ipsa subjecti qualitas te induxit: quæ non obest varietati, utpote alio semper, atque alio modo per Notas comitantes variata. Et si quid leporis in modulis Musicis tantopere desiderato deesse videtur, Generis Diatonici restrictioni, maximè autem hujus Modi egestati tribuendum est. Laudo prætereà concinnum partium Cantum, quarum neutra impedita ab altera liberrimè vagatur. Perge nunc proximè ad modum F. & inde ad reliquos.","issues":[],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Three-part fugue begins163-a and ends164-a, five systems; alto/tenor/bass, final breves. Flats and sharps recur.","Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.","All35measures and three voices compared to separately enlarged five source systems and both current proof pages. Printed flats/sharps, held-dot continuations, no false tie after tenor18, and low final F2 with F4/A3 breves match. XSD/parser accepted; source remains definitive."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"2244d469f58e3e53bb33cb777e5661c9087ae43c8ae8ec8ed7fcdb743bd30cec","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-282","downloads":[],"xmlSha256":"2244d469f58e3e53bb33cb777e5661c9087ae43c8ae8ec8ed7fcdb743bd30cec","integrity":"matched","parts":3,"voices":3,"notes":181,"measures":35,"parser":{"status":"supported","warnings":[],"events":171,"normalizations":[]},"preview":{"path":"previews/edition-advanced-163-164-fugue.svg","pages":3,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"ee0c0840d35c96f64aaaab37a854906375dfbdc8872c9942ec8592a22d895860","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"2244d469f58e3e53bb33cb777e5661c9087ae43c8ae8ec8ed7fcdb743bd30cec"}},{"id":"edition:advanced-165-166-fugue-as-printed","collection":"edition","title":"Example advanced-165-166-fugue-as-printed","page":165,"topic":"EXERCISE V. · THIRD LESSON, · On fugues for three parts.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-165-166-fugue-as-printed.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/165-a.png","sha256":"cf2c7c8456b214f2e594b48cf185a2fcb461b2e520826a8be546917e2f2936d2","label":"Source crop · printed p. 165","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/166-a.png","sha256":"cf77e63f67344f7d4cd13e32266d943283982226492fe2e88474271432b945d6","label":"Source crop · printed p. 166","local":false}],"owners":["165-a","166-a"],"state":"needs-review","editionStatus":"needs-review","context":"Aloysius. On the contrary, I say that this melodic continuation has been contrived very shrewdly and ingeniously. For since, because of the strictness both of the diatonic genus and of the mode, everything must proceed along a familiar path, it is clear that a little novelty can be mixed into the subject only with the aid of melodic continuation. I also admire the entrances of the subjects, everywhere employed at a suitable time, and the accompanying concordance according to the rules of counterpoint. Proceed to mode G.","latin":"Aloys. E contrario valde vafrè, ingeniosèque modulationem illam institutam esse ajo. Etenim cùm, & ob Generis Diatonici, & Modi rigorem omnia tritâ viâ incedere debeant, paululum peregrini, non nisi modulationis præsidio, subjecto immisceri posse, perspicuum est. Admiror prætereà subjectorum ingressum ubique opportuno tempore adhibitum, comitantemque ad Contrapuncti regulas Concordantiam. Perge ad Modum G.","issues":["Complete36-measure as-printed candidate. Alto6 retains confidently visible printed B3half under a separate gray handwritten correction. First source rhythm ambiguity is tenor25: point after filled D3quarter, followed by three unflagged quarters, nominal4.5against4. No eighth flag, rest or tie extension invented to force agreement. Full candidate is not playback-verified; verified opening ends24. Final G4/G4/G3 breves."],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Three-part fugue starts165-a, finishes166-a; soprano/alto/tenor, five systems. First system alto measure6 has manuscript overwrite, preserve printed-vs-added uncertainty.","Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.","Full as-printed candidate proof compared. Printed B3half under gray annotation confirmed in enlargement; final alto F-sharp4/G4 cadence checked separately. Literal tenor25 point without following flag yields4.5units and strict tie-alignment rejection, intentionally not repaired by invention. Prefix stops24."],"savedChecks":{"parsed":false,"rendered":true,"schema":true},"diagnostics":{"sha256":"9ff208ab812c6d479707baaf6cafabab7b51d7704f3a7dca2ab3de5265ab92dc","hints":{"unequal_parts":[["25","P1",4,4.5],["25","P2",4,4.5]]}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-285","downloads":[],"xmlSha256":"9ff208ab812c6d479707baaf6cafabab7b51d7704f3a7dca2ab3de5265ab92dc","integrity":"matched","parts":3,"voices":3,"notes":178,"measures":36,"parser":{"status":"supported","warnings":["One part runs past its bar (P3, bar 25: 4.5 beats in a 4-beat bar; the other parts wait)","A tie is held while other parts finish a longer bar (P1, bar 26, D5)"],"events":160,"normalizations":[]},"preview":{"path":"previews/edition-advanced-165-166-fugue-as-printed.svg","pages":3,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"5c68ef17c47ba5bc032f8833867da7ce49ff83775bf73290cb624c2c280fd2fe","playback":false,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"9ff208ab812c6d479707baaf6cafabab7b51d7704f3a7dca2ab3de5265ab92dc"}},{"id":"edition:advanced-165-166-fugue-as-printed-verified-prefix","collection":"edition","title":"Example advanced-165-166-fugue-as-printed-verified-prefix","page":165,"topic":"EXERCISE V. · THIRD LESSON, · On fugues for three parts.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-165-166-fugue-as-printed-verified-prefix.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/165-a.png","sha256":"cf2c7c8456b214f2e594b48cf185a2fcb461b2e520826a8be546917e2f2936d2","label":"Source crop · printed p. 165","local":false}],"owners":["165-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. On the contrary, I say that this melodic continuation has been contrived very shrewdly and ingeniously. For since, because of the strictness both of the diatonic genus and of the mode, everything must proceed along a familiar path, it is clear that a little novelty can be mixed into the subject only with the aid of melodic continuation. I also admire the entrances of the subjects, everywhere employed at a suitable time, and the accompanying concordance according to the rules of counterpoint. Proceed to mode G.","latin":"Aloys. E contrario valde vafrè, ingeniosèque modulationem illam institutam esse ajo. Etenim cùm, & ob Generis Diatonici, & Modi rigorem omnia tritâ viâ incedere debeant, paululum peregrini, non nisi modulationis præsidio, subjecto immisceri posse, perspicuum est. Admiror prætereà subjectorum ingressum ubique opportuno tempore adhibitum, comitantemque ad Contrapuncti regulas Concordantiam. Perge ad Modum G.","issues":["As-printed opening only: the visible printed B3 in alto6 is retained; the higher gray handwritten correction remains in the original image, not adopted. Rhythmic ambiguity25 and all later bars are outside this prefix."],"verificationNotes":["Known source-checked measures derived from full candidate without adding notes or a cadence. Full primary file unchanged.","Both latest prefix pages compared to source-checked printed measures1–24, including enlarged alto4/6. No guessed handwritten pitch or invented ending. Boundary outgoing E5tie is notation-only; XSD/parser accepted and all kept bars balance."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"0d27a214d231a2af089faf1e759759c1245e5218b7afb44a085a490c4c00bf47","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-285","downloads":[],"xmlSha256":"0d27a214d231a2af089faf1e759759c1245e5218b7afb44a085a490c4c00bf47","integrity":"matched","parts":3,"voices":3,"notes":119,"measures":24,"parser":{"status":"supported","warnings":[],"events":106,"normalizations":[]},"preview":{"path":"previews/edition-advanced-165-166-fugue-as-printed-verified-prefix.svg","pages":2,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"7de1219f21c9dbc5ce2930d61ba81a1c4cb0a7a30eefa028d34a79b83775d717","playback":true,"corpusLinks":[],"relationship":"derived-reading","material":{"group":"derived-reading","reason":"The edition explicitly records this as an excerpt or instrumental reading of existing material.","relatedEditionIds":["edition:advanced-165-166-fugue-as-printed"],"coverage":{"kind":"excerpt","label":"Verified opening (as printed) · measures 1–24 of 36; full score continues","lastMeasure":24,"totalMeasures":36},"xmlSha256":"0d27a214d231a2af089faf1e759759c1245e5218b7afb44a085a490c4c00bf47"}},{"id":"edition:advanced-166b-167a-fugue","collection":"edition","title":"Example advanced-166b-167a-fugue","page":166,"topic":"EXERCISE V. · THIRD LESSON, · On fugues for three parts.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-166b-167a-fugue.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/166-b.png","sha256":"a58b6d8f5656c08ff18d355ce73588b86e7beb8777b108039e8f76002665c288","label":"Source crop · printed p. 166","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/167-a.png","sha256":"efa1112cb80d55be8ac59677b018fd83bc846de52915641931d34dc27524d2cf","label":"Source crop · printed p. 167","local":false}],"owners":["166-b","167-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. On the contrary, I say that this melodic continuation has been contrived very shrewdly and ingeniously. For since, because of the strictness both of the diatonic genus and of the mode, everything must proceed along a familiar path, it is clear that a little novelty can be mixed into the subject only with the aid of melodic continuation. I also admire the entrances of the subjects, everywhere employed at a suitable time, and the accompanying concordance according to the rules of counterpoint. Proceed to mode G.","latin":"Aloys. E contrario valde vafrè, ingeniosèque modulationem illam institutam esse ajo. Etenim cùm, & ob Generis Diatonici, & Modi rigorem omnia tritâ viâ incedere debeant, paululum peregrini, non nisi modulationis præsidio, subjecto immisceri posse, perspicuum est. Admiror prætereà subjectorum ingressum ubique opportuno tempore adhibitum, comitantemque ad Contrapuncti regulas Concordantiam. Perge ad Modum G.","issues":[],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Three-part fugue starts166-b, closes167-a; alto/tenor/bass, four systems with suspensions and final breves.","Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.","All39measures of all three voices compared to source across both Verovio proof pages. XSD and timeline accepted; final A3/A3/A2 breves, tenor C-natural after previous-bar C-sharp, and bass closing E3tie checked."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"d4f8f2ff36304a8f33e91ea9ca7796355a8491a3135eaa28e1efaa79777569a8","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-287","downloads":[],"xmlSha256":"d4f8f2ff36304a8f33e91ea9ca7796355a8491a3135eaa28e1efaa79777569a8","integrity":"matched","parts":3,"voices":3,"notes":161,"measures":39,"parser":{"status":"supported","warnings":[],"events":144,"normalizations":[]},"preview":{"path":"previews/edition-advanced-166b-167a-fugue.svg","pages":3,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"027a68c80979e389e7f9659d453e6ac2ebf01ef5da9ed7b88f2527554b3bd154","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"d4f8f2ff36304a8f33e91ea9ca7796355a8491a3135eaa28e1efaa79777569a8"}},{"id":"edition:advanced-167b-168a-fugue","collection":"edition","title":"Example advanced-167b-168a-fugue","page":167,"topic":"EXERCISE V. · THIRD LESSON, · On fugues for three parts.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-167b-168a-fugue.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/167-b.png","sha256":"ad797bd9757dbaf2aa5b3b7af1dd35eb525348005ccc743aaaf19121e838a314","label":"Source crop · printed p. 167","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/168-a.png","sha256":"be411245a82b6952c66795c9ce55e304367c178f59574a0ae5f542c9e4abaa71","label":"Source crop · printed p. 168","local":false}],"owners":["167-b","168-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. On the contrary, I say that this melodic continuation has been contrived very shrewdly and ingeniously. For since, because of the strictness both of the diatonic genus and of the mode, everything must proceed along a familiar path, it is clear that a little novelty can be mixed into the subject only with the aid of melodic continuation. I also admire the entrances of the subjects, everywhere employed at a suitable time, and the accompanying concordance according to the rules of counterpoint. Proceed to mode G.","latin":"Aloys. E contrario valde vafrè, ingeniosèque modulationem illam institutam esse ajo. Etenim cùm, & ob Generis Diatonici, & Modi rigorem omnia tritâ viâ incedere debeant, paululum peregrini, non nisi modulationis præsidio, subjecto immisceri posse, perspicuum est. Admiror prætereà subjectorum ingressum ubique opportuno tempore adhibitum, comitantemque ad Contrapuncti regulas Concordantiam. Perge ad Modum G.","issues":[],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Three-part fugue starts167-b, closes168-a; soprano/alto/tenor, four systems and final breves.","Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.","Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.","Both full proof pages compared to all30source measures; enlarged third soprano system resolves pitches19–26 as A4upward run through D5, then E5downward, retaining source C1reference. XSD/parser checks and final C5/C4/C3 breves passed."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"81a0b43607f1560632d092ea5287fe544e885eef6350733e10952a532d8c3c6b","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-289","downloads":[],"xmlSha256":"81a0b43607f1560632d092ea5287fe544e885eef6350733e10952a532d8c3c6b","integrity":"matched","parts":3,"voices":3,"notes":148,"measures":30,"parser":{"status":"supported","warnings":[],"events":141,"normalizations":[]},"preview":{"path":"previews/edition-advanced-167b-168a-fugue.svg","pages":2,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"1e5c2abf1488cf04f8db9a1291c01c16e2d9402f2109806dd8b058e6b4a67b2e","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"81a0b43607f1560632d092ea5287fe544e885eef6350733e10952a532d8c3c6b"}},{"id":"edition:advanced-169-170-fugue","collection":"edition","title":"Example advanced-169-170-fugue","page":169,"topic":"EXERCISE V. · FOURTH LESSON, · On fugues for four parts.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-169-170-fugue.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/169-a.png","sha256":"f1de8e8efb28fa210c127f8c44605980f538b3e03718ca867344ef162291befe","label":"Source crop · printed p. 169","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/170-a.png","sha256":"9c7ad90194c6ee6fca21a11c7d40b791aaf9d6006be393fd259d040870b41934","label":"Source crop · printed p. 170","local":false}],"owners":["169-a","170-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. Either the plan of the melodic continuation must be changed, or you must silence, by means of a rest, the part for which there is no room except by forcing it in, until space opens for it to reenter with the subject. It is better, however, through foresight and reflection, to arrange the parts so that you do not soon regret the plan you have adopted; for it is better to leave one’s rights intact than to seek a remedy after the case has been damaged. Thus, while attending to one part, you must not forget the others, nor give so much to some parts that the remaining one has neither room to move nor grace in singing. I shall provide an example for you to consider and imitate, retaining the theme of the first fugue for three voices and the other material up to the entrance of the fourth part.","latin":"Aloys. Aut mutandum modulationis consilium erit, aut parti, cui, nonnisi intrudendæ locus est, adminiculo pausæ silentium impones, usque dum reingrediendi cum subjecto spatium aperiatur. Satiùs tamen est, prævidendo, meditandoque partes ita disponere, ne consilii cœpti paulò post te pœniteat; præstat enim jura intacta relinquere, quàm post vulneratam causam remedium quærere. Opus igitur est, ut, dum uni parti vacas, cæteræ ne memoriâ excidant, neque partibus aliquibus tantum tribuas, ut superstiti nihil aut spatii ad gradiendum, aut concinnitatis ad cantandum maneat. Exemplar tibi considerandum, imitandumque subjiciam, servato primæ trium partium Fugæ themate, aliisque ad quartæ partis introitum.","issues":[],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Four-part fugue begins169-a, ends170-a; soprano/alto/tenor/bass. Four systems, final breves and extended tied closing notes.","Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.","Complete34-measure four-part source comparison against both latest proof pages passed. Source systems separately enlarged; augmentation holds, octave-spaced bass entries, printed accidentals, continuing tenor A3ties and final D5/D4/A3/D3 breves checked. XSD and parser accepted; all part-measure durations agree."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"587ccc1207c737be4b033e7b0abf91009d5db4d53b54f4ffded0cbf88bffb439","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-291","downloads":[],"xmlSha256":"587ccc1207c737be4b033e7b0abf91009d5db4d53b54f4ffded0cbf88bffb439","integrity":"matched","parts":4,"voices":4,"notes":187,"measures":34,"parser":{"status":"supported","warnings":[],"events":166,"normalizations":[]},"preview":{"path":"previews/edition-advanced-169-170-fugue.svg","pages":4,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"5f4762fd59ca7a90458bc9b04091750659c8478840c44c2ddab3c70f09f7a174","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"587ccc1207c737be4b033e7b0abf91009d5db4d53b54f4ffded0cbf88bffb439"}},{"id":"edition:advanced-171-172-fugue","collection":"edition","title":"Example advanced-171-172-fugue","page":171,"topic":"EXERCISE V. · FOURTH LESSON, · On fugues for four parts.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-171-172-fugue.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/171-a.png","sha256":"806dd62d5fdb6ba79fd7b46639979e9a5a13b2790dfe9c3d168970ee88ae03c6","label":"Source crop · printed p. 171","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/172-a.png","sha256":"b06f48ed04730e7d5e77fbed918f2bf9c27e0bc9a7b5a98ada1d716a995dbefe","label":"Source crop · printed p. 172","local":false}],"owners":["171-a","172-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. The similarity you mention plainly results from the same subject. Understand that the subject in this four-part fugue has been treated almost as in the three-voice one in order to make four-voice composition easier for you. For this reason I so strongly recommended the study of three voices a little earlier. Nor be surprised that all four parts join only rarely. Besides my warning not long ago to refrain from forcing parts in at unsuitable moments, four-voice composition does not require that it always be filled with the harmony of four parts. It is enough if, while the other parts are active, one or another resting meanwhile can take up the subject again and, attaching a few additional notes to its end, prolong the filling out of the harmony. I entrust to you the treatment of the subjects in the other modes in this manner.","latin":"Aloys. Similitudinem, quam dicis, ex uno eodemque Subjecto resultare constat. Quod autem in hac quatuor partium Fuga ad eundem ferè modum, quò in Tricinio, subjectum ductum sit, ideò factum puta, ut facilior tibi cedat Quatricinii compositio: ob quam causam tantopere Tricinii studium paulò antè tibi commendavi. Neque mirare raram quatuor partium conjunctionem. Præterquam enim quod non multò ante præmonuerim, ut à partibus inopportunè intrudendis abstineres, ad Quatricinium non requiritur, ut semper quatuor partium Harmoniâ compleatur, cui sufficit, si cæteris partibus in actione existentibus, una vel altera interim quiescens subjectum denuò reassumere, & subjecti fini aliquot Notarum appendicem innectendo supplementum Harmoniæ protrahere possit. Cætera Modorum subjecta ad hunc modum pertractanda tibi committo.","issues":["A source curved mark sits beneath tenor rest24 toward following B3. It is retained as a non-sounding source annotation in provenance/original image, not converted to a pitched tie or invented note."],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Four-part fugue begins171-a, ends172-a; soprano/alto/tenor/bass. Four systems; final soprano chromatic cadence with repeated sharps.","Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.","Both latest proof pages compared against all33measures in four separately enlarged source systems. Notes, rests, augmentation holds, accidentals, closing chained ties and G-sharp4/E4/B3/E3 breves match; all part durations agree and XSD/parser accepted. The curve adjacent to a rest has no assigned sounding event."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"27dc0fc4ea27b00f64617d16b164ee5936811e45ae2152683be121a301adc79d","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-293","downloads":[],"xmlSha256":"27dc0fc4ea27b00f64617d16b164ee5936811e45ae2152683be121a301adc79d","integrity":"matched","parts":4,"voices":4,"notes":173,"measures":33,"parser":{"status":"supported","warnings":[],"events":153,"normalizations":[]},"preview":{"path":"previews/edition-advanced-171-172-fugue.svg","pages":4,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"1f60e3a078e8397b83ae30455cf85766eafe07089088e1f15359ae5cf8276300","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"27dc0fc4ea27b00f64617d16b164ee5936811e45ae2152683be121a301adc79d"}},{"id":"edition:advanced-172b-174a-fugue","collection":"edition","title":"Example advanced-172b-174a-fugue","page":172,"topic":"EXERCISE V. · FOURTH LESSON, · On fugues for four parts.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-172b-174a-fugue.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/172-b.png","sha256":"cd14f256d3ca004c3f0f2bb08bc00229dc8e78dc478818a5bdfd45afc3720ee0","label":"Source crop · printed p. 172","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/173-a.png","sha256":"c3c7f3e6aaad11b946925fcbf063c971765494898d66ec212fa84d519b3360bd","label":"Source crop · printed p. 173","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/174-a.png","sha256":"cb98fd2211797c43b9ba79d6dcb1474b8716eaad3a0282c26a913d288cc742c5","label":"Source crop · printed p. 174","local":false}],"owners":["172-b","173-a","174-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. The similarity you mention plainly results from the same subject. Understand that the subject in this four-part fugue has been treated almost as in the three-voice one in order to make four-voice composition easier for you. For this reason I so strongly recommended the study of three voices a little earlier. Nor be surprised that all four parts join only rarely. Besides my warning not long ago to refrain from forcing parts in at unsuitable moments, four-voice composition does not require that it always be filled with the harmony of four parts. It is enough if, while the other parts are active, one or another resting meanwhile can take up the subject again and, attaching a few additional notes to its end, prolong the filling out of the harmony. I entrust to you the treatment of the subjects in the other modes in this manner.","latin":"Aloys. Similitudinem, quam dicis, ex uno eodemque Subjecto resultare constat. Quod autem in hac quatuor partium Fuga ad eundem ferè modum, quò in Tricinio, subjectum ductum sit, ideò factum puta, ut facilior tibi cedat Quatricinii compositio: ob quam causam tantopere Tricinii studium paulò antè tibi commendavi. Neque mirare raram quatuor partium conjunctionem. Præterquam enim quod non multò ante præmonuerim, ut à partibus inopportunè intrudendis abstineres, ad Quatricinium non requiritur, ut semper quatuor partium Harmoniâ compleatur, cui sufficit, si cæteris partibus in actione existentibus, una vel altera interim quiescens subjectum denuò reassumere, & subjecti fini aliquot Notarum appendicem innectendo supplementum Harmoniæ protrahere possit. Cætera Modorum subjecta ad hunc modum pertractanda tibi committo.","issues":[],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Four-part fugue begins172-b and ends174-a; five systems, soprano/alto/tenor/bass with tied whole notes, flats and final breves.","Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.","Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.","All39measures of four parts compared against five source systems and all three latest proof pages. Long E4/E3tie chains, source whole-note augmentation in soprano22, explicit flat beginnings without redundant tied-stop accidentals, corrected final F4/F4/A3/F2 pitches and full-page low-bass inspection match. XSD/parser accepted; part durations agree."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"d45eaad36f2aabee8aa69c180e122653bdcd17acc5656a9ff2f9c2eb2800db20","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-295","downloads":[],"xmlSha256":"d45eaad36f2aabee8aa69c180e122653bdcd17acc5656a9ff2f9c2eb2800db20","integrity":"matched","parts":4,"voices":4,"notes":195,"measures":39,"parser":{"status":"supported","warnings":[],"events":170,"normalizations":[]},"preview":{"path":"previews/edition-advanced-172b-174a-fugue.svg","pages":4,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"f223a36fa20e2f96aa65c6f360d7a6f03dcfb4485f9bda796ea1fdc93e96fbd5","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"d45eaad36f2aabee8aa69c180e122653bdcd17acc5656a9ff2f9c2eb2800db20"}},{"id":"edition:advanced-176-a-1","collection":"edition","title":"Example advanced-176-a-1","page":176,"topic":"EXERCISE V. · FIFTH LESSON. · On double counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-176-a-1.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/176-a.png","sha256":"3cdaa85ff22826c73ee366d1f195358e2efe0bbc5d6d7dfa978b73e8f5d9abd0","label":"Source crop · printed p. 176","local":false}],"owners":["176-a"],"state":"recorded-review","editionStatus":"verified","context":"It is therefore clear that a unison becomes an octave by inversion; a second inverts to a seventh; an inverted third produces a sixth; a fifth produces a fourth; and so with the rest. Hence the reason why the fifth is forbidden in this counterpoint is plain: inverted, it produces a dissonance, namely a fourth. For example:","latin":"Patet itaque, Unisonum per inversionem Octavam fieri: Secundam in Septimam inverti: ex inversâ Tertia Sextam resultare: ex Quinta Quartam: & sic de cæteris. Unde ratio, ob quam hoc in Contrapuncto Quinta prohibeatur, in promptu est: quia inversa dissonantiam, nempe Quartam efficit. E. G.","issues":[],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Three two-part paired intervals demonstrating octave inversion; source clefs change soprano/alto to alto/tenor at third example.","All voices directly visually transcribed. Clef changes across independent inversions retained in separate complete scores; source dots treated as augmentation.","Full latest source-to-render comparison passed with XSD and playable timeline. 159–160closing inter-staff ∩ is correctly assigned to tenor A3whole-note tie31–32; no alto slur added. Historical after-bar augmentation dots and independent inversion clefs preserved."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"8c3ddd5823ad7605e8614e7211df4461c7594412b2cd55b4063a5ef4e8310de3","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-300","downloads":[],"xmlSha256":"8c3ddd5823ad7605e8614e7211df4461c7594412b2cd55b4063a5ef4e8310de3","integrity":"matched","parts":2,"voices":2,"notes":4,"measures":1,"parser":{"status":"supported","warnings":[],"events":4,"normalizations":[]},"preview":{"path":"previews/edition-advanced-176-a-1.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"efa6cc78084db063a1f5be24e1bdf8fe0a1edb4af3d6146ee26e25cbb99c6cee","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"8c3ddd5823ad7605e8614e7211df4461c7594412b2cd55b4063a5ef4e8310de3"}},{"id":"edition:advanced-176-a-2","collection":"edition","title":"Example advanced-176-a-2","page":176,"topic":"EXERCISE V. · FIFTH LESSON. · On double counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-176-a-2.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/176-a.png","sha256":"3cdaa85ff22826c73ee366d1f195358e2efe0bbc5d6d7dfa978b73e8f5d9abd0","label":"Source crop · printed p. 176","local":false}],"owners":["176-a"],"state":"recorded-review","editionStatus":"verified","context":"It is therefore clear that a unison becomes an octave by inversion; a second inverts to a seventh; an inverted third produces a sixth; a fifth produces a fourth; and so with the rest. Hence the reason why the fifth is forbidden in this counterpoint is plain: inverted, it produces a dissonance, namely a fourth. For example:","latin":"Patet itaque, Unisonum per inversionem Octavam fieri: Secundam in Septimam inverti: ex inversâ Tertia Sextam resultare: ex Quinta Quartam: & sic de cæteris. Unde ratio, ob quam hoc in Contrapuncto Quinta prohibeatur, in promptu est: quia inversa dissonantiam, nempe Quartam efficit. E. G.","issues":[],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Three two-part paired intervals demonstrating octave inversion; source clefs change soprano/alto to alto/tenor at third example.","All voices directly visually transcribed. Clef changes across independent inversions retained in separate complete scores; source dots treated as augmentation.","Full latest source-to-render comparison passed with XSD and playable timeline. 159–160closing inter-staff ∩ is correctly assigned to tenor A3whole-note tie31–32; no alto slur added. Historical after-bar augmentation dots and independent inversion clefs preserved."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"4cfd7c8a26d8f20c7f3866f25672e02ecdbd0dea5dacb58f6172c663d68ad5be","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-300","downloads":[],"xmlSha256":"4cfd7c8a26d8f20c7f3866f25672e02ecdbd0dea5dacb58f6172c663d68ad5be","integrity":"matched","parts":2,"voices":2,"notes":4,"measures":1,"parser":{"status":"supported","warnings":[],"events":4,"normalizations":[]},"preview":{"path":"previews/edition-advanced-176-a-2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"3b982bc1b88e1e382691db41c12877aafb8e4591ff16fa627ef7e21109363344","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"4cfd7c8a26d8f20c7f3866f25672e02ecdbd0dea5dacb58f6172c663d68ad5be"}},{"id":"edition:advanced-176-a-3","collection":"edition","title":"Example advanced-176-a-3","page":176,"topic":"EXERCISE V. · FIFTH LESSON. · On double counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-176-a-3.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/176-a.png","sha256":"3cdaa85ff22826c73ee366d1f195358e2efe0bbc5d6d7dfa978b73e8f5d9abd0","label":"Source crop · printed p. 176","local":false}],"owners":["176-a"],"state":"recorded-review","editionStatus":"verified","context":"It is therefore clear that a unison becomes an octave by inversion; a second inverts to a seventh; an inverted third produces a sixth; a fifth produces a fourth; and so with the rest. Hence the reason why the fifth is forbidden in this counterpoint is plain: inverted, it produces a dissonance, namely a fourth. For example:","latin":"Patet itaque, Unisonum per inversionem Octavam fieri: Secundam in Septimam inverti: ex inversâ Tertia Sextam resultare: ex Quinta Quartam: & sic de cæteris. Unde ratio, ob quam hoc in Contrapuncto Quinta prohibeatur, in promptu est: quia inversa dissonantiam, nempe Quartam efficit. E. G.","issues":[],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Three two-part paired intervals demonstrating octave inversion; source clefs change soprano/alto to alto/tenor at third example.","All voices directly visually transcribed. Clef changes across independent inversions retained in separate complete scores; source dots treated as augmentation.","Full latest source-to-render comparison passed with XSD and playable timeline. 159–160closing inter-staff ∩ is correctly assigned to tenor A3whole-note tie31–32; no alto slur added. Historical after-bar augmentation dots and independent inversion clefs preserved."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"68bdea363d7d8eb9df6377b970df68147ac73cb3ee1a0c6785799ac13f3a9c58","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-300","downloads":[],"xmlSha256":"68bdea363d7d8eb9df6377b970df68147ac73cb3ee1a0c6785799ac13f3a9c58","integrity":"matched","parts":2,"voices":2,"notes":4,"measures":1,"parser":{"status":"supported","warnings":[],"events":4,"normalizations":[]},"preview":{"path":"previews/edition-advanced-176-a-3.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"209aab2f18184b7cc1ae32a7a92222404499261b2c04d113977a7c3fa130dcd0","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"68bdea363d7d8eb9df6377b970df68147ac73cb3ee1a0c6785799ac13f3a9c58"}},{"id":"edition:advanced-176-b-1","collection":"edition","title":"Example advanced-176-b-1","page":176,"topic":"EXERCISE V. · FIFTH LESSON. · On double counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-176-b-1.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/176-b.png","sha256":"5cc3bad4c621a868b2c33982e4cbfcfd93b0438f3942fa0b1c65b46cbbd65c9a","label":"Source crop · printed p. 176","local":false}],"owners":["176-b"],"state":"recorded-review","editionStatus":"verified","context":"Used with a ligature, however, it has a place. For example:","latin":"Usurpata tamen cum ligatura locum habet. E. G.","issues":[],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Three adjacent two-measure two-voice inversion examples, with internal clef changes and tied half notes.","All voices directly visually transcribed. Clef changes across independent inversions retained in separate complete scores; source dots treated as augmentation.","Full latest source-to-render comparison passed with XSD and playable timeline. 159–160closing inter-staff ∩ is correctly assigned to tenor A3whole-note tie31–32; no alto slur added. Historical after-bar augmentation dots and independent inversion clefs preserved."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"031d70b77b823c8be1b1e1ead797056db87786ebf1413114e5bfa2f5e2ed4c75","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-301","downloads":[],"xmlSha256":"031d70b77b823c8be1b1e1ead797056db87786ebf1413114e5bfa2f5e2ed4c75","integrity":"matched","parts":2,"voices":2,"notes":6,"measures":2,"parser":{"status":"supported","warnings":[],"events":5,"normalizations":[]},"preview":{"path":"previews/edition-advanced-176-b-1.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"81fc4186e5da10294635dc590d7439e42991792d6d5da9e0a589cfb6fffab8f8","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"031d70b77b823c8be1b1e1ead797056db87786ebf1413114e5bfa2f5e2ed4c75"}},{"id":"edition:advanced-176-b-2","collection":"edition","title":"Example advanced-176-b-2","page":176,"topic":"EXERCISE V. · FIFTH LESSON. · On double counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-176-b-2.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/176-b.png","sha256":"5cc3bad4c621a868b2c33982e4cbfcfd93b0438f3942fa0b1c65b46cbbd65c9a","label":"Source crop · printed p. 176","local":false}],"owners":["176-b"],"state":"recorded-review","editionStatus":"verified","context":"Used with a ligature, however, it has a place. For example:","latin":"Usurpata tamen cum ligatura locum habet. E. G.","issues":[],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Three adjacent two-measure two-voice inversion examples, with internal clef changes and tied half notes.","All voices directly visually transcribed. Clef changes across independent inversions retained in separate complete scores; source dots treated as augmentation.","Full latest source-to-render comparison passed with XSD and playable timeline. 159–160closing inter-staff ∩ is correctly assigned to tenor A3whole-note tie31–32; no alto slur added. Historical after-bar augmentation dots and independent inversion clefs preserved."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"98c65f50356192dc90425118c13bca00194e60921e19cc28e6308ea0c63a4e0f","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-301","downloads":[],"xmlSha256":"98c65f50356192dc90425118c13bca00194e60921e19cc28e6308ea0c63a4e0f","integrity":"matched","parts":2,"voices":2,"notes":6,"measures":2,"parser":{"status":"supported","warnings":[],"events":5,"normalizations":[]},"preview":{"path":"previews/edition-advanced-176-b-2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"25c84f4490e5b182b738437687daaec90ece5e62e7ff977127201b937cc6d83a","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"98c65f50356192dc90425118c13bca00194e60921e19cc28e6308ea0c63a4e0f"}},{"id":"edition:advanced-176-b-3","collection":"edition","title":"Example advanced-176-b-3","page":176,"topic":"EXERCISE V. · FIFTH LESSON. · On double counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-176-b-3.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/176-b.png","sha256":"5cc3bad4c621a868b2c33982e4cbfcfd93b0438f3942fa0b1c65b46cbbd65c9a","label":"Source crop · printed p. 176","local":false}],"owners":["176-b"],"state":"recorded-review","editionStatus":"verified","context":"Used with a ligature, however, it has a place. For example:","latin":"Usurpata tamen cum ligatura locum habet. E. G.","issues":[],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Three adjacent two-measure two-voice inversion examples, with internal clef changes and tied half notes.","All voices directly visually transcribed. Clef changes across independent inversions retained in separate complete scores; source dots treated as augmentation.","Full latest source-to-render comparison passed with XSD and playable timeline. 159–160closing inter-staff ∩ is correctly assigned to tenor A3whole-note tie31–32; no alto slur added. Historical after-bar augmentation dots and independent inversion clefs preserved."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"5bcb2b6e804f7b21e18fcc839ce93cc6bab0424e0ad234903d51c2f971b3692e","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-301","downloads":[],"xmlSha256":"5bcb2b6e804f7b21e18fcc839ce93cc6bab0424e0ad234903d51c2f971b3692e","integrity":"matched","parts":2,"voices":2,"notes":6,"measures":2,"parser":{"status":"supported","warnings":[],"events":5,"normalizations":[]},"preview":{"path":"previews/edition-advanced-176-b-3.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"3b464e3a9786d927d93c6af1906508235b52780bca8458d8a392ab2e3ae96afc","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"5bcb2b6e804f7b21e18fcc839ce93cc6bab0424e0ad234903d51c2f971b3692e"}},{"id":"edition:advanced-176-c-1","collection":"edition","title":"Example advanced-176-c-1","page":176,"topic":"EXERCISE V. · FIFTH LESSON. · On double counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-176-c-1.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/176-c.png","sha256":"531abeafbb01e19d1d49d809fcd924485416b77856609546dfc1a21162019019","label":"Source crop · printed p. 176","local":false}],"owners":["176-c"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. I shall do so without delay. The numbers placed opposite one another above show plainly that an octave becomes a unison by inversion. It has already often been said that one does not correctly proceed to a unison by leap except in the manner of a cadence. In the example:","latin":"Aloys. Faciam absque mora. Ex Octava per inversionem Unisonum fieri, suprà contra se positi numeri ante oculos ponunt: in Unisonum verò per saltum, nisi per modum clausulæ, non ritè procedi, sæpiùs jam dictum est. In exemplo:","issues":[],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Two adjacent two-note two-voice inversion pairs in soprano/alto clefs.","All voices directly visually transcribed, including source suspension ties and blank voice spans. Latest render comparison pending.","All listed files passed XSD/parser/renderer checks and complete source-to-proof comparison, including blank-staff forward spans, clefs and all suspension ties."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"a70e9231e625c9882b16bc1ffe7e4f6f36ed7a8f06895683399e7443bd7a7071","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-302","downloads":[],"xmlSha256":"a70e9231e625c9882b16bc1ffe7e4f6f36ed7a8f06895683399e7443bd7a7071","integrity":"matched","parts":2,"voices":2,"notes":4,"measures":1,"parser":{"status":"supported","warnings":[],"events":4,"normalizations":[]},"preview":{"path":"previews/edition-advanced-176-c-1.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"446461ad157378c8ef6309f08ac8351050ff1288648e99e76a09481f4e8676cc","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"a70e9231e625c9882b16bc1ffe7e4f6f36ed7a8f06895683399e7443bd7a7071"}},{"id":"edition:advanced-176-c-2","collection":"edition","title":"Example advanced-176-c-2","page":176,"topic":"EXERCISE V. · FIFTH LESSON. · On double counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-176-c-2.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/176-c.png","sha256":"531abeafbb01e19d1d49d809fcd924485416b77856609546dfc1a21162019019","label":"Source crop · printed p. 176","local":false}],"owners":["176-c"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. I shall do so without delay. The numbers placed opposite one another above show plainly that an octave becomes a unison by inversion. It has already often been said that one does not correctly proceed to a unison by leap except in the manner of a cadence. In the example:","latin":"Aloys. Faciam absque mora. Ex Octava per inversionem Unisonum fieri, suprà contra se positi numeri ante oculos ponunt: in Unisonum verò per saltum, nisi per modum clausulæ, non ritè procedi, sæpiùs jam dictum est. In exemplo:","issues":[],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Two adjacent two-note two-voice inversion pairs in soprano/alto clefs.","All voices directly visually transcribed, including source suspension ties and blank voice spans. Latest render comparison pending.","All listed files passed XSD/parser/renderer checks and complete source-to-proof comparison, including blank-staff forward spans, clefs and all suspension ties."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"eca19811c471b0db84f39cd2126965e134866afed52096ac1242516cc2454cc4","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-302","downloads":[],"xmlSha256":"eca19811c471b0db84f39cd2126965e134866afed52096ac1242516cc2454cc4","integrity":"matched","parts":2,"voices":2,"notes":4,"measures":1,"parser":{"status":"supported","warnings":[],"events":4,"normalizations":[]},"preview":{"path":"previews/edition-advanced-176-c-2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"5c66b5dc6c95ff884468c14b6d4aead94bbdc9eb8381e1392b3d135dedc1749c","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"eca19811c471b0db84f39cd2126965e134866afed52096ac1242516cc2454cc4"}},{"id":"edition:advanced-177-a-1","collection":"edition","title":"Example advanced-177-a-1","page":177,"topic":"EXERCISE V. · FIFTH LESSON. · On double counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-177-a-1.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/177-a.png","sha256":"28bb87414d27a141c7cfa8d8ca9855d254981f4630d10725d7375e5668e9d8d0","label":"Source crop · printed p. 177","local":false}],"owners":["177-a"],"state":"recorded-review","editionStatus":"verified","context":"You will have done better to avoid the octave on the thesis altogether, for by inversion it becomes a unison, which, as already said, is less properly used except through syncopation. The reason for not exceeding the bounds of the octave is that the function of double counterpoint is to produce varied and different harmony through inversion. But if you pass beyond the bounds of the octave, although compound consonances are changed into simple ones, the same harmony results, differing not so much in nature as only in position, as the following example demonstrates. For example:","latin":"Quod Octavam in Thesi prorsùs evitaveris, rectiùs fecisti; nam hæc per inversionem Unisonus fit, qui nisi per Syncopen minùs rectè, ut jam dictum est, usurpatur. Non excedendorum Octavæ limitum ratio est, quia Contrapuncti duplicis munus est, efficere variam, differentemque per inversionem Harmoniam: si autem Octavæ terminos egressus fueris, licet Consonantiæ compositæ in simplices mutentur, eadem resultabit Harmonia, nec tam naturâ, quàm situ tantùm discrepans: ut sequens exemplum demonstrat. E. G.","issues":[],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Two five-measure two-voice examples marked Inversio, first G-clef/alto, second alto/alto; upper part begins half rest and tied half.","All voices directly visually transcribed. Clef changes across independent inversions retained in separate complete scores; source dots treated as augmentation.","Full latest source-to-render comparison passed with XSD and playable timeline. 159–160closing inter-staff ∩ is correctly assigned to tenor A3whole-note tie31–32; no alto slur added. Historical after-bar augmentation dots and independent inversion clefs preserved."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"ade46d04fc646fd3b3ebf217c499b5a76a1e01827017fe370832f286eaaa555c","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-303","downloads":[],"xmlSha256":"ade46d04fc646fd3b3ebf217c499b5a76a1e01827017fe370832f286eaaa555c","integrity":"matched","parts":2,"voices":2,"notes":17,"measures":5,"parser":{"status":"supported","warnings":[],"events":15,"normalizations":[]},"preview":{"path":"previews/edition-advanced-177-a-1.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"ef6bfea55cb6a4081fa166b0eae9c993fd4b83e47963bbe53f75740749d05b4e","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"ade46d04fc646fd3b3ebf217c499b5a76a1e01827017fe370832f286eaaa555c"}},{"id":"edition:advanced-177-a-2","collection":"edition","title":"Example advanced-177-a-2","page":177,"topic":"EXERCISE V. · FIFTH LESSON. · On double counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-177-a-2.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/177-a.png","sha256":"28bb87414d27a141c7cfa8d8ca9855d254981f4630d10725d7375e5668e9d8d0","label":"Source crop · printed p. 177","local":false}],"owners":["177-a"],"state":"recorded-review","editionStatus":"verified","context":"You will have done better to avoid the octave on the thesis altogether, for by inversion it becomes a unison, which, as already said, is less properly used except through syncopation. The reason for not exceeding the bounds of the octave is that the function of double counterpoint is to produce varied and different harmony through inversion. But if you pass beyond the bounds of the octave, although compound consonances are changed into simple ones, the same harmony results, differing not so much in nature as only in position, as the following example demonstrates. For example:","latin":"Quod Octavam in Thesi prorsùs evitaveris, rectiùs fecisti; nam hæc per inversionem Unisonus fit, qui nisi per Syncopen minùs rectè, ut jam dictum est, usurpatur. Non excedendorum Octavæ limitum ratio est, quia Contrapuncti duplicis munus est, efficere variam, differentemque per inversionem Harmoniam: si autem Octavæ terminos egressus fueris, licet Consonantiæ compositæ in simplices mutentur, eadem resultabit Harmonia, nec tam naturâ, quàm situ tantùm discrepans: ut sequens exemplum demonstrat. E. G.","issues":[],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Two five-measure two-voice examples marked Inversio, first G-clef/alto, second alto/alto; upper part begins half rest and tied half.","All voices directly visually transcribed. Clef changes across independent inversions retained in separate complete scores; source dots treated as augmentation.","Full latest source-to-render comparison passed with XSD and playable timeline. 159–160closing inter-staff ∩ is correctly assigned to tenor A3whole-note tie31–32; no alto slur added. Historical after-bar augmentation dots and independent inversion clefs preserved."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"386b156af2ec2f12d811c93a811785fa8c1bc9b2bbbfdd6ca9e42f9dbc2ea921","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-303","downloads":[],"xmlSha256":"386b156af2ec2f12d811c93a811785fa8c1bc9b2bbbfdd6ca9e42f9dbc2ea921","integrity":"matched","parts":2,"voices":2,"notes":17,"measures":5,"parser":{"status":"supported","warnings":[],"events":15,"normalizations":[]},"preview":{"path":"previews/edition-advanced-177-a-2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"e44d85e8bdd54bbef6a4c5ce84cf53e2747be36a5accef35f49e93857ecf7333","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"386b156af2ec2f12d811c93a811785fa8c1bc9b2bbbfdd6ca9e42f9dbc2ea921"}},{"id":"edition:advanced-177b-178a-original","collection":"edition","title":"Example advanced-177b-178a-original","page":177,"topic":"EXERCISE V. · FIFTH LESSON. · On double counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-177b-178a-original.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/177-b.png","sha256":"98074904b001b05329cfdc54740a68ed5a5064d7f62fcf8e71b9747dec728427","label":"Source crop · printed p. 177","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/178-a.png","sha256":"1e7771995e6ba6587809ea36a7155e1faef53d334d0e18474cc127a0ad053b5d","label":"Source crop · printed p. 178","local":false}],"owners":["177-b","178-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. Here is the first example, bound by the requirement of a cantus firmus:","latin":"Aloys. En exemplum primum obligatione Cantûs firmi obstrictum:","issues":[],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Three-staff inversion display begins177-b, ends178-a; upper soprano plus alto cantus and tenor octave inversion shown together; eleven measures.","Full direct visual transcription with source bracket/alternative-staff grouping and augmentation-dot audit. Latest complete rendered comparison pending.","Latest full rendered proof compared to original, with all after-bar dots held and no extra accidentals on editorial tied continuations. Bracketed two-part original and standalone inversion line177-b/178-a encoded as two alternatives; genuine three-part179-a preserved as three parts. XSD/parser checks passed."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"52ca12c42cf87b08bffe96e1ba4ca1c0ee5c3fcd1121e7df2a106b5d1bd15cac","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-305","downloads":[],"xmlSha256":"52ca12c42cf87b08bffe96e1ba4ca1c0ee5c3fcd1121e7df2a106b5d1bd15cac","integrity":"matched","parts":2,"voices":2,"notes":43,"measures":11,"parser":{"status":"supported","warnings":[],"events":36,"normalizations":[]},"preview":{"path":"previews/edition-advanced-177b-178a-original.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"1d63e6565be465faa5fa85e1e0405b07b0e86a12aeed8466295c009ce2c375ac","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"52ca12c42cf87b08bffe96e1ba4ca1c0ee5c3fcd1121e7df2a106b5d1bd15cac"}},{"id":"edition:advanced-177b-178a-inversion","collection":"edition","title":"Example advanced-177b-178a-inversion","page":177,"topic":"EXERCISE V. · FIFTH LESSON. · On double counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-177b-178a-inversion.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/177-b.png","sha256":"98074904b001b05329cfdc54740a68ed5a5064d7f62fcf8e71b9747dec728427","label":"Source crop · printed p. 177","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/178-a.png","sha256":"1e7771995e6ba6587809ea36a7155e1faef53d334d0e18474cc127a0ad053b5d","label":"Source crop · printed p. 178","local":false}],"owners":["177-b","178-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. Here is the first example, bound by the requirement of a cantus firmus:","latin":"Aloys. En exemplum primum obligatione Cantûs firmi obstrictum:","issues":[],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Three-staff inversion display begins177-b, ends178-a; upper soprano plus alto cantus and tenor octave inversion shown together; eleven measures.","Full direct visual transcription with source bracket/alternative-staff grouping and augmentation-dot audit. Latest complete rendered comparison pending.","Latest full rendered proof compared to original, with all after-bar dots held and no extra accidentals on editorial tied continuations. Bracketed two-part original and standalone inversion line177-b/178-a encoded as two alternatives; genuine three-part179-a preserved as three parts. XSD/parser checks passed."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"276e7b70e60d5c7131d7ddc8d5016cccca53eaf68ce0f66b64705efae6ba5247","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-305","downloads":[],"xmlSha256":"276e7b70e60d5c7131d7ddc8d5016cccca53eaf68ce0f66b64705efae6ba5247","integrity":"matched","parts":2,"voices":2,"notes":43,"measures":11,"parser":{"status":"supported","warnings":[],"events":36,"normalizations":[]},"preview":{"path":"previews/edition-advanced-177b-178a-inversion.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"d34fe0e7b8df3ec56c00e1d93e06541f6479eb14aeeb2f0522e4eaa1426e3560","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"276e7b70e60d5c7131d7ddc8d5016cccca53eaf68ce0f66b64705efae6ba5247"}},{"id":"edition:advanced-178-b-1","collection":"edition","title":"Example advanced-178-b-1","page":178,"topic":"EXERCISE V. · FIFTH LESSON. · On double counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-178-b-1.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/178-b.png","sha256":"8043b1073ef95fa3f469dac701880ee1878fae8cd0a027e85d6f084be2a81313","label":"Source crop · printed p. 178","local":false}],"owners":["178-b"],"state":"recorded-review","editionStatus":"verified","context":"There follows an example written without the obligation of a cantus firmus:","latin":"Sequitur Paradigma absque Cantûs firmi obligatione expressum:","issues":[],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Two complete paired eight-measure two-voice inversions, soprano/alto then alto/tenor; dotted and eighth-note passages.","Full direct visual transcription with source bracket/alternative-staff grouping and augmentation-dot audit. Latest complete rendered comparison pending.","Latest full rendered proof compared to original, with all after-bar dots held and no extra accidentals on editorial tied continuations. Bracketed two-part original and standalone inversion line177-b/178-a encoded as two alternatives; genuine three-part179-a preserved as three parts. XSD/parser checks passed."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"03ea93ca598d2090ceae20bafdb0b79378bb96d15c572f81ba2dabfe8880bcc2","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-308","downloads":[],"xmlSha256":"03ea93ca598d2090ceae20bafdb0b79378bb96d15c572f81ba2dabfe8880bcc2","integrity":"matched","parts":2,"voices":2,"notes":41,"measures":9,"parser":{"status":"supported","warnings":[],"events":34,"normalizations":[]},"preview":{"path":"previews/edition-advanced-178-b-1.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"dd877867550ab10803498523511ded7ebba78b8fae69c6a7d628e9a8d7386714","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"03ea93ca598d2090ceae20bafdb0b79378bb96d15c572f81ba2dabfe8880bcc2"}},{"id":"edition:advanced-178-b-2","collection":"edition","title":"Example advanced-178-b-2","page":178,"topic":"EXERCISE V. · FIFTH LESSON. · On double counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-178-b-2.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/178-b.png","sha256":"8043b1073ef95fa3f469dac701880ee1878fae8cd0a027e85d6f084be2a81313","label":"Source crop · printed p. 178","local":false}],"owners":["178-b"],"state":"recorded-review","editionStatus":"verified","context":"There follows an example written without the obligation of a cantus firmus:","latin":"Sequitur Paradigma absque Cantûs firmi obligatione expressum:","issues":[],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Two complete paired eight-measure two-voice inversions, soprano/alto then alto/tenor; dotted and eighth-note passages.","Full direct visual transcription with source bracket/alternative-staff grouping and augmentation-dot audit. Latest complete rendered comparison pending.","Latest full rendered proof compared to original, with all after-bar dots held and no extra accidentals on editorial tied continuations. Bracketed two-part original and standalone inversion line177-b/178-a encoded as two alternatives; genuine three-part179-a preserved as three parts. XSD/parser checks passed."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"7cf03461f1403d89233e4724146c3362e17a8e3dfefd05d942177b0e2222e6f4","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-308","downloads":[],"xmlSha256":"7cf03461f1403d89233e4724146c3362e17a8e3dfefd05d942177b0e2222e6f4","integrity":"matched","parts":2,"voices":2,"notes":41,"measures":9,"parser":{"status":"supported","warnings":[],"events":34,"normalizations":[]},"preview":{"path":"previews/edition-advanced-178-b-2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"1aede46a68599817e2cbdb7dd3c1d09f7b92703ebfaae13a20d0fb175668aa75","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"7cf03461f1403d89233e4724146c3362e17a8e3dfefd05d942177b0e2222e6f4"}},{"id":"edition:advanced-178-c","collection":"edition","title":"Example advanced-178-c","page":178,"topic":"EXERCISE V. · FIFTH LESSON. · On double counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-178-c.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/178-c.png","sha256":"33a8941437fdb7eacdf22b71161f312bf9e45200d8841caf5a434c1050e9019c","label":"Source crop · printed p. 178","local":false}],"owners":["178-c"],"state":"recorded-review","editionStatus":"verified","context":"The counterpoint of the first example, if arranged so that every thesis has either contrary or oblique motion, can also be sung by three voices, with a third part added by transposing the counterpoint a tenth downward. For example:","latin":"Primi exempli Contrapunctum, si ità instituatur, ut omnis Thesis aut motum contrarium, aut obliquum obtineat, etiam tribus vocibus decantari potest, accedente parte tertiâ cum translatione Contrapuncti in Decimam inferiùs. E. G.","issues":[],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Complete eight-measure two-part example soprano/alto, ending breves.","Every printed note and rest entered, including source clefs, final breves, ties and cross-shaped single sharp when present.","Every printed note and rest entered, including source clefs, final breves, ties and cross-shaped single sharp when present.","Schema validated, parsed and Verovio rendered. Astra compared all staff positions, printed rhythmic values/rests, ties, accidentals and closing breves against source; source147 terminal breves separately enlarged to confirm D5/D4 octave.","Each printed after-bar dot explicitly audited against previous half-note pitch; editorial split tie now sustains the sounding note.","Latest XSD validation, playable timeline and Verovio proof all accepted; complete source-to-render comparison includes every after-bar augmentation dot as held continuation, never a new rest."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"094afba1a70a41bcd4d9129761d043c61e7aa4d24541c5ec8a606f2f2316f2a8","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-309","downloads":[],"xmlSha256":"094afba1a70a41bcd4d9129761d043c61e7aa4d24541c5ec8a606f2f2316f2a8","integrity":"matched","parts":2,"voices":2,"notes":29,"measures":8,"parser":{"status":"supported","warnings":[],"events":26,"normalizations":[]},"preview":{"path":"previews/edition-advanced-178-c.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"384406a3270387f02dea505dc02858eb948e06ead8489e5d1adf85095093a638","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"094afba1a70a41bcd4d9129761d043c61e7aa4d24541c5ec8a606f2f2316f2a8"}},{"id":"edition:advanced-179-a","collection":"edition","title":"Example advanced-179-a","page":179,"topic":"EXERCISE V. · FIFTH LESSON. · On double counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-179-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/179-a.png","sha256":"4678fbcaa8dd08a01b9e80952e856eb9da30918dee636dfeff44fc9fc356105d","label":"Source crop · printed p. 179","local":false}],"owners":["179-a"],"state":"recorded-review","editionStatus":"verified","context":"In this example of counterpoint, every thesis, or beginning of a measure, has either contrary or oblique motion. It can therefore be turned into three voices by copying the counterpoint note for note and placing it a tenth lower.","latin":"In hujus Contrapuncti exemplo, omnis Thesis, sive principium tactûs aut motum contrarium, aut motum obliquum obtinet, ideò in Tricinium verti potest describendo de Nota ad Notam Contrapunctum, idque collocando in Decima inferiùs.","issues":[],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Three-staff expansion of178-c with tenor octave inversion below; eight measures and final breves.","Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.","Latest full rendered proof compared to original, with all after-bar dots held and no extra accidentals on editorial tied continuations. Bracketed two-part original and standalone inversion line177-b/178-a encoded as two alternatives; genuine three-part179-a preserved as three parts. XSD/parser checks passed."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"e4cad817b2c440660563cd2f6e4fed89a3de79f7444ed09e2619637c0d605de7","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-310","downloads":[],"xmlSha256":"e4cad817b2c440660563cd2f6e4fed89a3de79f7444ed09e2619637c0d605de7","integrity":"matched","parts":3,"voices":3,"notes":50,"measures":8,"parser":{"status":"supported","warnings":[],"events":44,"normalizations":[]},"preview":{"path":"previews/edition-advanced-179-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"5cc73179091e3005ecdea12400bbf2b24ef7e56f0e06297e8cfc2cc1a2e1b465","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"e4cad817b2c440660563cd2f6e4fed89a3de79f7444ed09e2619637c0d605de7"}},{"id":"edition:advanced-179b-181a-fugue","collection":"edition","title":"Example advanced-179b-181a-fugue","page":179,"topic":"EXERCISE V. · FIFTH LESSON. · On double counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-179b-181a-fugue.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/179-b.png","sha256":"9098b5b90b3a2c4b5191f09915fb0e13c5686bc3594d7e9d7bdd19acc5ed524c","label":"Source crop · printed p. 179","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/180-a.png","sha256":"5c74569993879efcc97db68aa2a49b52f50907d3d7da5664c6183c68c63c0eb0","label":"Source crop · printed p. 180","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/181-a.png","sha256":"4ececd31848cb4b149c6b2de00bac64236ce465ba4072dcd95616e4037ab090a","label":"Source crop · printed p. 181","local":false}],"owners":["179-b","180-a","181-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. Although I intended first to deal with the remaining species of this kind, to comply with your desire I shall take the subject of the first fugue used in the first mode and, weaving a countersubject into it, demonstrate how it is to be arranged and carried through the whole course of the fugue.","latin":"Aloys. Quanquam & reliquas hujus generis species primò pertractandi mihi animus fuit, tamen, ut desiderio tuo morem geram, accipiam Fugæ primæ subjectum in Modo primo usurpatum, illique contrasubjectum intexendo demonstrabo, qua ratione id instituendum, ac per totum Fugæ cursum perducendum sit.","issues":["Original cut-time sign and eight-quarter-unit source bar groupings are retained without note-value reduction."],"verificationNotes":["Direct visual inspection of original crop by GPT-6 Astra. Four-part extended fugue, begins179-b and ends181-a; six systems, long measures, numbered entries, final fermatas over breves.","Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.","Complete note-level transcription by Astra; after-bar augmentation dots are held note continuations, not rests.","Complete24-bar four-part proof compared to all six source systems. Dense tenor13–15 rechecked in enlarged source and corrected before final proof; all other compared notes unchanged. Source NB/entry numbers, blank soprano12 span, augmentation holds, long final A4ties and four fermatas retained. XSD/parser accepted and all bars total8quarter units in every part."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"0b29d79f3a526e3233cb1bf6c7e940e4dbb8a82a7a5c8b133574f3ce303c68c1","hints":{"invisible_gaps":[["12","P1"]]}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-311","downloads":[],"xmlSha256":"0b29d79f3a526e3233cb1bf6c7e940e4dbb8a82a7a5c8b133574f3ce303c68c1","integrity":"matched","parts":4,"voices":4,"notes":247,"measures":24,"parser":{"status":"supported","warnings":[],"events":235,"normalizations":[]},"preview":{"path":"previews/edition-advanced-179b-181a-fugue.svg","pages":6,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"1c7c07f0057aa7af817568096f73d8f82de2894b7d57b95a648d4cef0acd2ac2","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"0b29d79f3a526e3233cb1bf6c7e940e4dbb8a82a7a5c8b133574f3ce303c68c1"}},{"id":"edition:middle-advanced-182-a","collection":"edition","title":"Example middle-advanced-182-a","page":182,"topic":"EXERCISE V. · FIFTH LESSON. · On double counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-advanced-182-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/182-a.png","sha256":"ee7d5b51bc22afc3f41fef706b63207ecdb7bc619472f370e61ab9ec0b03bee0","label":"Source crop · printed p. 182","local":false}],"owners":["182-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. It could, by changing the value of one or another note form, in this way:","latin":"Aloys. Potuisset, mutato unius, alteriusve figuræ valore, hoc modo:","issues":["Long source measures retain eight-quarter-note durations, despite cut-time symbol."],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"4e23aad76fbaa0474d7222f010677f93d936622597290087e2919a9545d2c906","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-315","downloads":[],"xmlSha256":"4e23aad76fbaa0474d7222f010677f93d936622597290087e2919a9545d2c906","integrity":"matched","parts":4,"voices":4,"notes":47,"measures":5,"parser":{"status":"supported","warnings":[],"events":43,"normalizations":[]},"preview":{"path":"previews/edition-middle-advanced-182-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"5c639a42c610134e83c09e0c3e6786e1580a20a55ebe1b04f3a8de559a6abf9a","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"4e23aad76fbaa0474d7222f010677f93d936622597290087e2919a9545d2c906"}},{"id":"edition:middle-advanced-183-a","collection":"edition","title":"Example middle-advanced-183-a","page":183,"topic":"EXERCISE V. · FIFTH LESSON. · On double counterpoint.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-advanced-183-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/183-a.png","sha256":"e5affbecc8d08fe4c56bebe921e221b2f5e2a6022b14977b99066b22ac95880d","label":"Source crop · printed p. 183","local":false}],"owners":["183-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. Observe this sign, NB, where two semiminims placed instead of two semibreves give the tenor and bass the opportunity to enter in the third measure of the subject, which could not otherwise have happened. A similar breaking up of note forms, used for this reason, is therefore not only permitted but will also win the composer no small reputation for ingenuity. This interchangeability of subjects must thus be credited to the benefit of double counterpoint, by whose aid, if the subjects are properly constructed, a fugue can easily be built and extended at length. It is now your task, Joseph, to pursue the other fugues in the order of the modes, treating them in the same way. But to provide variety, the countersubject should not always be introduced in the same manner, that is, in the first measure of the subject. Depending on the character of the principal subject, the countersubject may enter in the second or third measure, as the following beginning of a fugue in the second mode, which you are to carry to its conclusion, will demonstrate.","latin":"Aloys. Observa hoc signum: NB. ubi loco duarum Semibrevium, duæ Semiminimæ positæ, quod aliàs usuvenire non potuisset, Tenori, & Basso in tertio subjecti tactu intrandi potestatem faciunt. Similis itaque figurarum fractio, hanc ob causam adhibita non solùm conceditur, verùm etiam haud parvam Compositori industriæ pariet existimationem. Hæc igitur subjectorum convertibilitas Contrapuncti duplicis beneficio in acceptis referenda est, cujus operâ, si subjecta ritè instituta sint, facili negotio Fuga instrui, ac in longum protrahi potest. Tuum nunc est, Josephe, cæteras ordine Modorum Fugas pari ratione tractando persequi. Verùm ut varietati consultum sit, non semper uno modo, id est, in primo subjecti tactu Contrasubjectum introducendum est: sed pro qualitate subjecti principalis, in secundo, vel tertio tactu Contrasubjecti introitus fieri potest: ut sequens principium Fugæ secundi Modi à te ad finem perducendum demonstrabit.","issues":["Eight-quarter source bars preserved; final blank staves are not sounded as rests or given an invented close."],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"ea40e3e90144342368631fd42a1770355b92d759e78a2f74b62fbe602c558acd","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-316","downloads":[],"xmlSha256":"ea40e3e90144342368631fd42a1770355b92d759e78a2f74b62fbe602c558acd","integrity":"matched","parts":4,"voices":4,"notes":67,"measures":7,"parser":{"status":"supported","warnings":[],"events":65,"normalizations":[]},"preview":{"path":"previews/edition-middle-advanced-183-a.svg","pages":2,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"327f28aa0967c488e58d37f183df7c6638f73a1ae5c08c150774fbe4803db644","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"ea40e3e90144342368631fd42a1770355b92d759e78a2f74b62fbe602c558acd"}},{"id":"edition:middle-advanced-184-a","collection":"edition","title":"Example middle-advanced-184-a","page":184,"topic":"EXERCISE V. · SIXTH LESSON, · On double counterpoint with transposition at the tenth.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-advanced-184-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/184-a.png","sha256":"1f081a88d71909d0dc14a7aff29fc6194373f2706b2918d1ec777156a62c9ecb","label":"Source crop · printed p. 184","local":false}],"owners":["184-a"],"state":"recorded-review","editionStatus":"verified","context":"From this it follows that two thirds or two tenths cannot follow one another by similar motion, because the former would produce two octaves and the latter two unisons through inversion. In the same way two sixths are forbidden, because their inversion at the tenth would produce two fifths. Furthermore, one must avoid a tied fourth in the upper part, because inverted it produces a seventh not accepted in practice, as has already been demonstrated elsewhere. Finally, the tenth must not be exceeded. Please examine an example bound to the cantus firmus used thus far.","latin":"Inde colligitur, duas Tertias, duasque Decimas, per motum rectum se invicem sequi non posse: quia ex illis duæ Octavæ: ex istis duo Unisoni per diversionem resultarent. Pari modo prohibentur duæ Sextæ, eò quod earum inversio in Decimam duas Quintas exhiberet. Porrò abstinendum est à Quarta ligata in parte superiori; quia inversa efficit Septimam usu non receptam, ut alibi jam demonstratum est. Postremò non excedatur Decima. Vide sis exemplum, Cantu firmo hucusque usurpato obstrictum.","issues":["Dot crossing bar6–7 represented by editorial tie and split duration."],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"535dd1f69f3fb18cb15ec29a3fe12c4c890b36f6088c7e23b4300ead9565198f","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-318","downloads":[],"xmlSha256":"535dd1f69f3fb18cb15ec29a3fe12c4c890b36f6088c7e23b4300ead9565198f","integrity":"matched","parts":2,"voices":2,"notes":39,"measures":11,"parser":{"status":"supported","warnings":[],"events":36,"normalizations":[]},"preview":{"path":"previews/edition-middle-advanced-184-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"dece3d8be0a17b374782c9e47bdbbb6084b1221e0c976dbf29f20b5cf2861251","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"535dd1f69f3fb18cb15ec29a3fe12c4c890b36f6088c7e23b4300ead9565198f"}},{"id":"edition:middle-advanced-185-a","collection":"edition","title":"Example middle-advanced-185-a","page":185,"topic":"EXERCISE V. · SIXTH LESSON, · On double counterpoint with transposition at the tenth.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-advanced-185-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/185-a.png","sha256":"713fe7ed83681e6b2349fe236362bb3c29bc7b3d3c991cb352e717d1236cfb39","label":"Source crop · printed p. 185","local":false}],"owners":["185-a"],"state":"recorded-review","editionStatus":"verified","context":"From this it follows that two thirds or two tenths cannot follow one another by similar motion, because the former would produce two octaves and the latter two unisons through inversion. In the same way two sixths are forbidden, because their inversion at the tenth would produce two fifths. Furthermore, one must avoid a tied fourth in the upper part, because inverted it produces a seventh not accepted in practice, as has already been demonstrated elsewhere. Finally, the tenth must not be exceeded. Please examine an example bound to the cantus firmus used thus far.","latin":"Inde colligitur, duas Tertias, duasque Decimas, per motum rectum se invicem sequi non posse: quia ex illis duæ Octavæ: ex istis duo Unisoni per diversionem resultarent. Pari modo prohibentur duæ Sextæ, eò quod earum inversio in Decimam duas Quintas exhiberet. Porrò abstinendum est à Quarta ligata in parte superiori; quia inversa efficit Septimam usu non receptam, ut alibi jam demonstratum est. Postremò non excedatur Decima. Vide sis exemplum, Cantu firmo hucusque usurpato obstrictum.","issues":["Dot crossing bar6–7 represented by editorial tie and split duration."],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"f5749dd92ccec6b4a42e368931bd0a0282a6394abcbc4ecc6dc98732e605df45","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-319","downloads":[],"xmlSha256":"f5749dd92ccec6b4a42e368931bd0a0282a6394abcbc4ecc6dc98732e605df45","integrity":"matched","parts":2,"voices":2,"notes":39,"measures":11,"parser":{"status":"supported","warnings":[],"events":36,"normalizations":[]},"preview":{"path":"previews/edition-middle-advanced-185-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"a7b4b6ebeb215881b1bb44db4456b4d08c3671b4433628590cc2d52329e25e6e","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"f5749dd92ccec6b4a42e368931bd0a0282a6394abcbc4ecc6dc98732e605df45"}},{"id":"edition:middle-advanced-185-b","collection":"edition","title":"Example middle-advanced-185-b","page":185,"topic":"EXERCISE V. · SIXTH LESSON, · On double counterpoint with transposition at the tenth.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-advanced-185-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/185-b.png","sha256":"dddcf95149efc28bac0a29138da9eb4aa8a323191866469095e8406f78ac6858","label":"Source crop · printed p. 185","local":false}],"owners":["185-b"],"state":"recorded-review","editionStatus":"verified","context":"The same occurs if the cantus firmus is raised a third and the counterpoint transposed an octave downward. The reason is clear: two tones added to the octave likewise make a tenth.","latin":"Idem usuvenit, si Cantus firmus in una Tertia exaltetur, Contrapuncto in Octavam gravem translato. Ratio perspicua est: quia duo toni ad Octavam additi æquè Decimam efficiunt.","issues":["Dot crossing bar6–7 represented by editorial tie and split duration."],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"4f7e74abc1fe216c2d563298418443b8fd0544fa04edb040614ef84737bb60b6","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-320","downloads":[],"xmlSha256":"4f7e74abc1fe216c2d563298418443b8fd0544fa04edb040614ef84737bb60b6","integrity":"matched","parts":2,"voices":2,"notes":39,"measures":11,"parser":{"status":"supported","warnings":[],"events":36,"normalizations":[]},"preview":{"path":"previews/edition-middle-advanced-185-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"12cded4001515c7a39640590bbee21ca821b8a9f5534dd6658b522b64c9c6ddd","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; 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soprano/alto match185-b, bass freshly read.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"761f60b4fcab4af985a790130e84fee6b583b33f3d697a538f2a6c9498383cbe","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-322","downloads":[],"xmlSha256":"761f60b4fcab4af985a790130e84fee6b583b33f3d697a538f2a6c9498383cbe","integrity":"matched","parts":3,"voices":3,"notes":50,"measures":11,"parser":{"status":"supported","warnings":[],"events":47,"normalizations":[]},"preview":{"path":"previews/edition-middle-advanced-186-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"b3b80cfb41203c18499d3569ca2b6998952f36310c3f56a80cdce5768d6a0f79","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; 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outer parts correspond184-a and185-a with original clefs retained.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"6f1dfe24b8bf1caf62ebb170db2aa183410f7888ce98c6b961b79406d59f4599","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-323","downloads":[],"xmlSha256":"6f1dfe24b8bf1caf62ebb170db2aa183410f7888ce98c6b961b79406d59f4599","integrity":"matched","parts":3,"voices":3,"notes":67,"measures":11,"parser":{"status":"supported","warnings":[],"events":61,"normalizations":[]},"preview":{"path":"previews/edition-middle-advanced-186-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"652bdda98c4207c204738385ddfc9abb66973172a605aa30fe0f1391910a0c58","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; 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final source measure has a whole-note position followed by breves (twelve quarters)."],"verificationNotes":["All three source staves visually read; original two voices match187-a, added tenor freshly transcribed.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"51fd90b7a5ccf6ada6c9564d44c3fb4fdb1326cef1150c474cbad3f9b7affd52","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-325","downloads":[],"xmlSha256":"51fd90b7a5ccf6ada6c9564d44c3fb4fdb1326cef1150c474cbad3f9b7affd52","integrity":"matched","parts":3,"voices":3,"notes":55,"measures":5,"parser":{"status":"supported","warnings":[],"events":52,"normalizations":[]},"preview":{"path":"previews/edition-middle-advanced-187-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"e2ad887e6b4aa3eee1f5828bcfcf417fd7e62336e2220f8b1dad9aece19113d2","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; 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penultimate bar four quarters. Dot across bar2–3 normalized with editorial tie."],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"4e2731fc04b5d7c924a435f9f480d508f79fe86bc305ffaf0e3ec6825574ac31","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-326","downloads":[],"xmlSha256":"4e2731fc04b5d7c924a435f9f480d508f79fe86bc305ffaf0e3ec6825574ac31","integrity":"matched","parts":2,"voices":2,"notes":31,"measures":5,"parser":{"status":"supported","warnings":[],"events":29,"normalizations":[]},"preview":{"path":"previews/edition-middle-advanced-187-c.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"b7fe6f5dbf1bc51b342cc4267f4e9bcc6dcebc67d3193cdcbf0b5f81d032058a","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"4e2731fc04b5d7c924a435f9f480d508f79fe86bc305ffaf0e3ec6825574ac31"}},{"id":"edition:middle-advanced-188-a","collection":"edition","title":"Example middle-advanced-188-a","page":188,"topic":"EXERCISE V. · SIXTH LESSON, · On double counterpoint with transposition at the tenth.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-advanced-188-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/188-a.png","sha256":"82c7b4675a3ee192ed98eb68380baf0039c148c61a4929e37be639e5956fea4b","label":"Source crop · printed p. 188","local":false}],"owners":["188-a"],"state":"recorded-review","editionStatus":"verified","context":"The soprano of the following example, transposed an octave lower and a third higher, will produce a complete three-voice composition.","latin":"Sequentis exempli Cantus in Octavam inferiùs, & in Tertiam superiùs transpositus perfectum efficiet Tricinium.","issues":["Source first three bars have eight-quarter duration; penultimate bar four quarters. 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It may either rest meanwhile, fill the vacant space with extended melodic continuation, or enter with the subject by contrary motion or in another permissible way. Let the preceding example turned into four voices serve as an example for you.","latin":"Aloys. Aut interim quiescere, aut modulatione protractâ spatium, quod vacat, implere; aut cum subjecto per motum contrarium, vel alio licito modo intrare potest. Exemplum tibi sit præcedens Paradigma in Quatricinium versum.","issues":["Source measures1–4 have eight-quarter durations; final source measure has a whole-note position followed by breves (twelve quarters).","Third voice dot across bar2–3 extends preceding whole note; editorial split tie encodes six-quarter sustained E4."],"verificationNotes":["All four staves visually inspected; added alto independently read.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"90d77c6b260e5f057b6f54d07428e554231160051fd30f037ed1fd0ceaeb4682","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-330","downloads":[],"xmlSha256":"90d77c6b260e5f057b6f54d07428e554231160051fd30f037ed1fd0ceaeb4682","integrity":"matched","parts":4,"voices":4,"notes":69,"measures":5,"parser":{"status":"supported","warnings":[],"events":63,"normalizations":[]},"preview":{"path":"previews/edition-middle-advanced-189-a.svg","pages":2,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"6516208e6b4496aaf03330fbb99badedba987be910997ff4ae5ddad7059a559e","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"90d77c6b260e5f057b6f54d07428e554231160051fd30f037ed1fd0ceaeb4682"}},{"id":"edition:middle-advanced-189-b","collection":"edition","title":"Example middle-advanced-189-b","page":189,"topic":"EXERCISE V. · SIXTH LESSON, · On double counterpoint with transposition at the tenth.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-advanced-189-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/189-b.png","sha256":"c339bf3525abaacc3cc8abd6deb25fbfd2eb06f5407f8c39ae933a3ca06a0405","label":"Source crop · printed p. 189","local":false}],"owners":["189-b"],"state":"recorded-review","editionStatus":"verified","context":"It now remains to demonstrate how this counterpoint is to be put to use in composing. I shall do this by taking the subject of the first mode used in the simple fugues and elsewhere thus far.","latin":"Jam demonstrare restat, quo modo Contrapunctum hoc in usum componendo redigendum sit: quod faciam assumendo Subjectum primi Modi in Fugis simplicibus, & aliàs hucusque usurpatum.","issues":["Three eight-quarter bars followed by four-quarter ending; no invented breve."],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"512075f053a38d3bf2e0c97c873222851210e1b2f671cf44cf8dc7abf0c91714","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-331","downloads":[],"xmlSha256":"512075f053a38d3bf2e0c97c873222851210e1b2f671cf44cf8dc7abf0c91714","integrity":"matched","parts":2,"voices":2,"notes":12,"measures":4,"parser":{"status":"supported","warnings":[],"events":12,"normalizations":[]},"preview":{"path":"previews/edition-middle-advanced-189-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"ce0eba74625c46e33b65bc9e96269aa53c50620f039692dfbb00647c744f9fa5","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"512075f053a38d3bf2e0c97c873222851210e1b2f671cf44cf8dc7abf0c91714"}},{"id":"edition:middle-advanced-190-a","collection":"edition","title":"Example middle-advanced-190-a","page":190,"topic":"EXERCISE V. · SIXTH LESSON, · On double counterpoint with transposition at the tenth.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-advanced-190-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/190-a.png","sha256":"3a2d4e3ce06b3469cc99b3cecef4df8dca43b9b91188d8b3748ab275e35f72ae","label":"Source crop · printed p. 190","local":false}],"owners":["190-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. You judge wrongly that it does not belong here because this subject can also be inverted at the octave. It should be clear to you from the last example of counterpoint at the octave, and from the last examples of the species in which we are now engaged, that these kinds of counterpoint, namely at the octave and tenth, can be combined. But to demonstrate to you that this subject can also be inverted at the tenth, examine the following example before I proceed further.","latin":"Aloys. Ex eo, quod subjectum hoc etiam in Octavam inverti possit, huc non pertinere malè judicas. Contrapuncta ista, nempe in Octava, & Decima, conjungi posse ex ultimo Paradigmate Contrapuncti in Octava, tibi constare deberet, & ex ultimis exemplis hujus Speciei, in qua nunc versamur. Ut autem dictum subjectum etiam in Decimam inverti posse, tibi demonstrem, antequàm ulteriùs progrediar, sequens exemplum inspice.","issues":["Three eight-quarter bars followed by four-quarter ending; no invented breve."],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"0da68385328ae8f41248821640d95f7ea7848c952f0a315020b5bddc30d679e8","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-333","downloads":[],"xmlSha256":"0da68385328ae8f41248821640d95f7ea7848c952f0a315020b5bddc30d679e8","integrity":"matched","parts":3,"voices":3,"notes":16,"measures":4,"parser":{"status":"supported","warnings":[],"events":16,"normalizations":[]},"preview":{"path":"previews/edition-middle-advanced-190-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"27f3c4b474467e1ed430c7def2dacba932c7d437155fedc2de309b26e842b5d8","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"0da68385328ae8f41248821640d95f7ea7848c952f0a315020b5bddc30d679e8"}},{"id":"edition:advanced-190-b","collection":"edition","title":"Example advanced-190-b","page":190,"topic":"EXERCISE V. · SIXTH LESSON, · On double counterpoint with transposition at the tenth.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-190-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/190-b.png","sha256":"d1b4582b67ee3413f95a775202086dfa1ab163576b2b7e8b272ed1dae57bcadc","label":"Source crop · printed p. 190","local":false}],"owners":["190-b"],"state":"recorded-review","editionStatus":"verified","context":"Here you see the alto proceeding with the bass countersubject entirely in tenths and producing a three-voice composition. The same occurs if the countersubject is raised an octave and lowered a third, according to the paradox given for this species of counterpoint. For example:","latin":"Ubi vides, Altum cum Bassi Contrasubjecto per meras Decimas incedere, Triciniumque efficere: quod idem usuvenit, si Contrasubjectum unâ Octavâ elevatum, unâque Tertiâ depressum fuerit: juxta Paradoxum de hac Contrapuncti Specie datum. E. G.","issues":[],"verificationNotes":["Previously completed and verified by Astra advanced agent; reused per parent instruction."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"a81d0a0f110851d4738275414496bd5f8be703320d0dcaa88a648c016be839cd","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-334","downloads":[],"xmlSha256":"a81d0a0f110851d4738275414496bd5f8be703320d0dcaa88a648c016be839cd","integrity":"matched","parts":3,"voices":3,"notes":12,"measures":2,"parser":{"status":"supported","warnings":[],"events":12,"normalizations":[]},"preview":{"path":"previews/edition-advanced-190-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"99cd6f9335eea0ead11eefdb056cd704e232ff8437f3938d838481422134bc59","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"a81d0a0f110851d4738275414496bd5f8be703320d0dcaa88a648c016be839cd"}},{"id":"edition:middle-advanced-190-c","collection":"edition","title":"Example middle-advanced-190-c","page":190,"topic":"EXERCISE V. · SIXTH LESSON, · On double counterpoint with transposition at the tenth.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-advanced-190-c.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/190-c.png","sha256":"0bb66ad8f08fde8dcf21a9491be39cec2530251494841fd9aa3a090cb66ff551","label":"Source crop · printed p. 190","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/191-a.png","sha256":"8a3811f5015d92131045c5a582f0baca5e6d7778b8a12256f69540dabdb09303","label":"Source crop · printed p. 191","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/192-a.png","sha256":"2e1aada14767e7c8ed081c0b5a7b351af24be946cb98aece72a3f00eca085e8e","label":"Source crop · printed p. 192","local":false}],"owners":["190-c","191-a","192-a"],"state":"needs-review","editionStatus":"needs-review","context":"Joseph. I give you the greatest thanks, Master, for recalling to my memory what has already been said and again freeing me from doubt with such clear examples. Now, please, take this fugue in hand again and carry it on in the manner begun.","latin":"Joseph. Grates tibi Magister quàm maximas rependo, quod in memoriam revocaris, quæ antè jam dicta sunt, atque denuò exemplis tam claris dubio me solveris. Nunc quæso, Fugam istam iterum ad manus accipe, incepto modo perducendam.","issues":["Source bars mainly8 quarters, but191-a system3 bar2 has4 in allparts; preserved.","192-a penultimate source bar writes semibreves in soprano/alto/bass against tied tenor breve:4 versus8 quarters. Written values retained; ensemble timing requires editorial decision.","191-a second system alto bar2 has an arc toward following whole rest; not encoded as invalid tie. Review source arc."],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"5ea10784c60e559821660be4bf81a9d5fb6459cbb93ff8eb5280c1b7d7715671","hints":{"unequal_parts":[["23","P1",4,8],["23","P2",4,8],["23","P4",4,8]]}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-335","downloads":[],"xmlSha256":"5ea10784c60e559821660be4bf81a9d5fb6459cbb93ff8eb5280c1b7d7715671","integrity":"matched","parts":4,"voices":4,"notes":203,"measures":24,"parser":{"status":"supported","warnings":["One part runs past its bar (P3, bar 23: 8 beats in a 4-beat bar; the other parts wait)"],"events":194,"normalizations":[]},"preview":{"path":"previews/edition-middle-advanced-190-c.svg","pages":4,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"998edcd05b9a02fd3b06a5d226d7591f8b0e60e056ecb60ba4963796e234a607","playback":false,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"5ea10784c60e559821660be4bf81a9d5fb6459cbb93ff8eb5280c1b7d7715671"}},{"id":"edition:middle-advanced-190-c-editorial-timing","collection":"edition","title":"Example middle-advanced-190-c-editorial-timing","page":190,"topic":"EXERCISE V. · SIXTH LESSON, · On double counterpoint with transposition at the tenth.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-advanced-190-c-editorial-timing.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/190-c.png","sha256":"0bb66ad8f08fde8dcf21a9491be39cec2530251494841fd9aa3a090cb66ff551","label":"Source crop · printed p. 190","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/191-a.png","sha256":"8a3811f5015d92131045c5a582f0baca5e6d7778b8a12256f69540dabdb09303","label":"Source crop · printed p. 191","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/192-a.png","sha256":"2e1aada14767e7c8ed081c0b5a7b351af24be946cb98aece72a3f00eca085e8e","label":"Source crop · printed p. 192","local":false}],"owners":["190-c","191-a","192-a"],"state":"needs-review","editionStatus":"needs-review","context":"Joseph. I give you the greatest thanks, Master, for recalling to my memory what has already been said and again freeing me from doubt with such clear examples. Now, please, take this fugue in hand again and carry it on in the manner begun.","latin":"Joseph. Grates tibi Magister quàm maximas rependo, quod in memoriam revocaris, quæ antè jam dicta sunt, atque denuò exemplis tam claris dubio me solveris. Nunc quæso, Fugam istam iterum ad manus accipe, incepto modo perducendam.","issues":["Editorial timing variant: penultimate tenor printed breve shortened to whole-note duration to agree with other three voices; primary literal file retained."],"verificationNotes":["Separate playback interpretation; literal primary retained.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"3d413a6ba82956254e8e87f9c7df4474fa72b21ef645ced9925e100975ff2adb","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-335","downloads":[],"xmlSha256":"3d413a6ba82956254e8e87f9c7df4474fa72b21ef645ced9925e100975ff2adb","integrity":"matched","parts":4,"voices":4,"notes":203,"measures":24,"parser":{"status":"supported","warnings":[],"events":194,"normalizations":[]},"preview":{"path":"previews/edition-middle-advanced-190-c-editorial-timing.svg","pages":4,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"b5c2d7b7eb6b506b98e1c44ca1e99aa85966f994ae6c7c637410df40dc1b2c1f","playback":false,"corpusLinks":[],"relationship":"alternate-reading","material":{"group":"alternate-reading","reason":"The edition explicitly identifies an editorial timing variant of the retained literal reading.","relatedEditionIds":["edition:middle-advanced-190-c"],"coverage":null,"xmlSha256":"3d413a6ba82956254e8e87f9c7df4474fa72b21ef645ced9925e100975ff2adb"}},{"id":"edition:middle-advanced-190-c-verified-opening","collection":"edition","title":"Example middle-advanced-190-c-verified-opening","page":190,"topic":"EXERCISE V. · SIXTH LESSON, · On double counterpoint with transposition at the tenth.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-advanced-190-c-verified-opening.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/190-c.png","sha256":"0bb66ad8f08fde8dcf21a9491be39cec2530251494841fd9aa3a090cb66ff551","label":"Source crop · printed p. 190","local":false}],"owners":["190-c"],"state":"recorded-review","editionStatus":"verified","context":"Joseph. I give you the greatest thanks, Master, for recalling to my memory what has already been said and again freeing me from doubt with such clear examples. Now, please, take this fugue in hand again and carry it on in the manner begun.","latin":"Joseph. Grates tibi Magister quàm maximas rependo, quod in memoriam revocaris, quæ antè jam dicta sunt, atque denuò exemplis tam claris dubio me solveris. Nunc quæso, Fugam istam iterum ad manus accipe, incepto modo perducendam.","issues":["Excerpt stops at an explicit review boundary; no cadence, final notes, or continuation guessed. Full literal candidate remains available separately."],"verificationNotes":["All kept notes previously source-compared; explicit boundary selected with no outgoing tie.","Prefix parsed and XSD/Verovio rendered; rendering viewed and compared to reviewed source events."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"fdf21402bd9cee978b86659c9893d5e869233b8ded5b27071ee883082ed08fe2","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-335","downloads":[],"xmlSha256":"fdf21402bd9cee978b86659c9893d5e869233b8ded5b27071ee883082ed08fe2","integrity":"matched","parts":4,"voices":4,"notes":70,"measures":9,"parser":{"status":"supported","warnings":[],"events":68,"normalizations":[]},"preview":{"path":"previews/edition-middle-advanced-190-c-verified-opening.svg","pages":2,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"1d016e4a39e614b1b86a5287683e04f005fdf69ae32f8d2464d82d5484560a1f","playback":true,"corpusLinks":[],"relationship":"derived-reading","material":{"group":"derived-reading","reason":"The edition explicitly records this as an excerpt or instrumental reading of existing material.","relatedEditionIds":["edition:middle-advanced-190-c"],"coverage":{"kind":"excerpt","label":"Verified opening · measures 1–9 of 24; full score continues","lastMeasure":9,"totalMeasures":24},"xmlSha256":"fdf21402bd9cee978b86659c9893d5e869233b8ded5b27071ee883082ed08fe2"}},{"id":"edition:middle-advanced-192-b-1","collection":"edition","title":"Example middle-advanced-192-b-1","page":192,"topic":"EXERCISE V. · SIXTH LESSON, · On double counterpoint with transposition at the tenth.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-advanced-192-b-1.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/192-b.png","sha256":"c624dc53f08162dc273d6cabf1e909ccc351e2613a04e7678eed5a73d25925ea","label":"Source crop · printed p. 192","local":false}],"owners":["192-b"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. I say that this does not prevent those examples from being founded on the correct principle of this counterpoint. For who does not see that, if the examples were placed in the following manner, they would correspond exactly to this counterpoint?","latin":"Aloys. Haud obesse ajo, quo minùs exempla illa in recta Contrapuncti hujus ratione fundata sint. Quia, si exempla sequenti modo ponerentur, ad amussim huic Contrapuncto responsura fore, quis non videt?","issues":[],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"a729c484d1b38a398cd3ca2a9c2029d0a2bfd847efaad33a569248fcc47a989a","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-340","downloads":[],"xmlSha256":"a729c484d1b38a398cd3ca2a9c2029d0a2bfd847efaad33a569248fcc47a989a","integrity":"matched","parts":3,"voices":3,"notes":14,"measures":2,"parser":{"status":"supported","warnings":[],"events":14,"normalizations":[]},"preview":{"path":"previews/edition-middle-advanced-192-b-1.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"1c8ffc3c2025f7dac0f8ab3e61b2812dc7f46a87937788d0222223b80100d98e","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"a729c484d1b38a398cd3ca2a9c2029d0a2bfd847efaad33a569248fcc47a989a"}},{"id":"edition:middle-advanced-192-b-2","collection":"edition","title":"Example middle-advanced-192-b-2","page":192,"topic":"EXERCISE V. · SIXTH LESSON, · On double counterpoint with transposition at the tenth.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-advanced-192-b-2.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/192-b.png","sha256":"c624dc53f08162dc273d6cabf1e909ccc351e2613a04e7678eed5a73d25925ea","label":"Source crop · printed p. 192","local":false}],"owners":["192-b"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. I say that this does not prevent those examples from being founded on the correct principle of this counterpoint. For who does not see that, if the examples were placed in the following manner, they would correspond exactly to this counterpoint?","latin":"Aloys. Haud obesse ajo, quo minùs exempla illa in recta Contrapuncti hujus ratione fundata sint. Quia, si exempla sequenti modo ponerentur, ad amussim huic Contrapuncto responsura fore, quis non videt?","issues":["Blank time before changed upper clef represented by non-sounding forward; printed halfrest and C5entry retained."],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"f07321ae3f882f6076cf5ba19abb44c307bb11a690d04cf0e330229cb7f15f13","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-340","downloads":[],"xmlSha256":"f07321ae3f882f6076cf5ba19abb44c307bb11a690d04cf0e330229cb7f15f13","integrity":"matched","parts":3,"voices":3,"notes":14,"measures":2,"parser":{"status":"supported","warnings":[],"events":14,"normalizations":[]},"preview":{"path":"previews/edition-middle-advanced-192-b-2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"0acd87f9cab44b0307f28e9833c686b029e643a7c90ea29d352167316cd6e85c","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"f07321ae3f882f6076cf5ba19abb44c307bb11a690d04cf0e330229cb7f15f13"}},{"id":"edition:middle-advanced-193-a","collection":"edition","title":"Example middle-advanced-193-a","page":193,"topic":"EXERCISE V. · SIXTH LESSON, · On double counterpoint with transposition at the tenth.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-advanced-193-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/193-a.png","sha256":"b9c6f3ab5cfabd682af0c91ffdd409119ae30b90cd5799ae6697848d2e5e80f9","label":"Source crop · printed p. 193","local":false}],"owners":["193-a"],"state":"needs-review","editionStatus":"needs-review","context":"Aloysius. I say that this does not prevent those examples from being founded on the correct principle of this counterpoint. For who does not see that, if the examples were placed in the following manner, they would correspond exactly to this counterpoint?","latin":"Aloys. Haud obesse ajo, quo minùs exempla illa in recta Contrapuncti hujus ratione fundata sint. Quia, si exempla sequenti modo ponerentur, ad amussim huic Contrapuncto responsura fore, quis non videt?","issues":["Alto rectangular glyph may represent a longa held through both bars; value uncertain. Literal breve plus blank continuation retained without invented rest; possible16-quarter longa interpretation remains for review."],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"4013c1b626b08fbf918a5caa7e909693c1df5cb3b5ed793087db86e17ac6f226","hints":{"invisible_gaps":[["2","P2"]]}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-342","downloads":[],"xmlSha256":"4013c1b626b08fbf918a5caa7e909693c1df5cb3b5ed793087db86e17ac6f226","integrity":"matched","parts":4,"voices":4,"notes":15,"measures":2,"parser":{"status":"supported","warnings":[],"events":15,"normalizations":[]},"preview":{"path":"previews/edition-middle-advanced-193-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"c22b1657f2195eebe8c4d5003ce245e54460209a4f4977061866e0938fa1c072","playback":false,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"4013c1b626b08fbf918a5caa7e909693c1df5cb3b5ed793087db86e17ac6f226"}},{"id":"edition:middle-advanced-194-a","collection":"edition","title":"Example middle-advanced-194-a","page":194,"topic":"EXERCISE V. · SEVENTH LESSON, · On double counterpoint at the twelfth.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-advanced-194-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/194-a.png","sha256":"4031581eb6c35e91cc00d28d105a993a617e990bef4a0e945a73da7b59eac572","label":"Source crop · printed p. 194","local":false}],"owners":["194-a"],"state":"recorded-review","editionStatus":"verified","context":"Nothing particular arises concerning this counterpoint beyond what has already been said: namely, that the sixth and a seventh resolved to a sixth are not to be used. Otherwise all motions, that is, similar, contrary, and oblique, may be employed. Let us examine an example with the obligation of a cantus firmus.","latin":"Nihil de Contrapuncto hoc peculiare occurrit, præter ea, quæ jam dicta sunt: nempe de Sexta, & Septima in Sextam resolutâ non adhibendâ. Omnes prætereà motus, id est, rectus, contrarius, & obliquus usui esse possunt. Videatur exemplum cum obligatione Cantûs firmi.","issues":["Post-bar dot at8–9 represented as editorial continuation tie."],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"b65ecfc214fe55be3408a38a715a8733f6f3d4a5975915a8279863a42c877312","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-344","downloads":[],"xmlSha256":"b65ecfc214fe55be3408a38a715a8733f6f3d4a5975915a8279863a42c877312","integrity":"matched","parts":2,"voices":2,"notes":37,"measures":11,"parser":{"status":"supported","warnings":[],"events":32,"normalizations":[]},"preview":{"path":"previews/edition-middle-advanced-194-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"250f26b2181d5b3454a2b7e8f223d191e36071b26106c71c4893c76c894befd2","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"b65ecfc214fe55be3408a38a715a8733f6f3d4a5975915a8279863a42c877312"}},{"id":"edition:middle-advanced-194-b","collection":"edition","title":"Example middle-advanced-194-b","page":194,"topic":"EXERCISE V. · SEVENTH LESSON, · On double counterpoint at the twelfth.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-advanced-194-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/194-b.png","sha256":"b0ed34521f1596053b8dcbcaca0f343e99c3c4de347babe06cf67bbdfd38bb54","label":"Source crop · printed p. 194","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/195-a.png","sha256":"6d60c07875975d2eceb9238d1b97541c9fc0f9d4de4be5f69ef935512217e0dd","label":"Source crop · printed p. 195","local":false}],"owners":["194-b","195-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. Understand that this was done so that the transposition of the counterpoint at the twelfth may end more suitably in its mode, although it does not harm double counterpoint for the transposed part to stray outside the mode. Now, without moving the cantus firmus, transpose the counterpoint, that is, the soprano part, a twelfth downward, sometimes placing a flat so that the intervals correspond throughout correctly to the first counterpoint.","latin":"Aloys. Id ideò factum puta, ut translatio Contrapuncti in Duodecimam congruentiùs Modo suo terminari contingat: quamvis non obsit Contrapuncto duplici partem translatam extra Modum evagari. Nunc non movendo Cantum firmum, Contrapunctum, id est, Cantûs partem in Duodecimam gravem transpone; positione nonnunquam b. mollis efficiendo, ut intervalla per omnia Contrapuncto primo ritè respondeant.","issues":["Post-bar dot at8–9 represented as editorial continuation tie."],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"f09b6f039636738b027bbe0f117c283b0a357d4c7dcbdff9edd9ca7d1a306327","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-345","downloads":[],"xmlSha256":"f09b6f039636738b027bbe0f117c283b0a357d4c7dcbdff9edd9ca7d1a306327","integrity":"matched","parts":2,"voices":2,"notes":37,"measures":11,"parser":{"status":"supported","warnings":[],"events":32,"normalizations":[]},"preview":{"path":"previews/edition-middle-advanced-194-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"f3dba9c1649b631929dea2c0fa9304a50f06c24d2c7b71c90d527974b3eabe50","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"f09b6f039636738b027bbe0f117c283b0a357d4c7dcbdff9edd9ca7d1a306327"}},{"id":"edition:middle-advanced-195-b","collection":"edition","title":"Example middle-advanced-195-b","page":195,"topic":"EXERCISE V. · SEVENTH LESSON, · On double counterpoint at the twelfth.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-advanced-195-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/195-b.png","sha256":"e863fda9ad037f9a5f0051ce4954cd1955a0cea28f6de70e6eac944c16a08518","label":"Source crop · printed p. 195","local":false}],"owners":["195-b"],"state":"recorded-review","editionStatus":"verified","context":"This transposition has been correctly made. But it can also be done in another way, by transposing the counterpoint an octave downward and the cantus firmus a fifth upward, in the following manner.","latin":"Translatio ista jure facta est. Verùm alio quoque modo fieri potest, transponendo Contrapunctum in Octavam gravem, & Cantum firmum in Quintam acutam, in sequentem modum.","issues":["Post-bar dot at8–9 represented as editorial continuation tie."],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"9c6df1e4c33b972c98ee35368ffd62a86853800f472035db88dad2356e0cfad8","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-347","downloads":[],"xmlSha256":"9c6df1e4c33b972c98ee35368ffd62a86853800f472035db88dad2356e0cfad8","integrity":"matched","parts":2,"voices":2,"notes":37,"measures":11,"parser":{"status":"supported","warnings":[],"events":32,"normalizations":[]},"preview":{"path":"previews/edition-middle-advanced-195-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"6eda573eb8bc1d59a2929cdcff222879491b4e4cffab74cdca5e54d95ad1bba4","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"9c6df1e4c33b972c98ee35368ffd62a86853800f472035db88dad2356e0cfad8"}},{"id":"edition:middle-advanced-195-c","collection":"edition","title":"Example middle-advanced-195-c","page":195,"topic":"EXERCISE V. · SEVENTH LESSON, · On double counterpoint at the twelfth.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-advanced-195-c.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/195-c.png","sha256":"79100642437a8911d40733c29bc72b4abb97ec31797481f546bac3d5449abec6","label":"Source crop · printed p. 195","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/196-a.png","sha256":"b7b8208e2f3b29d41b18347e06fc944120205e6d5613ac71c7af8256a9217e74","label":"Source crop · printed p. 196","local":false}],"owners":["195-c","196-a"],"state":"needs-review","editionStatus":"needs-review","context":"Aloysius. Besides what I said a little earlier, that this counterpoint claims this privilege, and that the pitch A is not foreign to mode D, I say that in the subsequent practical composition for several parts a formal cadence may be formed suitably to its mode by adding some melodic continuation after the cantus firmus has finished and carrying it to the end. For example:","latin":"Aloys. Præterquam, quod paulò ante dixerim, istud Contrapunctum privilegium hoc sibi vindicare, & A. intervallum Modo D. haud improprium esse, ajo, in compositione deinde practicâ plurium partium, clausulam formalem posse congruenter Modo suo formari, quadam modulationis appendice, finito Cantu firmo ad finem protractæ. E. G.","issues":["Post-bar dot at8–9 normalized with editorial tie.","196-a long held soprano breves in source bars11–12 conflict with four-quarter lower-voice bars; written durations retained, timing needs editorial review."],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":false,"rendered":true,"schema":true},"diagnostics":{"sha256":"4ca9a8e2e4e2233078aa22aa17b9643256c2906ab972cec2f88a641eb5d3bbc5","hints":{"unequal_parts":[["11","P2",4,8],["11","P3",4,8],["12","P2",4,8],["12","P3",4,8]]}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-348","downloads":[],"xmlSha256":"4ca9a8e2e4e2233078aa22aa17b9643256c2906ab972cec2f88a641eb5d3bbc5","integrity":"matched","parts":3,"voices":3,"notes":74,"measures":13,"parser":{"status":"supported","warnings":["One part runs past its bar (P1, bar 11: 8 beats in a 4-beat bar; the other parts wait)","One part runs past its bar (P1, bar 12: 8 beats in a 4-beat bar; the other parts wait)","A tie is held while other parts finish a longer bar (P3, bar 12, D4)"],"events":64,"normalizations":[]},"preview":{"path":"previews/edition-middle-advanced-195-c.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"473041be5b1aee2bf1cb7196544e41683b56e47e29126e3f568fa7d8bba134e2","playback":false,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"4ca9a8e2e4e2233078aa22aa17b9643256c2906ab972cec2f88a641eb5d3bbc5"}},{"id":"edition:middle-advanced-195-c-editorial-timing","collection":"edition","title":"Example middle-advanced-195-c-editorial-timing","page":195,"topic":"EXERCISE V. · SEVENTH LESSON, · On double counterpoint at the twelfth.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-advanced-195-c-editorial-timing.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/195-c.png","sha256":"79100642437a8911d40733c29bc72b4abb97ec31797481f546bac3d5449abec6","label":"Source crop · printed p. 195","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/196-a.png","sha256":"b7b8208e2f3b29d41b18347e06fc944120205e6d5613ac71c7af8256a9217e74","label":"Source crop · printed p. 196","local":false}],"owners":["195-c","196-a"],"state":"needs-review","editionStatus":"needs-review","context":"Aloysius. Besides what I said a little earlier, that this counterpoint claims this privilege, and that the pitch A is not foreign to mode D, I say that in the subsequent practical composition for several parts a formal cadence may be formed suitably to its mode by adding some melodic continuation after the cantus firmus has finished and carrying it to the end. For example:","latin":"Aloys. Præterquam, quod paulò ante dixerim, istud Contrapunctum privilegium hoc sibi vindicare, & A. intervallum Modo D. haud improprium esse, ajo, in compositione deinde practicâ plurium partium, clausulam formalem posse congruenter Modo suo formari, quadam modulationis appendice, finito Cantu firmo ad finem protractæ. E. G.","issues":["Editorial timing variant: soprano printed breves in11–12 shortened to whole-note durations to align lower voices and preserve their continuous ties; primary literal file retained."],"verificationNotes":["Separate playback interpretation; literal primary retained.","Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"53518a1fdc9e503f9c6b77d37553e339c1066eca85254bcee2f2982be79c28fe","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-348","downloads":[],"xmlSha256":"53518a1fdc9e503f9c6b77d37553e339c1066eca85254bcee2f2982be79c28fe","integrity":"matched","parts":3,"voices":3,"notes":74,"measures":13,"parser":{"status":"supported","warnings":[],"events":64,"normalizations":[]},"preview":{"path":"previews/edition-middle-advanced-195-c-editorial-timing.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"76b723b15562fae6aa7c5331fb40d6c487e71abd3569f89de08f7cf2df0e15ab","playback":false,"corpusLinks":[],"relationship":"alternate-reading","material":{"group":"alternate-reading","reason":"The edition explicitly identifies an editorial timing variant of the retained literal reading.","relatedEditionIds":["edition:middle-advanced-195-c"],"coverage":null,"xmlSha256":"53518a1fdc9e503f9c6b77d37553e339c1066eca85254bcee2f2982be79c28fe"}},{"id":"edition:middle-advanced-195-c-verified-opening","collection":"edition","title":"Example middle-advanced-195-c-verified-opening","page":195,"topic":"EXERCISE V. · SEVENTH LESSON, · On double counterpoint at the twelfth.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-advanced-195-c-verified-opening.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/195-c.png","sha256":"79100642437a8911d40733c29bc72b4abb97ec31797481f546bac3d5449abec6","label":"Source crop · printed p. 195","local":false}],"owners":["195-c"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. Besides what I said a little earlier, that this counterpoint claims this privilege, and that the pitch A is not foreign to mode D, I say that in the subsequent practical composition for several parts a formal cadence may be formed suitably to its mode by adding some melodic continuation after the cantus firmus has finished and carrying it to the end. For example:","latin":"Aloys. Præterquam, quod paulò ante dixerim, istud Contrapunctum privilegium hoc sibi vindicare, & A. intervallum Modo D. haud improprium esse, ajo, in compositione deinde practicâ plurium partium, clausulam formalem posse congruenter Modo suo formari, quadam modulationis appendice, finito Cantu firmo ad finem protractæ. E. G.","issues":["Excerpt stops at an explicit review boundary; no cadence, final notes, or continuation guessed. 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Besides what I said a little earlier, that this counterpoint claims this privilege, and that the pitch A is not foreign to mode D, I say that in the subsequent practical composition for several parts a formal cadence may be formed suitably to its mode by adding some melodic continuation after the cantus firmus has finished and carrying it to the end. For example:","latin":"Aloys. Præterquam, quod paulò ante dixerim, istud Contrapunctum privilegium hoc sibi vindicare, & A. intervallum Modo D. haud improprium esse, ajo, in compositione deinde practicâ plurium partium, clausulam formalem posse congruenter Modo suo formari, quadam modulationis appendice, finito Cantu firmo ad finem protractæ. E. G.","issues":["Dot across first source bar normalized with editorial continuation tie."],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"1c956db86348b9b08f3e634a45a4e7d857fd59c8ad3f252152c09b683494e8de","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-350","downloads":[],"xmlSha256":"1c956db86348b9b08f3e634a45a4e7d857fd59c8ad3f252152c09b683494e8de","integrity":"matched","parts":2,"voices":2,"notes":40,"measures":11,"parser":{"status":"supported","warnings":[],"events":37,"normalizations":[]},"preview":{"path":"previews/edition-middle-advanced-196-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"4609079e8cdcde3306c09500eacc5818566187f70b3eedb974a2d102457db189","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"1c956db86348b9b08f3e634a45a4e7d857fd59c8ad3f252152c09b683494e8de"}},{"id":"edition:middle-advanced-196-c","collection":"edition","title":"Example middle-advanced-196-c","page":196,"topic":"EXERCISE V. · SEVENTH LESSON, · On double counterpoint at the twelfth.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-advanced-196-c.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/196-c.png","sha256":"1aec9ca3fd0f3eb9a05c4a56fd3e068740a82d031b82555c69fab4f8b9856d9c","label":"Source crop · printed p. 196","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/197-a.png","sha256":"930f8e20e47905878b823ad34a1cbf7a0d2d3336f74e219f287bc42770f2cff1","label":"Source crop · printed p. 197","local":false}],"owners":["196-c","197-a"],"state":"recorded-review","editionStatus":"verified","context":"Now, with the cantus firmus remaining in place, transpose the counterpoint a twelfth downward; and by transferring the same counterpoint a tenth upward, you will have three voices. For example:","latin":"Nunc manente Cantu firmo transpone Contrapunctum in Duodecimam gravem; idemque Contrapunctum in Decimam acutam transferendo, & habebis Tricinium. E. G.","issues":["Dots across first source bar normalized with editorial continuation ties."],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"92dd32f1d6e85eff2025f226ae608fbcea56ca20a00e349cc224ab85a55458fd","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-351","downloads":[],"xmlSha256":"92dd32f1d6e85eff2025f226ae608fbcea56ca20a00e349cc224ab85a55458fd","integrity":"matched","parts":3,"voices":3,"notes":69,"measures":11,"parser":{"status":"supported","warnings":[],"events":63,"normalizations":[]},"preview":{"path":"previews/edition-middle-advanced-196-c.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"65f61db940967f72e20a514009d467e2c1aabe8c9603f6616a0a760412b085d9","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"92dd32f1d6e85eff2025f226ae608fbcea56ca20a00e349cc224ab85a55458fd"}},{"id":"edition:middle-advanced-197-b","collection":"edition","title":"Example middle-advanced-197-b","page":197,"topic":"EXERCISE V. · SEVENTH LESSON, · On double counterpoint at the twelfth.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-advanced-197-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/197-b.png","sha256":"ee0961c314f66bfcf20b74c4fcbca7b0181b3427cce6424f3a12a6bb5a2a846c","label":"Source crop · printed p. 197","local":false}],"owners":["197-b"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. You judge rightly. But this generally happens in modes containing a minor third, where transposition of the parts and the strict constraint of the cantus firmus produce a less agreeable melodic course because of the harsh relation of mi against fa. This must be tolerated because of the nature of the cantus firmus and the mode. Matters are different in free composition, with the cantus firmus removed, as can be seen in the following example.","latin":"Aloys. Æquè judicas. Sed hoc accidit fermè Modis, quibus inest Tertia minor, ubi in translatione partium, & Cantûs firmi rigore propter asperam mi contra fa relationem Modulatio minùs grata resultat; quod ob Cantûs firmi, Modique naturam tolerandum est. Secùs evenit in Compositione libera, Cantu firmo sublato: uti in exemplo sequenti conspicitur.","issues":["Unequal source bars retained (8,8,4,4,8,8,8,4,8 quarters). Post-bar dot before eighthbar normalized with editorial tie."],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"5b7ba048bcf1ed7e9f2331165910dfebd08b3db21bdf6fac585db58a569719fc","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-354","downloads":[],"xmlSha256":"5b7ba048bcf1ed7e9f2331165910dfebd08b3db21bdf6fac585db58a569719fc","integrity":"matched","parts":2,"voices":2,"notes":59,"measures":9,"parser":{"status":"supported","warnings":[],"events":58,"normalizations":[]},"preview":{"path":"previews/edition-middle-advanced-197-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"d157dfa246a90e7191f42bbaf721b417a672bf2f918e67656f78a2aedec6dfaf","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"5b7ba048bcf1ed7e9f2331165910dfebd08b3db21bdf6fac585db58a569719fc"}},{"id":"edition:middle-advanced-198-a","collection":"edition","title":"Example middle-advanced-198-a","page":198,"topic":"EXERCISE V. · SEVENTH LESSON, · On double counterpoint at the twelfth.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-advanced-198-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/198-a.png","sha256":"e0c215c36ae7de30e7e105c6429a80aa5adf21cd962463cf2ee922319e0cadf1","label":"Source crop · printed p. 198","local":false}],"owners":["198-a"],"state":"recorded-review","editionStatus":"verified","context":"By transposing the parts in the manner demonstrated in the preceding example, it is converted into three voices.","latin":"Translatione partium, in modum, quo priori exemplo demonstratum est, in Tricinium convertitur.","issues":["Source penultimatebar4quarters, otherfullbars8; augmentationdots normalized where crossingbar."],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"27d52954e94acc59e980480835cc2010f73db77795f284fcbebba3abc47258cc","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-355","downloads":[],"xmlSha256":"27d52954e94acc59e980480835cc2010f73db77795f284fcbebba3abc47258cc","integrity":"matched","parts":3,"voices":3,"notes":89,"measures":8,"parser":{"status":"supported","warnings":[],"events":87,"normalizations":[]},"preview":{"path":"previews/edition-middle-advanced-198-a.svg","pages":2,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"e5cf87af967b14d28f2eb12a420df4c56973594588e90c83ba50f90eee4ce93f","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"27d52954e94acc59e980480835cc2010f73db77795f284fcbebba3abc47258cc"}},{"id":"edition:middle-advanced-198-b-1","collection":"edition","title":"Example middle-advanced-198-b-1","page":198,"topic":"EXERCISE V. · SEVENTH LESSON, · On double counterpoint at the twelfth.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-advanced-198-b-1.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/198-b.png","sha256":"2ace8ebe7e4623127cb53a634fb968a9083fb39ff593a6effbc8dab810669680","label":"Source crop · printed p. 198","local":false}],"owners":["198-b"],"state":"recorded-review","editionStatus":"verified","context":"It now comes to mind that at the beginning of this counterpoint it was said that it cannot be made unless the sixth is excluded. Understand this of an untied sixth. For the following example makes clear that a syncopated sixth may be used. For example:","latin":"In mentem nunc venit, dictum esse in principio hujus Contrapuncti, id fieri non posse, nisi cum exclusione Sextæ: quod de Sexta soluta, seu non ligata intellige. Etenim Sextam Syncopatam adhiberi posse, sequens exemplum manifestum facit. E. G.","issues":[],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"60ec64730a2cbf7b07c04592fe13a90f15c299088cc0368fb77fc11085e64fee","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-356","downloads":[],"xmlSha256":"60ec64730a2cbf7b07c04592fe13a90f15c299088cc0368fb77fc11085e64fee","integrity":"matched","parts":2,"voices":2,"notes":28,"measures":5,"parser":{"status":"supported","warnings":[],"events":28,"normalizations":[]},"preview":{"path":"previews/edition-middle-advanced-198-b-1.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"d9d7f555c38f435b7007e65825eb458b52f977150bdc6c23ff3f9fc03a55f41b","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"60ec64730a2cbf7b07c04592fe13a90f15c299088cc0368fb77fc11085e64fee"}},{"id":"edition:middle-advanced-198-b-2","collection":"edition","title":"Example middle-advanced-198-b-2","page":198,"topic":"EXERCISE V. · SEVENTH LESSON, · On double counterpoint at the twelfth.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-advanced-198-b-2.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/198-b.png","sha256":"2ace8ebe7e4623127cb53a634fb968a9083fb39ff593a6effbc8dab810669680","label":"Source crop · printed p. 198","local":false}],"owners":["198-b"],"state":"recorded-review","editionStatus":"verified","context":"It now comes to mind that at the beginning of this counterpoint it was said that it cannot be made unless the sixth is excluded. Understand this of an untied sixth. For the following example makes clear that a syncopated sixth may be used. For example:","latin":"In mentem nunc venit, dictum esse in principio hujus Contrapuncti, id fieri non posse, nisi cum exclusione Sextæ: quod de Sexta soluta, seu non ligata intellige. Etenim Sextam Syncopatam adhiberi posse, sequens exemplum manifestum facit. E. G.","issues":[],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"e10fe147de9c2555253ba8b978725b9d51f0d68a31e2ee312a44542d67ab9917","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-356","downloads":[],"xmlSha256":"e10fe147de9c2555253ba8b978725b9d51f0d68a31e2ee312a44542d67ab9917","integrity":"matched","parts":2,"voices":2,"notes":28,"measures":5,"parser":{"status":"supported","warnings":[],"events":28,"normalizations":[]},"preview":{"path":"previews/edition-middle-advanced-198-b-2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"a530eaeeb41288cb45477b1e6a956b0f02b2173fc4703c46553480cb2dee31fe","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; 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For example:","latin":"Porrò, si primum Cantum cum Tenore, & secundum Cantum cum Basso in Decima incedere facies, perfectum habebis Quatricinium. E. G.","issues":["Augmentationdots across4–5 normalized with editorial ties."],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"6632880062fded8e5232515c49c0c362476332e755b751698e48613f994fdc3d","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-370","downloads":[],"xmlSha256":"6632880062fded8e5232515c49c0c362476332e755b751698e48613f994fdc3d","integrity":"matched","parts":4,"voices":4,"notes":92,"measures":7,"parser":{"status":"supported","warnings":[],"events":88,"normalizations":[]},"preview":{"path":"previews/edition-middle-advanced-203-b.svg","pages":2,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"28b7dac6e12c1701d13aec6f442f9b442dd31467205a3fb06675e9d1828d5a1b","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"6632880062fded8e5232515c49c0c362476332e755b751698e48613f994fdc3d"}},{"id":"edition:advanced-204-b-rectum","collection":"edition","title":"Example advanced-204-b-rectum","page":204,"topic":"EXERCISE V. · SEVENTH LESSON, · On double counterpoint at the twelfth.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-204-b-rectum.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/204-b.png","sha256":"5cec5f4b3c3049159cfcb44242622d38de2b5849c2e7cc876ad0e7e2cee93d33","label":"Source crop · printed p. 204","local":false}],"owners":["204-b"],"state":"recorded-review","editionStatus":"verified","context":"Here I must not pass over how a composition without ligatures of dissonances may be inverted by contrary motion. This inversion can be made in two ways: by simple contrary motion and by reversed contrary motion. Simple contrary motion occurs when the notes are simply inverted, so that those which previously moved upward proceed downward, without regard to semitones. Let us examine an example in the subject familiar thus far:","latin":"Hîc loci præterire non debeo, qua ratione Compositio ligaturis dissonantiarum destituta per contrarium inverti possit. Duobus modis hæc inversio fieri potest: per contrarium simplex, & per contrarium reversum. Contrarium simplex fit, quando Notæ per contrarium simpliciter invertuntur, ut, quæ modò ascendendo incedebant, descendendo progrediantur: nullâ habitâ Semitoniorum ratione. Exemplum videatur in trito hucusque subjecto:","issues":["Source has eight quarter-note units in first bar and four in last; grouping retained.","Source time sign inherited from Rectum; original uneven bar grouping retained."],"verificationNotes":["All printed notes directly visually transcribed by Astra. Rendering comparison pending.","Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"5773af33b82fa52a0673a3286b6e0b5e331bff9b1a656aa6a4721882c726597d","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-372","downloads":[],"xmlSha256":"5773af33b82fa52a0673a3286b6e0b5e331bff9b1a656aa6a4721882c726597d","integrity":"matched","parts":1,"voices":1,"notes":4,"measures":2,"parser":{"status":"supported","warnings":["One part runs past its bar (P1, bar 1: 8 beats in a 4-beat bar; the other parts wait)"],"events":4,"normalizations":[]},"preview":{"path":"previews/edition-advanced-204-b-rectum.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"6154c553ab4c5c766de31288b2c0354bae7c3dd209fd6579cf343c36fa078b68","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"5773af33b82fa52a0673a3286b6e0b5e331bff9b1a656aa6a4721882c726597d"}},{"id":"edition:advanced-204-b-contrarium","collection":"edition","title":"Example advanced-204-b-contrarium","page":204,"topic":"EXERCISE V. · SEVENTH LESSON, · On double counterpoint at the twelfth.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-204-b-contrarium.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/204-b.png","sha256":"5cec5f4b3c3049159cfcb44242622d38de2b5849c2e7cc876ad0e7e2cee93d33","label":"Source crop · printed p. 204","local":false}],"owners":["204-b"],"state":"recorded-review","editionStatus":"verified","context":"Here I must not pass over how a composition without ligatures of dissonances may be inverted by contrary motion. This inversion can be made in two ways: by simple contrary motion and by reversed contrary motion. Simple contrary motion occurs when the notes are simply inverted, so that those which previously moved upward proceed downward, without regard to semitones. Let us examine an example in the subject familiar thus far:","latin":"Hîc loci præterire non debeo, qua ratione Compositio ligaturis dissonantiarum destituta per contrarium inverti possit. Duobus modis hæc inversio fieri potest: per contrarium simplex, & per contrarium reversum. Contrarium simplex fit, quando Notæ per contrarium simpliciter invertuntur, ut, quæ modò ascendendo incedebant, descendendo progrediantur: nullâ habitâ Semitoniorum ratione. Exemplum videatur in trito hucusque subjecto:","issues":["Source has eight quarter-note units in first bar and four in last; grouping retained.","Source time sign inherited from Rectum; original uneven bar grouping retained."],"verificationNotes":["All printed notes directly visually transcribed by Astra. Rendering comparison pending.","Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"9d4f692274d2f8155ddd8fbf88e94f042ed187a5410bd2a978646ea29e7d0521","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-372","downloads":[],"xmlSha256":"9d4f692274d2f8155ddd8fbf88e94f042ed187a5410bd2a978646ea29e7d0521","integrity":"matched","parts":1,"voices":1,"notes":4,"measures":2,"parser":{"status":"supported","warnings":["One part runs past its bar (P1, bar 1: 8 beats in a 4-beat bar; the other parts wait)"],"events":4,"normalizations":[]},"preview":{"path":"previews/edition-advanced-204-b-contrarium.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"fa3de33566596d8935f04cdb94aa28008310e18f9f78d1f50742440d81706fff","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"9d4f692274d2f8155ddd8fbf88e94f042ed187a5410bd2a978646ea29e7d0521"}},{"id":"edition:middle-advanced-205-diagram","collection":"edition","title":"Example middle-advanced-205-diagram","page":205,"topic":"EXERCISE V. · SEVENTH LESSON, · On double counterpoint at the twelfth.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-advanced-205-diagram.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/205-diagram.png","sha256":"6e89d22eaf81b1fe7c7b6fc8eb04f4fbef69ce87c1cd161ce7fe6b010e66282d","label":"Source crop · printed p. 205","local":false}],"owners":["205-diagram"],"state":"recorded-review","editionStatus":"verified","context":"Reversed contrary motion, however, is produced by inverting the notes so that mi everywhere corresponds to fa. The following diagram of notes will teach you how it is to be arranged.","latin":"Contrarium autem reversum efficitur ita invertendis Notis, ut ubique mi contra fa eveniat. Quo modo autem sit instituendum, sequens Notarum Diagramma te docebit.","issues":["Unbarred ascending/descending note diagram; all written whole-note pitches retained as one analytical sequence."],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"fce8ce31f9fdd932ad5f10ae07af76ddc5f4f8553f835ab4d86b0ccbf574a26c","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-373","downloads":[],"xmlSha256":"fce8ce31f9fdd932ad5f10ae07af76ddc5f4f8553f835ab4d86b0ccbf574a26c","integrity":"matched","parts":1,"voices":1,"notes":15,"measures":1,"parser":{"status":"supported","warnings":[],"events":15,"normalizations":[]},"preview":{"path":"previews/edition-middle-advanced-205-diagram.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"dbdead269dcad57c7d7bc6e04ee6342093480d4309191bc5ad7f09e78b28d12f","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"fce8ce31f9fdd932ad5f10ae07af76ddc5f4f8553f835ab4d86b0ccbf574a26c"}},{"id":"edition:advanced-205-a-rectum","collection":"edition","title":"Example advanced-205-a-rectum","page":205,"topic":"EXERCISE V. · SEVENTH LESSON, · On double counterpoint at the twelfth.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-205-a-rectum.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/205-a.png","sha256":"2f06d7e1e7a6b376e017fc18f6334c78cda212c928cc2c03478abf0e32a09de6","label":"Source crop · printed p. 205","local":false}],"owners":["205-a"],"state":"recorded-review","editionStatus":"verified","context":"Match the notes ascending from the left with those descending from the right, and you will find that D nevertheless remains D through inversion, E inverts to C, F to B mi, and G to A, as may be seen in the same subject.","latin":"Æquiparentur Notæ à sinistris ascendendo, cum illis à dextris descendendo, & reperies, D. per inversionem nihilominùs D. manere: E. in C., F. in B. mi, G. in A. inverti, ut in eodem subjecto videndum est.","issues":["No internal barline within the four printed notes; single free-length measure retained.","No internal barline; time sign inherited from Rectum."],"verificationNotes":["All printed notes directly visually transcribed by Astra. Rendering comparison pending.","Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"2b074bcd7db0054376843513a7c32ba8d7bf77e6047bf9f7ec202ce7b0ac16c6","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-374","downloads":[],"xmlSha256":"2b074bcd7db0054376843513a7c32ba8d7bf77e6047bf9f7ec202ce7b0ac16c6","integrity":"matched","parts":1,"voices":1,"notes":4,"measures":1,"parser":{"status":"supported","warnings":[],"events":4,"normalizations":[]},"preview":{"path":"previews/edition-advanced-205-a-rectum.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"b671c14c58203c846d17e67437aa607d9003c5662347a553dbbb1055966e0e9e","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"2b074bcd7db0054376843513a7c32ba8d7bf77e6047bf9f7ec202ce7b0ac16c6"}},{"id":"edition:advanced-205-a-contrarium","collection":"edition","title":"Example advanced-205-a-contrarium","page":205,"topic":"EXERCISE V. · SEVENTH LESSON, · On double counterpoint at the twelfth.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-205-a-contrarium.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/205-a.png","sha256":"2f06d7e1e7a6b376e017fc18f6334c78cda212c928cc2c03478abf0e32a09de6","label":"Source crop · printed p. 205","local":false}],"owners":["205-a"],"state":"recorded-review","editionStatus":"verified","context":"Match the notes ascending from the left with those descending from the right, and you will find that D nevertheless remains D through inversion, E inverts to C, F to B mi, and G to A, as may be seen in the same subject.","latin":"Æquiparentur Notæ à sinistris ascendendo, cum illis à dextris descendendo, & reperies, D. per inversionem nihilominùs D. manere: E. in C., F. in B. mi, G. in A. inverti, ut in eodem subjecto videndum est.","issues":["No internal barline within the four printed notes; single free-length measure retained.","No internal barline; time sign inherited from Rectum."],"verificationNotes":["All printed notes directly visually transcribed by Astra. Rendering comparison pending.","Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"fea3764308a1d08e6fd27709a84125bada5d2f49a6e58ec1ec2782ff6550fc51","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-374","downloads":[],"xmlSha256":"fea3764308a1d08e6fd27709a84125bada5d2f49a6e58ec1ec2782ff6550fc51","integrity":"matched","parts":1,"voices":1,"notes":4,"measures":1,"parser":{"status":"supported","warnings":[],"events":4,"normalizations":[]},"preview":{"path":"previews/edition-advanced-205-a-contrarium.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"36f79c4e62ab390c56e6012b5dbb47a0fdcce2645edae5d1f1987f821b8d9d43","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"fea3764308a1d08e6fd27709a84125bada5d2f49a6e58ec1ec2782ff6550fc51"}},{"id":"edition:middle-advanced-205-b","collection":"edition","title":"Example middle-advanced-205-b","page":205,"topic":"EXERCISE V. · SEVENTH LESSON, · On double counterpoint at the twelfth.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-advanced-205-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/205-b.png","sha256":"16d0023f80c961184e28c90966ef8dfdd085f4514673a4f9e9e645246364c9b9","label":"Source crop · printed p. 205","local":false}],"owners":["205-b"],"state":"recorded-review","editionStatus":"verified","context":"To make this inversion by reversed contrary motion clearer to you, leaving aside simple contrary motion, which is of less importance and difficulty, I shall invert the three-voice composition given above as the third example, in the following way:","latin":"Ut autem inversio ista per motum contrarium reversum clarior tibi eveniat, relicto contrario simplici, haud tanti momenti, & difficultatis, invertam Tricinium suprà in exemplum tertium adductum, sequenti modo:","issues":["Augmentationdot across4–5 normalized with editorial tie."],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"401abfa70b0e7d7235ece79f291c2765a83edef66b585831006acca36c63d2c8","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-375","downloads":[],"xmlSha256":"401abfa70b0e7d7235ece79f291c2765a83edef66b585831006acca36c63d2c8","integrity":"matched","parts":3,"voices":3,"notes":63,"measures":7,"parser":{"status":"supported","warnings":[],"events":61,"normalizations":[]},"preview":{"path":"previews/edition-middle-advanced-205-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"4765f1be7c4985eb5d258c86a824bcb72675672333b7a8b588fbd6fa23c017e8","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"401abfa70b0e7d7235ece79f291c2765a83edef66b585831006acca36c63d2c8"}},{"id":"edition:middle-advanced-206-a","collection":"edition","title":"Example middle-advanced-206-a","page":206,"topic":"EXERCISE V. · SEVENTH LESSON, · On double counterpoint at the twelfth.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-advanced-206-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/206-a.png","sha256":"78dffab90facf10c2ccf5f8ffd40bd26ff47ebdc7564e204b423b2220404cb1a","label":"Source crop · printed p. 206","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/207-a.png","sha256":"a0e875408c2caf347261949ac696ec23b1195f1365ded8ce22b3957d9837e1e9","label":"Source crop · printed p. 207","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/208-a.png","sha256":"7a8f219b896e448ebef4192ca96f20b76b3237f1f5b17a61c010a105c321d8f6","label":"Source crop · printed p. 208","local":false}],"owners":["206-a","207-a","208-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. Only one which, as I have already said, contains no ligature consisting of a dissonance. But since, according to the nature of the modes and subjects, some transpositions and inversions turn out well and others badly, great caution and judgment are needed in using them, lest a composition suffer a loss of its expected pleasantness through the pursuit of grand artifice. This happens in the following fugue, offered more for the sake of counterpoint at the twelfth than as an example of agreeable melodic writing.","latin":"Aloys. Illa duntaxat, cui, ut jam dixi, ligatura non inest, dissonantiâ constans. Quum autem pro Modorum, Subjectorumque natura, translatio, ac inversio, quædam benè, quædam malè cedat, in utendo permagnâ opus est cautelâ, judicioque: ne opinione grandis artificii concentus expectatæ amœnitatis detrimentum patiatur: quemadmodum in Fuga sequenti accidit, adductâ potiùs in gratiam Contrapuncti in Duodecima, quàm in gratæ modulationis exemplum.","issues":["Original mezzo-soprano C2 and baritone F3 clefs retained (not C1/F4).","Eight-quarter source bars, with four-quarter bars20–21; grouping retained.","Post-bar augmentationdot at6–7 extends A4; encoded with editorial split tie."],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"57415f6ef3ba016d91403842b61f34b8a1051e702ee019086ce15391420089fd","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-376","downloads":[],"xmlSha256":"57415f6ef3ba016d91403842b61f34b8a1051e702ee019086ce15391420089fd","integrity":"matched","parts":4,"voices":4,"notes":288,"measures":27,"parser":{"status":"supported","warnings":[],"events":275,"normalizations":[]},"preview":{"path":"previews/edition-middle-advanced-206-a.svg","pages":6,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"af70aa845fc6ad8db72332b5d88b36d2e06be702c0f9f4f703acc2d7ba6603f9","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"57415f6ef3ba016d91403842b61f34b8a1051e702ee019086ce15391420089fd"}},{"id":"edition:middle-advanced-209-a","collection":"edition","title":"Example middle-advanced-209-a","page":209,"topic":"EXERCISE V. · SEVENTH LESSON, · On double counterpoint at the twelfth.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-advanced-209-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/209-a.png","sha256":"fa87d61131efe7a140353ca54ce856a438f5eb3c59620aa86496843d8628f482","label":"Source crop · printed p. 209","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/210-a.png","sha256":"01112d254e5b9d9a2b4cdbe2ea3f89078bd6ef3cf9e5dd9773f58e3b86fc5ee2","label":"Source crop · printed p. 210","local":false}],"owners":["209-a","210-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. I certainly would have done so if the suitability of the subject had allowed it and some grace could thereby have been added to the composition. This should be done when one has the freedom to invent a subject by one’s own design. In that case it must be prepared so that its contrary form can be used with a certain charm. I shall give an example of this shortly, after first demonstrating how fugue or imitation may be mixed with a cantus firmus and continued throughout its course. For example:","latin":"Aloys. Fecissem utique, si subjecti aptitudo tulisset, ac Compositioni per hoc gratia quædam accedere potuisset: quod faciendum est, si subjecti, proprio consilio inveniendi facultas datur; quo casu ita parandum est, ut ejus contrarium haud absque lepore quodam adhiberi possit: cujus rei paulò pòst exemplum adducam, cùm primò demonstravero, quo modo Cantui firmo Fuga, aut Imitatio immisceri, ac per totum ejus cursum continuari possit. E. G.","issues":["Source measures mainly eight quarters, with four-quarter source bars16–17; grouping retained.","Several post-bar augmentationdots normalized as tied continuations; no rests substituted."],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"832012589486707ff9cbd3e318a729c476f847c8bb7da98187cbbb0131977938","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-381","downloads":[],"xmlSha256":"832012589486707ff9cbd3e318a729c476f847c8bb7da98187cbbb0131977938","integrity":"matched","parts":4,"voices":4,"notes":239,"measures":19,"parser":{"status":"supported","warnings":[],"events":220,"normalizations":[]},"preview":{"path":"previews/edition-middle-advanced-209-a.svg","pages":5,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"53d54d870ebf833a5fdc217c5a69e714ce412170eefe5ce4a72052a7dd1a18a9","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"832012589486707ff9cbd3e318a729c476f847c8bb7da98187cbbb0131977938"}},{"id":"edition:middle-advanced-211-a","collection":"edition","title":"Example middle-advanced-211-a","page":211,"topic":"EXERCISE V. · SEVENTH LESSON, · On double counterpoint at the twelfth.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-advanced-211-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/211-a.png","sha256":"052c348b33fed7674e15b7706a7f6bd27641d3c88093e46897f8362e28fe4fb6","label":"Source crop · printed p. 211","local":false}],"owners":["211-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. Your astonishment is not without reason, Joseph. This matter is indeed of some difficulty, but not as much as it seems to you. For anyone who keeps what has been said and understood thus far firmly impressed on the mind and works through all the lessons with diligent practice will not labor so greatly in making something similar. But before conceiving a subject to be woven into a cantus firmus, one must examine every measure of the cantus firmus with both eye and mind, to see whether that subject, either direct or contrary, can be fitted to it, if not in every measure, at least in as many as possible, while also observing the laws of counterpoint and the pleasantness of the melodic course. There is another way of choosing a subject: take it from the cantus firmus itself, note for note, or in its likeness, changing or syncopating some note form, as appears in the following example:","latin":"Aloys. Haud abs re, Josephe, stupes. Est enim res ista cujusdam, sed non tantæ difficultatis, quanta quidem tibi videtur. Etenim qui hucusque dicta, & intellecta perbene menti impressa tenet, omnesque Lectiones sedulâ exercitatione percurrit, non tanto opere laborabit in simili quopiam conficiendo. Verùm, antequàm subjectum, Cantui firmo intexendum animo concipias, necesse est, omnes Cantûs firmi tactus, & oculis, & animo perlustrare, an subjectum illud, aut rectum, aut contrarium, si non in omni tactu, saltem in quàm plurimis Cantui firmo applicari possit: observatis prætereà, & Contrapuncti legibus, & modulationis amœnitate. Est autem & alius subjecti eligendi modus, assumptus ex ipso Cantu firmo de Nota ad Notam, aut ad ejus similitudinem: immutatâ, aut syncopatâ nonnullâ figurâ; ut ex sequenti Paradigmate proposito apparet:","issues":["Four-measure example ends without final breve; written ending retained."],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"da29383d3634a75a534f59c4a708ff22ac4dbdc46012339cce0706ba3bc8bcfe","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-384","downloads":[],"xmlSha256":"da29383d3634a75a534f59c4a708ff22ac4dbdc46012339cce0706ba3bc8bcfe","integrity":"matched","parts":4,"voices":4,"notes":42,"measures":4,"parser":{"status":"supported","warnings":[],"events":37,"normalizations":[]},"preview":{"path":"previews/edition-middle-advanced-211-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"28a73ff870dd1e0303a5b5ac4105ca80d22f5e365fe79686c855a503eb7191c1","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"da29383d3634a75a534f59c4a708ff22ac4dbdc46012339cce0706ba3bc8bcfe"}},{"id":"edition:advanced-212-a","collection":"edition","title":"Example advanced-212-a","page":212,"topic":"EXERCISE V. · SEVENTH LESSON, · On double counterpoint at the twelfth.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-212-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/212-a.png","sha256":"f95482c93e223c08d3f79470481c16367759a938e27aece36d6558dcdfdb0506","label":"Source crop · printed p. 212","local":false}],"owners":["212-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. You remind me at the right time. I shall not only comply with your request but freely provide more, by showing that outside the diatonic genus there is another way of inverting subjects than the one proposed in an example not long ago. I shall also explain how three different subjects are to be combined in a composition, and how far customary practice in the common style permits departure from the ordinary laws of counterpoint through variation of note forms. I say, then, that to form reversed contrary motion in the mixed genus it is enough for mi everywhere to correspond to fa and, conversely, fa to mi, without regard to the rule prescribed above for the diatonic genus. Examples will make the matter plain.","latin":"Aloys. Tempestivè me mones. Non solùm petitioni tuæ morem geram, verùm etiam ultrò plus præstabo: demonstrando aliam quoque extra genus Diatonicum invertendorum subjectorum rationem fore, quàm, quæ non multùm ante in Paradigmate proposita est. Dicam prætereà, quo modo tria disparia subjecta in Compositione combinanda sint. Item, in quantum stylo vulgari per figurarum variationis, à communibus Contrapuncti legibus, usu recepto, recedere liceat. Dico itaque, ad formandum Contrarium Reversum in genere mixto sufficere, si mi contra fa, & vicissim fa contra mi ubique resultet, non habitâ attentione ad regulam supra pro genere Diatonico præscriptam. Exemplis res manifesta fiet.","issues":["Printed one-flat signature; explicit natural B in measure2 and E-flat in measure3."],"verificationNotes":["Direct visual note-by-note transcription by Astra. Rendering comparison pending.","Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"65d39effbbf042d9467457bb45b96f405d2bba46874fccf6f1847d9685e77968","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-385","downloads":[],"xmlSha256":"65d39effbbf042d9467457bb45b96f405d2bba46874fccf6f1847d9685e77968","integrity":"matched","parts":1,"voices":1,"notes":7,"measures":4,"parser":{"status":"supported","warnings":[],"events":7,"normalizations":[]},"preview":{"path":"previews/edition-advanced-212-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"a3b2d79e5b67460c29e918c02ab3875e41254a9378d8ea11bf910ac4ced55a4a","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"65d39effbbf042d9467457bb45b96f405d2bba46874fccf6f1847d9685e77968"}},{"id":"edition:advanced-212-b","collection":"edition","title":"Example advanced-212-b","page":212,"topic":"EXERCISE V. · SEVENTH LESSON, · On double counterpoint at the twelfth.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-212-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/212-b.png","sha256":"7456e6daced58f33276e2eea8da31f01ef3a23f3e017f1c828818fc668591535","label":"Source crop · printed p. 212","local":false}],"owners":["212-b"],"state":"recorded-review","editionStatus":"verified","context":"By the rule given above for the diatonic genus, the present theme would have to be inverted into reversed contrary motion in the following way:","latin":"Vi regulæ, pro genere Diatonico supra datæ præsens thema in Contrarium Reversum sequenti modo invertendum esset:","issues":["Printed one-flat signature, explicit F-sharp then F-natural, C-sharp."],"verificationNotes":["Direct visual note-by-note transcription by Astra. Rendering comparison pending.","Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"9b3b49858d81277260dd30f72df6e6014b5b0a0e14f8c980db58440fe8228ed3","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-386","downloads":[],"xmlSha256":"9b3b49858d81277260dd30f72df6e6014b5b0a0e14f8c980db58440fe8228ed3","integrity":"matched","parts":1,"voices":1,"notes":7,"measures":4,"parser":{"status":"supported","warnings":[],"events":7,"normalizations":[]},"preview":{"path":"previews/edition-advanced-212-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"9a1583a598814b0d6a97becbd1d761509b168cddc2e3041f00c03046b1961528","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"9b3b49858d81277260dd30f72df6e6014b5b0a0e14f8c980db58440fe8228ed3"}},{"id":"edition:advanced-213-a","collection":"edition","title":"Example advanced-213-a","page":213,"topic":"EXERCISE V. · SEVENTH LESSON, · On double counterpoint at the twelfth.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-213-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/213-a.png","sha256":"b5b4b6cca12601ab2996c7838c471a0e95b58a52112513602a6b95d1b7076f89","label":"Source crop · printed p. 213","local":false}],"owners":["213-a"],"state":"recorded-review","editionStatus":"verified","context":"But the following manner of inversion is far more suited to the mode to which this subject belongs. For example:","latin":"Verùm sequens invertendi ratio, Modo, cui subjectum hoc mancipatum est, longè congruentior evenit. E. G.","issues":["Enlarged signature confirms a single B-flat, not two flats. Explicit B-natural/B-flat and F-sharp."],"verificationNotes":["Direct visual note-by-note transcription by Astra. Rendering comparison pending.","Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"22db1b8c976897a57f8b80dffecc15c9dcac00e914a32e5a1992047f681cdef3","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-387","downloads":[],"xmlSha256":"22db1b8c976897a57f8b80dffecc15c9dcac00e914a32e5a1992047f681cdef3","integrity":"matched","parts":1,"voices":1,"notes":7,"measures":4,"parser":{"status":"supported","warnings":[],"events":7,"normalizations":[]},"preview":{"path":"previews/edition-advanced-213-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"442292cfc8e06f1d79ac960db4aab5e7f9972a88668b04a86a5991cab0e16e44","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"22db1b8c976897a57f8b80dffecc15c9dcac00e914a32e5a1992047f681cdef3"}},{"id":"edition:middle-final-213-b","collection":"edition","title":"Example middle-final-213-b","page":213,"topic":"EXERCISE V. · SEVENTH LESSON, · On double counterpoint at the twelfth.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-final-213-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/213-b.png","sha256":"3af5eb28108baf2c7230bbfce797afb814b8f0cc84996593fe912403b7ed9a7f","label":"Source crop · printed p. 213","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/214-a.png","sha256":"6d6eebf92dd18b50ccc2c33e0f8b8bfa23916e0ccdb5cf02a44e4ea32ece77fc","label":"Source crop · printed p. 214","local":false}],"owners":["213-b","214-a"],"state":"recorded-review","editionStatus":"verified","context":"The beginning and end of this reversed contrary form lie within the bounds of the mode. I shall place before your eyes a sketch of a fugue following this model. For example:","latin":"Cujus Contrarii reversi principium, & finis intrà Modi limites consistunt; ad ejusmodi normam, delineationem Fugæ oculis tuis subjiciam. E. G.","issues":["Signature B-flats encoded in pitch with no redundant accidental glyph; local naturals and chromatic flats retained.","Several post-bar augmentationdots normalized as editorial tied continuations."],"verificationNotes":["Direct visual reading of all19 source bars across213–214, including key-derived and local chromatic alterations.","Allthree Verovio pages viewed and source-compared; unequal shapes and printed breves retained."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"fa04bf0170df74e7a39b4356c58c8dbff9cf49c13e1432eec4ae77cf7ffe67ef","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-388","downloads":[],"xmlSha256":"fa04bf0170df74e7a39b4356c58c8dbff9cf49c13e1432eec4ae77cf7ffe67ef","integrity":"matched","parts":4,"voices":4,"notes":227,"measures":19,"parser":{"status":"supported","warnings":[],"events":218,"normalizations":[]},"preview":{"path":"previews/edition-middle-final-213-b.svg","pages":5,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"24fd20fd4e57e3bb69e5dc2a9696e0fa0fe08c1ff26353a2f42d07a00302cb1b","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"fa04bf0170df74e7a39b4356c58c8dbff9cf49c13e1432eec4ae77cf7ffe67ef"}},{"id":"edition:middle-final-215-a","collection":"edition","title":"Example middle-final-215-a","page":215,"topic":"EXERCISE V. · SEVENTH LESSON, · On double counterpoint at the twelfth.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-final-215-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/215-a.png","sha256":"2a975410997974aaa51dc390d550b79b3f3b924e2b04a3f3d83d674a5dd9ae9e","label":"Source crop · printed p. 215","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/216-a.png","sha256":"7f7c2db02b43b6037c2929555cbde47654521f3953db82663f61b895afd098ed","label":"Source crop · printed p. 216","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/217-a.png","sha256":"c2c37caa3dccdbf8ff4f38e6b37405f0bdf003a6993c0f856eb008b95a8b22ee","label":"Source crop · printed p. 217","local":false}],"owners":["215-a","216-a","217-a"],"state":"needs-review","editionStatus":"needs-review","context":"Aloysius. By no means, for I think we have treated that material quite fully and abundantly. Here I intended only to demonstrate how a direct form is to be combined with its contrary. But if someone wishes to adorn a composition with several subjects distinct in character and note value, this cannot be achieved except through the aid of double counterpoint, as may be seen in the following example:","latin":"Aloys. Minimè, satis enim, ut opinor, copiosè materiam illam, abundeque tractavimus. Hîc loci duntaxat in animo fuit demonstrare, quo modo Rectum cum Contrario suo combinandum sit. Si quis autem pluribus subjectis, & naturâ, valoreque distinctis Compositionem adornare cupit, id haud alia ratione, quàm beneficio Contrapuncti duplicis effici potest: quemadmodum in sequenti Paradigmate videndum est:","issues":["Original common-C, original C1/C3/C4/F4 clefs and B-flat signature retained; key-derived altered pitches encoded without redundant glyphs.","Single/double handwritten-looking note flags read as eighth/sixteenth durations. Dense ornamental groups require independent second-eye review.","Source pencil correction near opening alto and near217 bass second half note retained in source only; printed pitch used.","Possible arc near tenor measure13 remains unassigned because adjacent current pitch readings differ; no invalid tie invented."],"verificationNotes":["All source crops read at native resolution, with enlarged flag details.","Both rendered pages viewed; first8bars source-compared without remaining uncertainty and separately supplied as verified opening. Full ornate source remains review."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"05b025a2f4344198a84858afc61485ffa3b6088d10dfea81ff69372bc2aa9810","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-390","downloads":[],"xmlSha256":"05b025a2f4344198a84858afc61485ffa3b6088d10dfea81ff69372bc2aa9810","integrity":"matched","parts":4,"voices":4,"notes":263,"measures":21,"parser":{"status":"supported","warnings":[],"events":255,"normalizations":[]},"preview":{"path":"previews/edition-middle-final-215-a.svg","pages":3,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"b132c81b14528ce2b4e94da763c37651bb6a2b051e8811b40ce07ff3ec5cdaee","playback":false,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"05b025a2f4344198a84858afc61485ffa3b6088d10dfea81ff69372bc2aa9810"}},{"id":"edition:middle-final-215-a-verified-opening","collection":"edition","title":"Example middle-final-215-a-verified-opening","page":215,"topic":"EXERCISE V. · SEVENTH LESSON, · On double counterpoint at the twelfth.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-final-215-a-verified-opening.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/215-a.png","sha256":"2a975410997974aaa51dc390d550b79b3f3b924e2b04a3f3d83d674a5dd9ae9e","label":"Source crop · printed p. 215","local":false}],"owners":["215-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. By no means, for I think we have treated that material quite fully and abundantly. Here I intended only to demonstrate how a direct form is to be combined with its contrary. But if someone wishes to adorn a composition with several subjects distinct in character and note value, this cannot be achieved except through the aid of double counterpoint, as may be seen in the following example:","latin":"Aloys. Minimè, satis enim, ut opinor, copiosè materiam illam, abundeque tractavimus. Hîc loci duntaxat in animo fuit demonstrare, quo modo Rectum cum Contrario suo combinandum sit. Si quis autem pluribus subjectis, & naturâ, valoreque distinctis Compositionem adornare cupit, id haud alia ratione, quàm beneficio Contrapuncti duplicis effici potest: quemadmodum in sequenti Paradigmate videndum est:","issues":["Excerpt stops at an explicit review boundary; no cadence, final notes, or continuation guessed. 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The following are also of this kind. For example:","latin":"Ejusmodi, aliæque non multò dissimiles Variationes, substantiam haud immutantes in Compositione vulgari valere possunt. Ejusmodi quoque sunt. E. G.","issues":[],"verificationNotes":["Direct source note/clef/rhythm reading followed by visual Verovio comparison; all notes/rests and independent example boundaries checked."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"ee8bd5a25e0268fdc38212ff767b3ec00fcf5629278a5cf72fdd1193441f7016","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-398","downloads":[],"xmlSha256":"ee8bd5a25e0268fdc38212ff767b3ec00fcf5629278a5cf72fdd1193441f7016","integrity":"matched","parts":2,"voices":2,"notes":6,"measures":1,"parser":{"status":"supported","warnings":[],"events":6,"normalizations":[]},"preview":{"path":"previews/edition-middle-final-219-b-3.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"f3e620c0c2708dace437bd967200bfdf26330c55c7f03d9f1e66856689b7b016","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"ee8bd5a25e0268fdc38212ff767b3ec00fcf5629278a5cf72fdd1193441f7016"}},{"id":"edition:middle-final-219-b-4","collection":"edition","title":"Example middle-final-219-b-4","page":219,"topic":"On the figures of variation and anticipation.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-final-219-b-4.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/219-b.png","sha256":"4c2eb72ca09d95ce0515761ab0c9e8761be9ab89281472c259b95c1016110002","label":"Source crop · printed p. 219","local":false}],"owners":["219-b"],"state":"recorded-review","editionStatus":"verified","context":"Variations of this kind, and others not very dissimilar, which do not alter the substance, may be valid in common composition. The following are also of this kind. For example:","latin":"Ejusmodi, aliæque non multò dissimiles Variationes, substantiam haud immutantes in Compositione vulgari valere possunt. Ejusmodi quoque sunt. E. G.","issues":[],"verificationNotes":["Direct source note/clef/rhythm reading followed by visual Verovio comparison; all notes/rests and independent example boundaries checked."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"8af5d3f2b9774be2b7d6b2eab95de5677c8b28ab98d910ebe32c8280eb6d805a","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-398","downloads":[],"xmlSha256":"8af5d3f2b9774be2b7d6b2eab95de5677c8b28ab98d910ebe32c8280eb6d805a","integrity":"matched","parts":2,"voices":2,"notes":18,"measures":1,"parser":{"status":"supported","warnings":[],"events":18,"normalizations":[]},"preview":{"path":"previews/edition-middle-final-219-b-4.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"aba54165f77aedd9fb4d699e2f0e4a11ffd2a212282c81bbf2a3de5e88c78fc0","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"8af5d3f2b9774be2b7d6b2eab95de5677c8b28ab98d910ebe32c8280eb6d805a"}},{"id":"edition:middle-final-219-c-1","collection":"edition","title":"Example middle-final-219-c-1","page":219,"topic":"On the figures of variation and anticipation.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-final-219-c-1.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/219-c.png","sha256":"81550b65e34033fbb4c1db3f67654c23484227a0ab369f1a3139ae6de78769f3","label":"Source crop · printed p. 219","local":false}],"owners":["219-c"],"state":"recorded-review","editionStatus":"verified","context":"The figure of anticipation occurs when half the value of the preceding note is taken away and added to the following one. For example:","latin":"Figura Anticipationis fit, quando medietas valoris antecedentis Notæ, ablata sequenti adjicitur. E. G.","issues":[],"verificationNotes":["Direct source note/clef/rhythm reading followed by visual Verovio comparison; all notes/rests and independent example boundaries checked."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"a045f0f812a8a243cbb99a9c19ab4261f9c5f23a12903e1121075554a61a9ef5","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-399","downloads":[],"xmlSha256":"a045f0f812a8a243cbb99a9c19ab4261f9c5f23a12903e1121075554a61a9ef5","integrity":"matched","parts":2,"voices":2,"notes":8,"measures":1,"parser":{"status":"supported","warnings":[],"events":8,"normalizations":[]},"preview":{"path":"previews/edition-middle-final-219-c-1.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"f56c0affee417601c3b1400e0dbd6f6a7d2b830170e119acb704f4f026252019","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"a045f0f812a8a243cbb99a9c19ab4261f9c5f23a12903e1121075554a61a9ef5"}},{"id":"edition:middle-final-219-c-2","collection":"edition","title":"Example middle-final-219-c-2","page":219,"topic":"On the figures of variation and anticipation.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-final-219-c-2.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/219-c.png","sha256":"81550b65e34033fbb4c1db3f67654c23484227a0ab369f1a3139ae6de78769f3","label":"Source crop · printed p. 219","local":false}],"owners":["219-c"],"state":"recorded-review","editionStatus":"verified","context":"The figure of anticipation occurs when half the value of the preceding note is taken away and added to the following one. For example:","latin":"Figura Anticipationis fit, quando medietas valoris antecedentis Notæ, ablata sequenti adjicitur. E. G.","issues":[],"verificationNotes":["Direct source note/clef/rhythm reading followed by visual Verovio comparison; all notes/rests and independent example boundaries checked."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"0c694ee49541e6a84653938c290f6bdbd2be2aa452c6a56870f8f4e673a6858d","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-399","downloads":[],"xmlSha256":"0c694ee49541e6a84653938c290f6bdbd2be2aa452c6a56870f8f4e673a6858d","integrity":"matched","parts":2,"voices":2,"notes":9,"measures":1,"parser":{"status":"supported","warnings":[],"events":9,"normalizations":[]},"preview":{"path":"previews/edition-middle-final-219-c-2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"1ab6c553db1deb3b52e2da003bb27da43f7033e82d0c462ff7b4206420a00adb","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"0c694ee49541e6a84653938c290f6bdbd2be2aa452c6a56870f8f4e673a6858d"}},{"id":"edition:middle-final-219-c-3","collection":"edition","title":"Example middle-final-219-c-3","page":219,"topic":"On the figures of variation and anticipation.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-final-219-c-3.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/219-c.png","sha256":"81550b65e34033fbb4c1db3f67654c23484227a0ab369f1a3139ae6de78769f3","label":"Source crop · printed p. 219","local":false}],"owners":["219-c"],"state":"recorded-review","editionStatus":"verified","context":"The figure of anticipation occurs when half the value of the preceding note is taken away and added to the following one. For example:","latin":"Figura Anticipationis fit, quando medietas valoris antecedentis Notæ, ablata sequenti adjicitur. E. G.","issues":[],"verificationNotes":["Direct source note/clef/rhythm reading followed by visual Verovio comparison; all notes/rests and independent example boundaries checked."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"8dbeeef8101ec7afa03b0fcb6a1c2e5c378c6073943d72cf9a9ab282cd87082a","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-399","downloads":[],"xmlSha256":"8dbeeef8101ec7afa03b0fcb6a1c2e5c378c6073943d72cf9a9ab282cd87082a","integrity":"matched","parts":2,"voices":2,"notes":8,"measures":1,"parser":{"status":"supported","warnings":[],"events":8,"normalizations":[]},"preview":{"path":"previews/edition-middle-final-219-c-3.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"0e4cbdb88cddff9022f1c052a46d0d881020a4983a3221f0da4b7c3cef7b52bd","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"8dbeeef8101ec7afa03b0fcb6a1c2e5c378c6073943d72cf9a9ab282cd87082a"}},{"id":"edition:middle-final-219-c-4","collection":"edition","title":"Example middle-final-219-c-4","page":219,"topic":"On the figures of variation and anticipation.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-final-219-c-4.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/219-c.png","sha256":"81550b65e34033fbb4c1db3f67654c23484227a0ab369f1a3139ae6de78769f3","label":"Source crop · printed p. 219","local":false}],"owners":["219-c"],"state":"recorded-review","editionStatus":"verified","context":"The figure of anticipation occurs when half the value of the preceding note is taken away and added to the following one. For example:","latin":"Figura Anticipationis fit, quando medietas valoris antecedentis Notæ, ablata sequenti adjicitur. E. G.","issues":[],"verificationNotes":["Direct source note/clef/rhythm reading followed by visual Verovio comparison; all notes/rests and independent example boundaries checked."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"93d2e1f09fdcf8d63e610bb29e315d9f69cb13d9ad8a58339d61ab0d4e3514d4","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-399","downloads":[],"xmlSha256":"93d2e1f09fdcf8d63e610bb29e315d9f69cb13d9ad8a58339d61ab0d4e3514d4","integrity":"matched","parts":2,"voices":2,"notes":9,"measures":1,"parser":{"status":"supported","warnings":[],"events":9,"normalizations":[]},"preview":{"path":"previews/edition-middle-final-219-c-4.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"d69db60692486be8d85bbeb8b690689d7e87356bdabaa8c8f73e182b8a562e5e","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"93d2e1f09fdcf8d63e610bb29e315d9f69cb13d9ad8a58339d61ab0d4e3514d4"}},{"id":"edition:middle-final-219-c-5","collection":"edition","title":"Example middle-final-219-c-5","page":219,"topic":"On the figures of variation and anticipation.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-final-219-c-5.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/219-c.png","sha256":"81550b65e34033fbb4c1db3f67654c23484227a0ab369f1a3139ae6de78769f3","label":"Source crop · printed p. 219","local":false}],"owners":["219-c"],"state":"recorded-review","editionStatus":"verified","context":"The figure of anticipation occurs when half the value of the preceding note is taken away and added to the following one. For example:","latin":"Figura Anticipationis fit, quando medietas valoris antecedentis Notæ, ablata sequenti adjicitur. E. G.","issues":[],"verificationNotes":["Direct source note/clef/rhythm reading followed by visual Verovio comparison; all notes/rests and independent example boundaries checked."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"30a84b056915964cba06c1c6465541b3fae0d7b3abc2cd6a6ff30914aff17c6d","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-399","downloads":[],"xmlSha256":"30a84b056915964cba06c1c6465541b3fae0d7b3abc2cd6a6ff30914aff17c6d","integrity":"matched","parts":2,"voices":2,"notes":8,"measures":1,"parser":{"status":"supported","warnings":[],"events":8,"normalizations":[]},"preview":{"path":"previews/edition-middle-final-219-c-5.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"69ae3c1cf207c01dc8e71d55a2681cd3380b2514aeb519399e528215e437c220","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"30a84b056915964cba06c1c6465541b3fae0d7b3abc2cd6a6ff30914aff17c6d"}},{"id":"edition:middle-final-219-c-6","collection":"edition","title":"Example middle-final-219-c-6","page":219,"topic":"On the figures of variation and anticipation.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-final-219-c-6.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/219-c.png","sha256":"81550b65e34033fbb4c1db3f67654c23484227a0ab369f1a3139ae6de78769f3","label":"Source crop · printed p. 219","local":false}],"owners":["219-c"],"state":"recorded-review","editionStatus":"verified","context":"The figure of anticipation occurs when half the value of the preceding note is taken away and added to the following one. For example:","latin":"Figura Anticipationis fit, quando medietas valoris antecedentis Notæ, ablata sequenti adjicitur. E. G.","issues":[],"verificationNotes":["Direct source note/clef/rhythm reading followed by visual Verovio comparison; all notes/rests and independent example boundaries checked."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"0c9e126872eaa6d69ff097d7a63b94f632b9acfe4dc46dc02f2fdd11408e93b8","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-399","downloads":[],"xmlSha256":"0c9e126872eaa6d69ff097d7a63b94f632b9acfe4dc46dc02f2fdd11408e93b8","integrity":"matched","parts":2,"voices":2,"notes":9,"measures":1,"parser":{"status":"supported","warnings":[],"events":9,"normalizations":[]},"preview":{"path":"previews/edition-middle-final-219-c-6.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"bffec138721c89c1b2fe44d3f86168a40378f21b4f375448327109ebe62b21a7","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"0c9e126872eaa6d69ff097d7a63b94f632b9acfe4dc46dc02f2fdd11408e93b8"}},{"id":"edition:middle-final-222-a-1","collection":"edition","title":"Example middle-final-222-a-1","page":222,"topic":"On modes.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-final-222-a-1.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/222-a.png","sha256":"95530a5e8189a4b3d7aa1b7952b88a9ef3fb8eefb7513279c32817819084eb5d","label":"Source crop · printed p. 222","local":false}],"owners":["222-a"],"state":"recorded-review","editionStatus":"verified","context":"Here we must recall what we asserted above about simple fugues: namely, that six different species of octave are found according to the varying position of the semitone, and consequently there are as many principal modes, namely D, E, F, G, A, and C; although their diagram has already been given in the cited place, I do not consider it superfluous to repeat it here, as the order of the discussion requires.","latin":"Huc in memoriam revocanda sunt, quæ suprà de Fugis simplicibus asseruimus: sex nempe reperiri pro vario Semitonii situ differentes Octavarum Species, totidemque per consequens esse Modos principales: nempe D. E. F. G. A. C. quarum Diagramma, licet citato loco jam positum, ordine ità postulante, denuò repetere haud supervacaneum existimo.","issues":["Analytical unbarred solmization sequence; stemless pitch heads encoded as whole notes. 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explicit key-derived alterations and filled/unfilled heads checked."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"e1a5d20e1e62abedbff7946b2024ddf7c53933188a982b0ddd1a6aa0280be772","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-410","downloads":[],"xmlSha256":"e1a5d20e1e62abedbff7946b2024ddf7c53933188a982b0ddd1a6aa0280be772","integrity":"matched","parts":1,"voices":1,"notes":8,"measures":1,"parser":{"status":"supported","warnings":[],"events":8,"normalizations":[]},"preview":{"path":"previews/edition-middle-final-225-b-2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"544703ca398996591c6f0a77c64195e2ff8db3fcdad8f5559e70d6b9bfd3e687","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"e1a5d20e1e62abedbff7946b2024ddf7c53933188a982b0ddd1a6aa0280be772"}},{"id":"edition:middle-final-225-b-3","collection":"edition","title":"Example middle-final-225-b-3","page":225,"topic":"On modes.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-final-225-b-3.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/225-b.png","sha256":"3ece34fa3e7351178432c3d458d565b31269de44e2f048be9eba33ecbc611f82","label":"Source crop · printed p. 225","local":false}],"owners":["225-b"],"state":"recorded-review","editionStatus":"verified","context":"And any others that can be produced with the aid of a flat or sharp are little used.","latin":"Et si qui alii adminiculo b., vel ♯ effici possunt, parùm usitati.","issues":["Unbarred solmization scale: printed filled/unfilled heads retained; 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explicit key-derived alterations and filled/unfilled heads checked."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"5034fdf62732af4d9789d3b15c187dc18b1d345372d55ac13727b50f58766ddc","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-410","downloads":[],"xmlSha256":"5034fdf62732af4d9789d3b15c187dc18b1d345372d55ac13727b50f58766ddc","integrity":"matched","parts":1,"voices":1,"notes":8,"measures":1,"parser":{"status":"supported","warnings":[],"events":8,"normalizations":[]},"preview":{"path":"previews/edition-middle-final-225-b-4.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"e36542882876afcd9ed57cf88d29c71d0569c20f42d4006556eb47289d1596aa","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"5034fdf62732af4d9789d3b15c187dc18b1d345372d55ac13727b50f58766ddc"}},{"id":"edition:middle-final-225-b-5","collection":"edition","title":"Example middle-final-225-b-5","page":225,"topic":"On modes.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-final-225-b-5.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/225-b.png","sha256":"3ece34fa3e7351178432c3d458d565b31269de44e2f048be9eba33ecbc611f82","label":"Source crop · printed p. 225","local":false}],"owners":["225-b"],"state":"recorded-review","editionStatus":"verified","context":"And any others that can be produced with the aid of a flat or sharp are little used.","latin":"Et si qui alii adminiculo b., vel ♯ effici possunt, parùm usitati.","issues":["Unbarred solmization scale: printed filled/unfilled heads retained; stemless notes encoded as wholes."],"verificationNotes":["Direct source comparison of each scale start/end, original clef, key signature and all eight stepwise notes.","Viewed rendered scale group; explicit key-derived alterations and filled/unfilled heads checked."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"b25489276738a698c32e17c9615753af3188768915bb6e7ce033c9171ff9ee5c","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-410","downloads":[],"xmlSha256":"b25489276738a698c32e17c9615753af3188768915bb6e7ce033c9171ff9ee5c","integrity":"matched","parts":1,"voices":1,"notes":8,"measures":1,"parser":{"status":"supported","warnings":[],"events":8,"normalizations":[]},"preview":{"path":"previews/edition-middle-final-225-b-5.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"8dc43d4f9a4f2dcc3beab69291806fef819159bad237d36f69bc7aa1ce759576","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; 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explicit key-derived alterations and filled/unfilled heads checked."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"75de905631c3def999723dfca198fb58debd6428840689ad009b550a67250b04","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-410","downloads":[],"xmlSha256":"75de905631c3def999723dfca198fb58debd6428840689ad009b550a67250b04","integrity":"matched","parts":1,"voices":1,"notes":8,"measures":1,"parser":{"status":"supported","warnings":[],"events":8,"normalizations":[]},"preview":{"path":"previews/edition-middle-final-225-b-6.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"6bdf579c3aa8eaad90e27f0a76b765e6aaf9e3e6ae7fec34d493c190896c9cad","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"75de905631c3def999723dfca198fb58debd6428840689ad009b550a67250b04"}},{"id":"edition:advanced-226-a","collection":"edition","title":"Example advanced-226-a","page":226,"topic":"On modes.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-226-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/226-a.png","sha256":"b422d180128d4991be3d29ada0ac995948b3d8252f5e26059959f20e93ac0cbf","label":"Source crop · printed p. 226","local":false}],"owners":["226-a"],"state":"recorded-review","editionStatus":"verified","context":"And any others that can be produced with the aid of a flat or sharp are little used.","latin":"Et si qui alii adminiculo b., vel ♯ effici possunt, parùm usitati.","issues":["Two-flat signature. Unmetered scale with filled stemless semitone markers; equal whole-note playback units are editorial."],"verificationNotes":["All printed notes directly visually transcribed by Astra. Rendering comparison pending.","Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"413b5dcd94f5384521dc401d600d60d28019d6b8e70519bc4dc813ca985d5664","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-412","downloads":[],"xmlSha256":"413b5dcd94f5384521dc401d600d60d28019d6b8e70519bc4dc813ca985d5664","integrity":"matched","parts":1,"voices":1,"notes":8,"measures":1,"parser":{"status":"supported","warnings":[],"events":8,"normalizations":[]},"preview":{"path":"previews/edition-advanced-226-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"5ca30be3a8c6359f4e12f073ddf762ede84f246ec7bbd7e45a2bc668d569894a","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"413b5dcd94f5384521dc401d600d60d28019d6b8e70519bc4dc813ca985d5664"}},{"id":"edition:advanced-226-b-1","collection":"edition","title":"Example advanced-226-b-1","page":226,"topic":"On modes.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-226-b-1.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/226-b.png","sha256":"5747813c20fd82510db2f92c6a011e6f85d03cc782b81ed7bbd4210ad90a84f0","label":"Source crop · printed p. 226","local":false}],"owners":["226-b"],"state":"recorded-review","editionStatus":"verified","context":"Now from this twofold division of the octave arise two octave systems differing in species, and therefore also two modes differing in species: harmonic division produces one, called authentic, and arithmetic division the other, called plagal. From this it is inferred that, because twelve octave systems differing in species arise, as many modes must be established.","latin":"Jam ex ista duplici Octavæ divisione oriuntur duo specie differentia Octavarum sistemata, ergo duo etiam specie differentes Modi, quorum unum producit harmonica divisio, qui Authenticus, alterum divisio arithmetica, qui Plagalis nuncupatur. Ex quo infertur, quia duodecim Octavarum specie differentia oriuntur sistemata, totidem statuendos esse Modos.","issues":["Three sequential unmetered whole notes, not a simultaneous chord.","Three sequential unmetered whole notes, not a simultaneous chord.","Three sequential unmetered whole notes, not a simultaneous chord.","Three sequential unmetered whole notes, not a simultaneous chord.","Three sequential unmetered whole notes, not a simultaneous chord.","Three sequential unmetered whole notes, not a simultaneous chord."],"verificationNotes":["All printed notes directly visually transcribed by Astra. Rendering comparison pending.","Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"658dd98dbc285f6155e4ff56ba1105e77dc471c4baf9cce598bc07d915bf574a","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-413","downloads":[],"xmlSha256":"658dd98dbc285f6155e4ff56ba1105e77dc471c4baf9cce598bc07d915bf574a","integrity":"matched","parts":1,"voices":1,"notes":3,"measures":1,"parser":{"status":"supported","warnings":[],"events":3,"normalizations":[]},"preview":{"path":"previews/edition-advanced-226-b-1.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"e42a25cae45fc2df67d461339fabc5d7cf0f49478c1e2da049eb4066312dc5b6","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"658dd98dbc285f6155e4ff56ba1105e77dc471c4baf9cce598bc07d915bf574a"}},{"id":"edition:advanced-226-b-2","collection":"edition","title":"Example advanced-226-b-2","page":226,"topic":"On modes.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-226-b-2.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/226-b.png","sha256":"5747813c20fd82510db2f92c6a011e6f85d03cc782b81ed7bbd4210ad90a84f0","label":"Source crop · printed p. 226","local":false}],"owners":["226-b"],"state":"recorded-review","editionStatus":"verified","context":"Now from this twofold division of the octave arise two octave systems differing in species, and therefore also two modes differing in species: harmonic division produces one, called authentic, and arithmetic division the other, called plagal. From this it is inferred that, because twelve octave systems differing in species arise, as many modes must be established.","latin":"Jam ex ista duplici Octavæ divisione oriuntur duo specie differentia Octavarum sistemata, ergo duo etiam specie differentes Modi, quorum unum producit harmonica divisio, qui Authenticus, alterum divisio arithmetica, qui Plagalis nuncupatur. Ex quo infertur, quia duodecim Octavarum specie differentia oriuntur sistemata, totidem statuendos esse Modos.","issues":["Three sequential unmetered whole notes, not a simultaneous chord.","Three sequential unmetered whole notes, not a simultaneous chord.","Three sequential unmetered whole notes, not a simultaneous chord.","Three sequential unmetered whole notes, not a simultaneous chord.","Three sequential unmetered whole notes, not a simultaneous chord.","Three sequential unmetered whole notes, not a simultaneous chord."],"verificationNotes":["All printed notes directly visually transcribed by Astra. Rendering comparison pending.","Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"b201647d976b5496a9983fe0833181a392d220f055de6f3ecaef224f9386e6fa","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-413","downloads":[],"xmlSha256":"b201647d976b5496a9983fe0833181a392d220f055de6f3ecaef224f9386e6fa","integrity":"matched","parts":1,"voices":1,"notes":3,"measures":1,"parser":{"status":"supported","warnings":[],"events":3,"normalizations":[]},"preview":{"path":"previews/edition-advanced-226-b-2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"98980b946df7c927e929ba6377e11245bd2aab7a7a709ddf3c22bb722dcd07f5","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"b201647d976b5496a9983fe0833181a392d220f055de6f3ecaef224f9386e6fa"}},{"id":"edition:advanced-226-b-3","collection":"edition","title":"Example advanced-226-b-3","page":226,"topic":"On modes.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-226-b-3.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/226-b.png","sha256":"5747813c20fd82510db2f92c6a011e6f85d03cc782b81ed7bbd4210ad90a84f0","label":"Source crop · printed p. 226","local":false}],"owners":["226-b"],"state":"recorded-review","editionStatus":"verified","context":"Now from this twofold division of the octave arise two octave systems differing in species, and therefore also two modes differing in species: harmonic division produces one, called authentic, and arithmetic division the other, called plagal. From this it is inferred that, because twelve octave systems differing in species arise, as many modes must be established.","latin":"Jam ex ista duplici Octavæ divisione oriuntur duo specie differentia Octavarum sistemata, ergo duo etiam specie differentes Modi, quorum unum producit harmonica divisio, qui Authenticus, alterum divisio arithmetica, qui Plagalis nuncupatur. Ex quo infertur, quia duodecim Octavarum specie differentia oriuntur sistemata, totidem statuendos esse Modos.","issues":["Three sequential unmetered whole notes, not a simultaneous chord.","Three sequential unmetered whole notes, not a simultaneous chord.","Three sequential unmetered whole notes, not a simultaneous chord.","Three sequential unmetered whole notes, not a simultaneous chord.","Three sequential unmetered whole notes, not a simultaneous chord.","Three sequential unmetered whole notes, not a simultaneous chord."],"verificationNotes":["All printed notes directly visually transcribed by Astra. Rendering comparison pending.","Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"962955ac073bd25a09cfbd836eaff46a7a4a44867a47b7e63edfed8d9253f23e","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-413","downloads":[],"xmlSha256":"962955ac073bd25a09cfbd836eaff46a7a4a44867a47b7e63edfed8d9253f23e","integrity":"matched","parts":1,"voices":1,"notes":3,"measures":1,"parser":{"status":"supported","warnings":[],"events":3,"normalizations":[]},"preview":{"path":"previews/edition-advanced-226-b-3.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"70329ff389ab5bf7770360758549cf4459d74c4b10f9d4fe9b5a5359667c900b","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"962955ac073bd25a09cfbd836eaff46a7a4a44867a47b7e63edfed8d9253f23e"}},{"id":"edition:advanced-226-b-4","collection":"edition","title":"Example advanced-226-b-4","page":226,"topic":"On modes.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-226-b-4.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/226-b.png","sha256":"5747813c20fd82510db2f92c6a011e6f85d03cc782b81ed7bbd4210ad90a84f0","label":"Source crop · printed p. 226","local":false}],"owners":["226-b"],"state":"recorded-review","editionStatus":"verified","context":"Now from this twofold division of the octave arise two octave systems differing in species, and therefore also two modes differing in species: harmonic division produces one, called authentic, and arithmetic division the other, called plagal. From this it is inferred that, because twelve octave systems differing in species arise, as many modes must be established.","latin":"Jam ex ista duplici Octavæ divisione oriuntur duo specie differentia Octavarum sistemata, ergo duo etiam specie differentes Modi, quorum unum producit harmonica divisio, qui Authenticus, alterum divisio arithmetica, qui Plagalis nuncupatur. Ex quo infertur, quia duodecim Octavarum specie differentia oriuntur sistemata, totidem statuendos esse Modos.","issues":["Three sequential unmetered whole notes, not a simultaneous chord.","Three sequential unmetered whole notes, not a simultaneous chord.","Three sequential unmetered whole notes, not a simultaneous chord.","Three sequential unmetered whole notes, not a simultaneous chord.","Three sequential unmetered whole notes, not a simultaneous chord.","Three sequential unmetered whole notes, not a simultaneous chord."],"verificationNotes":["All printed notes directly visually transcribed by Astra. Rendering comparison pending.","Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"072d200c50fdc65c806b76f141868acd20758c37a267315dcb328fc824c7fd06","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-413","downloads":[],"xmlSha256":"072d200c50fdc65c806b76f141868acd20758c37a267315dcb328fc824c7fd06","integrity":"matched","parts":1,"voices":1,"notes":3,"measures":1,"parser":{"status":"supported","warnings":[],"events":3,"normalizations":[]},"preview":{"path":"previews/edition-advanced-226-b-4.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"e3514a17e8fc6e86e795ee75d455c8f578b71c922c26f156e610ae8c362529c9","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"072d200c50fdc65c806b76f141868acd20758c37a267315dcb328fc824c7fd06"}},{"id":"edition:advanced-226-b-5","collection":"edition","title":"Example advanced-226-b-5","page":226,"topic":"On modes.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-226-b-5.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/226-b.png","sha256":"5747813c20fd82510db2f92c6a011e6f85d03cc782b81ed7bbd4210ad90a84f0","label":"Source crop · printed p. 226","local":false}],"owners":["226-b"],"state":"recorded-review","editionStatus":"verified","context":"Now from this twofold division of the octave arise two octave systems differing in species, and therefore also two modes differing in species: harmonic division produces one, called authentic, and arithmetic division the other, called plagal. From this it is inferred that, because twelve octave systems differing in species arise, as many modes must be established.","latin":"Jam ex ista duplici Octavæ divisione oriuntur duo specie differentia Octavarum sistemata, ergo duo etiam specie differentes Modi, quorum unum producit harmonica divisio, qui Authenticus, alterum divisio arithmetica, qui Plagalis nuncupatur. Ex quo infertur, quia duodecim Octavarum specie differentia oriuntur sistemata, totidem statuendos esse Modos.","issues":["Three sequential unmetered whole notes, not a simultaneous chord.","Three sequential unmetered whole notes, not a simultaneous chord.","Three sequential unmetered whole notes, not a simultaneous chord.","Three sequential unmetered whole notes, not a simultaneous chord.","Three sequential unmetered whole notes, not a simultaneous chord.","Three sequential unmetered whole notes, not a simultaneous chord."],"verificationNotes":["All printed notes directly visually transcribed by Astra. Rendering comparison pending.","Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"60c69e3d5e45ce24976d37197367ddf8022f700dcbea921bb6d7f7fd31cd4e35","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-413","downloads":[],"xmlSha256":"60c69e3d5e45ce24976d37197367ddf8022f700dcbea921bb6d7f7fd31cd4e35","integrity":"matched","parts":1,"voices":1,"notes":3,"measures":1,"parser":{"status":"supported","warnings":[],"events":3,"normalizations":[]},"preview":{"path":"previews/edition-advanced-226-b-5.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"011eedb5f6e81b9377e1402e2c5831f214237b639e7ad288577fb8d31e7607aa","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"60c69e3d5e45ce24976d37197367ddf8022f700dcbea921bb6d7f7fd31cd4e35"}},{"id":"edition:advanced-226-b-6","collection":"edition","title":"Example advanced-226-b-6","page":226,"topic":"On modes.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-226-b-6.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/226-b.png","sha256":"5747813c20fd82510db2f92c6a011e6f85d03cc782b81ed7bbd4210ad90a84f0","label":"Source crop · printed p. 226","local":false}],"owners":["226-b"],"state":"recorded-review","editionStatus":"verified","context":"Now from this twofold division of the octave arise two octave systems differing in species, and therefore also two modes differing in species: harmonic division produces one, called authentic, and arithmetic division the other, called plagal. From this it is inferred that, because twelve octave systems differing in species arise, as many modes must be established.","latin":"Jam ex ista duplici Octavæ divisione oriuntur duo specie differentia Octavarum sistemata, ergo duo etiam specie differentes Modi, quorum unum producit harmonica divisio, qui Authenticus, alterum divisio arithmetica, qui Plagalis nuncupatur. Ex quo infertur, quia duodecim Octavarum specie differentia oriuntur sistemata, totidem statuendos esse Modos.","issues":["Three sequential unmetered whole notes, not a simultaneous chord.","Three sequential unmetered whole notes, not a simultaneous chord.","Three sequential unmetered whole notes, not a simultaneous chord.","Three sequential unmetered whole notes, not a simultaneous chord.","Three sequential unmetered whole notes, not a simultaneous chord.","Three sequential unmetered whole notes, not a simultaneous chord."],"verificationNotes":["All printed notes directly visually transcribed by Astra. Rendering comparison pending.","Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"8c536fd5b4ada1ef913284a72c17b01ae6a93396c1ca8d28159a6cc479ecf8e2","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-413","downloads":[],"xmlSha256":"8c536fd5b4ada1ef913284a72c17b01ae6a93396c1ca8d28159a6cc479ecf8e2","integrity":"matched","parts":1,"voices":1,"notes":3,"measures":1,"parser":{"status":"supported","warnings":[],"events":3,"normalizations":[]},"preview":{"path":"previews/edition-advanced-226-b-6.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"bd0ad51fd6452dcdce1327f82168fa3282ca2e75a3bd76d10cb58525e49fa8f3","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"8c536fd5b4ada1ef913284a72c17b01ae6a93396c1ca8d28159a6cc479ecf8e2"}},{"id":"edition:advanced-226-c-1","collection":"edition","title":"Example advanced-226-c-1","page":226,"topic":"On modes.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-226-c-1.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/226-c.png","sha256":"f6a6417b35dbf548442286856d8fb556d0c059d1fc6c2602dbd9e9a0b8919c9d","label":"Source crop · printed p. 226","local":false}],"owners":["226-c"],"state":"recorded-review","editionStatus":"verified","context":"There is no doubt that these systems are produced by harmonic division. But whether the following systems, presented by Joseph Zarlino and many others for the formation of plagal modes, arise from arithmetic division is a matter of the greatest controversy.","latin":"Hæc sistemata ex divisione harmonicè factâ produci, nullum est dubium. An autem sequentia à Josepho Zarlino, plerisque aliis ad formationem Modorum Plagalium exhibita, ab arithmeticâ divisione gignantur, maxima est Controversia.","issues":["Descending sequential whole-note intervals; source mode letter C.","Descending sequential whole-note intervals; source mode letter D.","Descending sequential whole-note intervals; source mode letter E.","Descending sequential whole-note intervals; source mode letter F.","Descending sequential whole-note intervals; source mode letter G.","Descending sequential whole-note intervals; source mode letter A."],"verificationNotes":["All printed notes directly visually transcribed by Astra. Rendering comparison pending.","Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"9d07fdb4ddc5e82e51bf1b4e95810630c3892f4eda7b65b530a4996e3bb604a5","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-414","downloads":[],"xmlSha256":"9d07fdb4ddc5e82e51bf1b4e95810630c3892f4eda7b65b530a4996e3bb604a5","integrity":"matched","parts":1,"voices":1,"notes":3,"measures":1,"parser":{"status":"supported","warnings":[],"events":3,"normalizations":[]},"preview":{"path":"previews/edition-advanced-226-c-1.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"23ba6a6f894a93695b77b9c4f893007d9eee6806cfb7825d8a2bbfaef4f6b072","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"9d07fdb4ddc5e82e51bf1b4e95810630c3892f4eda7b65b530a4996e3bb604a5"}},{"id":"edition:advanced-226-c-2","collection":"edition","title":"Example advanced-226-c-2","page":226,"topic":"On modes.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-226-c-2.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/226-c.png","sha256":"f6a6417b35dbf548442286856d8fb556d0c059d1fc6c2602dbd9e9a0b8919c9d","label":"Source crop · printed p. 226","local":false}],"owners":["226-c"],"state":"recorded-review","editionStatus":"verified","context":"There is no doubt that these systems are produced by harmonic division. But whether the following systems, presented by Joseph Zarlino and many others for the formation of plagal modes, arise from arithmetic division is a matter of the greatest controversy.","latin":"Hæc sistemata ex divisione harmonicè factâ produci, nullum est dubium. An autem sequentia à Josepho Zarlino, plerisque aliis ad formationem Modorum Plagalium exhibita, ab arithmeticâ divisione gignantur, maxima est Controversia.","issues":["Descending sequential whole-note intervals; source mode letter C.","Descending sequential whole-note intervals; source mode letter D.","Descending sequential whole-note intervals; source mode letter E.","Descending sequential whole-note intervals; source mode letter F.","Descending sequential whole-note intervals; source mode letter G.","Descending sequential whole-note intervals; source mode letter A."],"verificationNotes":["All printed notes directly visually transcribed by Astra. Rendering comparison pending.","Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"8ccc10cb5b9e3bd0a3d842bd31d4ba2fe750cdbfd4a82d11847289cb4771b69a","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-414","downloads":[],"xmlSha256":"8ccc10cb5b9e3bd0a3d842bd31d4ba2fe750cdbfd4a82d11847289cb4771b69a","integrity":"matched","parts":1,"voices":1,"notes":3,"measures":1,"parser":{"status":"supported","warnings":[],"events":3,"normalizations":[]},"preview":{"path":"previews/edition-advanced-226-c-2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"926db7f53b54a3ef0d76afa8e3d0cdd86f410f16c0c627bf47573de8c3c23694","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"8ccc10cb5b9e3bd0a3d842bd31d4ba2fe750cdbfd4a82d11847289cb4771b69a"}},{"id":"edition:advanced-226-c-3","collection":"edition","title":"Example advanced-226-c-3","page":226,"topic":"On modes.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-226-c-3.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/226-c.png","sha256":"f6a6417b35dbf548442286856d8fb556d0c059d1fc6c2602dbd9e9a0b8919c9d","label":"Source crop · printed p. 226","local":false}],"owners":["226-c"],"state":"recorded-review","editionStatus":"verified","context":"There is no doubt that these systems are produced by harmonic division. But whether the following systems, presented by Joseph Zarlino and many others for the formation of plagal modes, arise from arithmetic division is a matter of the greatest controversy.","latin":"Hæc sistemata ex divisione harmonicè factâ produci, nullum est dubium. An autem sequentia à Josepho Zarlino, plerisque aliis ad formationem Modorum Plagalium exhibita, ab arithmeticâ divisione gignantur, maxima est Controversia.","issues":["Descending sequential whole-note intervals; source mode letter C.","Descending sequential whole-note intervals; source mode letter D.","Descending sequential whole-note intervals; source mode letter E.","Descending sequential whole-note intervals; source mode letter F.","Descending sequential whole-note intervals; source mode letter G.","Descending sequential whole-note intervals; source mode letter A."],"verificationNotes":["All printed notes directly visually transcribed by Astra. Rendering comparison pending.","Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"b4fd8bbfcd94d6d5353245b25467d619f5a54172e7b45430d39e6629bad7c4b8","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-414","downloads":[],"xmlSha256":"b4fd8bbfcd94d6d5353245b25467d619f5a54172e7b45430d39e6629bad7c4b8","integrity":"matched","parts":1,"voices":1,"notes":3,"measures":1,"parser":{"status":"supported","warnings":[],"events":3,"normalizations":[]},"preview":{"path":"previews/edition-advanced-226-c-3.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"ef83a11b87f2cb10203c2d2e8b18547508d54e9a9027d616919b008c1b566890","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"b4fd8bbfcd94d6d5353245b25467d619f5a54172e7b45430d39e6629bad7c4b8"}},{"id":"edition:advanced-226-c-4","collection":"edition","title":"Example advanced-226-c-4","page":226,"topic":"On modes.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-226-c-4.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/226-c.png","sha256":"f6a6417b35dbf548442286856d8fb556d0c059d1fc6c2602dbd9e9a0b8919c9d","label":"Source crop · printed p. 226","local":false}],"owners":["226-c"],"state":"recorded-review","editionStatus":"verified","context":"There is no doubt that these systems are produced by harmonic division. But whether the following systems, presented by Joseph Zarlino and many others for the formation of plagal modes, arise from arithmetic division is a matter of the greatest controversy.","latin":"Hæc sistemata ex divisione harmonicè factâ produci, nullum est dubium. An autem sequentia à Josepho Zarlino, plerisque aliis ad formationem Modorum Plagalium exhibita, ab arithmeticâ divisione gignantur, maxima est Controversia.","issues":["Descending sequential whole-note intervals; source mode letter C.","Descending sequential whole-note intervals; source mode letter D.","Descending sequential whole-note intervals; source mode letter E.","Descending sequential whole-note intervals; source mode letter F.","Descending sequential whole-note intervals; source mode letter G.","Descending sequential whole-note intervals; source mode letter A."],"verificationNotes":["All printed notes directly visually transcribed by Astra. Rendering comparison pending.","Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"fd3b41ef7da6928ec856bd263a93ce5ef704b48a4e2240e6e613af84f77c2975","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-414","downloads":[],"xmlSha256":"fd3b41ef7da6928ec856bd263a93ce5ef704b48a4e2240e6e613af84f77c2975","integrity":"matched","parts":1,"voices":1,"notes":3,"measures":1,"parser":{"status":"supported","warnings":[],"events":3,"normalizations":[]},"preview":{"path":"previews/edition-advanced-226-c-4.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"d8ed2c625de69fc07157ebd7ffc14df19c505309f829a8522c9c5e2ca76a0c96","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"fd3b41ef7da6928ec856bd263a93ce5ef704b48a4e2240e6e613af84f77c2975"}},{"id":"edition:advanced-226-c-5","collection":"edition","title":"Example advanced-226-c-5","page":226,"topic":"On modes.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-226-c-5.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/226-c.png","sha256":"f6a6417b35dbf548442286856d8fb556d0c059d1fc6c2602dbd9e9a0b8919c9d","label":"Source crop · printed p. 226","local":false}],"owners":["226-c"],"state":"recorded-review","editionStatus":"verified","context":"There is no doubt that these systems are produced by harmonic division. But whether the following systems, presented by Joseph Zarlino and many others for the formation of plagal modes, arise from arithmetic division is a matter of the greatest controversy.","latin":"Hæc sistemata ex divisione harmonicè factâ produci, nullum est dubium. An autem sequentia à Josepho Zarlino, plerisque aliis ad formationem Modorum Plagalium exhibita, ab arithmeticâ divisione gignantur, maxima est Controversia.","issues":["Descending sequential whole-note intervals; source mode letter C.","Descending sequential whole-note intervals; source mode letter D.","Descending sequential whole-note intervals; source mode letter E.","Descending sequential whole-note intervals; source mode letter F.","Descending sequential whole-note intervals; source mode letter G.","Descending sequential whole-note intervals; source mode letter A."],"verificationNotes":["All printed notes directly visually transcribed by Astra. Rendering comparison pending.","Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"0dd4e3d40901a0ab1ee789787141d610c8505707a37c3572bf842030bc3da323","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-414","downloads":[],"xmlSha256":"0dd4e3d40901a0ab1ee789787141d610c8505707a37c3572bf842030bc3da323","integrity":"matched","parts":1,"voices":1,"notes":3,"measures":1,"parser":{"status":"supported","warnings":[],"events":3,"normalizations":[]},"preview":{"path":"previews/edition-advanced-226-c-5.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"280b69534cb15bb6cd0889c94583a58eefbb40d33684881fce1c2426456d8b12","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"0dd4e3d40901a0ab1ee789787141d610c8505707a37c3572bf842030bc3da323"}},{"id":"edition:advanced-226-c-6","collection":"edition","title":"Example advanced-226-c-6","page":226,"topic":"On modes.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-226-c-6.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/226-c.png","sha256":"f6a6417b35dbf548442286856d8fb556d0c059d1fc6c2602dbd9e9a0b8919c9d","label":"Source crop · printed p. 226","local":false}],"owners":["226-c"],"state":"recorded-review","editionStatus":"verified","context":"There is no doubt that these systems are produced by harmonic division. But whether the following systems, presented by Joseph Zarlino and many others for the formation of plagal modes, arise from arithmetic division is a matter of the greatest controversy.","latin":"Hæc sistemata ex divisione harmonicè factâ produci, nullum est dubium. An autem sequentia à Josepho Zarlino, plerisque aliis ad formationem Modorum Plagalium exhibita, ab arithmeticâ divisione gignantur, maxima est Controversia.","issues":["Descending sequential whole-note intervals; source mode letter C.","Descending sequential whole-note intervals; source mode letter D.","Descending sequential whole-note intervals; source mode letter E.","Descending sequential whole-note intervals; source mode letter F.","Descending sequential whole-note intervals; source mode letter G.","Descending sequential whole-note intervals; source mode letter A."],"verificationNotes":["All printed notes directly visually transcribed by Astra. Rendering comparison pending.","Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"ff1d581c728234e48698bf86be7f3114518498e63715f7bf0e466da8625cdf89","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-414","downloads":[],"xmlSha256":"ff1d581c728234e48698bf86be7f3114518498e63715f7bf0e466da8625cdf89","integrity":"matched","parts":1,"voices":1,"notes":3,"measures":1,"parser":{"status":"supported","warnings":[],"events":3,"normalizations":[]},"preview":{"path":"previews/edition-advanced-226-c-6.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"c618b892eefa55d12c51e58aaed73e464d3f958ff5edadf9a8578276b13b3f23","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"ff1d581c728234e48698bf86be7f3114518498e63715f7bf0e466da8625cdf89"}},{"id":"edition:advanced-227-a","collection":"edition","title":"Example advanced-227-a","page":227,"topic":"On modes.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-227-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/227-a.png","sha256":"6cde9fcabd8e5abe1ee234c42e2c229c7a2a10299a8dc372507b68d18afe8811","label":"Source crop · printed p. 227","local":false}],"owners":["227-a"],"state":"recorded-review","editionStatus":"verified","context":"For Zarlino himself, in Part Four, Chapter Nine, on modes, sets out the following system from the octave C.","latin":"Quum ipse Zarlinus Part. 4. Cap. 9. de Modis, ex Octava C. sequens sistema ponat.","issues":["Three unmetered stemless whole notes, no internal barlines."],"verificationNotes":["Direct visual note-by-note transcription by Astra. Rendering comparison pending.","Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"9cf2210a1d0dd947f1daa0cbe7ac028156a4fed55deb3b28303c5afc88480090","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-415","downloads":[],"xmlSha256":"9cf2210a1d0dd947f1daa0cbe7ac028156a4fed55deb3b28303c5afc88480090","integrity":"matched","parts":1,"voices":1,"notes":3,"measures":1,"parser":{"status":"supported","warnings":[],"events":3,"normalizations":[]},"preview":{"path":"previews/edition-advanced-227-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"9a9891a41075dbecb9091010d545ff5e9aaf8b4794dba4f3325183021fa95638","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"9cf2210a1d0dd947f1daa0cbe7ac028156a4fed55deb3b28303c5afc88480090"}},{"id":"edition:advanced-227-b-1","collection":"edition","title":"Example advanced-227-b-1","page":227,"topic":"On modes.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-227-b-1.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/227-b.png","sha256":"6d791b9de456ab1def766bd9b6699d9dcdf66da59982224267c6911d55819194","label":"Source crop · printed p. 227","local":false}],"owners":["227-b"],"state":"recorded-review","editionStatus":"verified","context":"Here the lowest pitch remains, which is the true product of arithmetic division. If, therefore, plagal modes arise from arithmetic division, as indeed they do, their formation must be expressed by the following systems.","latin":"Ubi chorda gravissima manet; quod verum productum est arithmeticæ divisionis. Si itaque Modi Plagales ex divisione arithmeticâ gignuntur, uti revera est, eorum formatio sequentibus sistematibus exprimenda est.","issues":["Ascending sequential whole-note intervals; source mode letter C.","Ascending sequential whole-note intervals; source mode letter D.","Ascending sequential whole-note intervals; source mode letter E.","Ascending sequential whole-note intervals; source mode letter G.","Ascending sequential whole-note intervals; source mode letter A."],"verificationNotes":["All printed notes directly visually transcribed by Astra. Rendering comparison pending.","Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"572948641607a4d1b068bbafd22cfcb205d6bd8e5189e9c86500492817e2ebe3","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-416","downloads":[],"xmlSha256":"572948641607a4d1b068bbafd22cfcb205d6bd8e5189e9c86500492817e2ebe3","integrity":"matched","parts":1,"voices":1,"notes":3,"measures":1,"parser":{"status":"supported","warnings":[],"events":3,"normalizations":[]},"preview":{"path":"previews/edition-advanced-227-b-1.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"b99b493a0e74b6b5bcf40705e376f7cc5f20778934a2b34b8b75d4fa378c1058","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"572948641607a4d1b068bbafd22cfcb205d6bd8e5189e9c86500492817e2ebe3"}},{"id":"edition:advanced-227-b-2","collection":"edition","title":"Example advanced-227-b-2","page":227,"topic":"On modes.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-227-b-2.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/227-b.png","sha256":"6d791b9de456ab1def766bd9b6699d9dcdf66da59982224267c6911d55819194","label":"Source crop · printed p. 227","local":false}],"owners":["227-b"],"state":"recorded-review","editionStatus":"verified","context":"Here the lowest pitch remains, which is the true product of arithmetic division. If, therefore, plagal modes arise from arithmetic division, as indeed they do, their formation must be expressed by the following systems.","latin":"Ubi chorda gravissima manet; quod verum productum est arithmeticæ divisionis. Si itaque Modi Plagales ex divisione arithmeticâ gignuntur, uti revera est, eorum formatio sequentibus sistematibus exprimenda est.","issues":["Ascending sequential whole-note intervals; source mode letter C.","Ascending sequential whole-note intervals; source mode letter D.","Ascending sequential whole-note intervals; source mode letter E.","Ascending sequential whole-note intervals; source mode letter G.","Ascending sequential whole-note intervals; source mode letter A."],"verificationNotes":["All printed notes directly visually transcribed by Astra. Rendering comparison pending.","Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"89d7a7236d4aadea50787a079472a2adb10cae203ea8eed38183f60a21e56da0","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-416","downloads":[],"xmlSha256":"89d7a7236d4aadea50787a079472a2adb10cae203ea8eed38183f60a21e56da0","integrity":"matched","parts":1,"voices":1,"notes":3,"measures":1,"parser":{"status":"supported","warnings":[],"events":3,"normalizations":[]},"preview":{"path":"previews/edition-advanced-227-b-2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"11dbd264df801af1acd7276b7fb88cb69d13ae1af477c0d4471ee60293840b26","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"89d7a7236d4aadea50787a079472a2adb10cae203ea8eed38183f60a21e56da0"}},{"id":"edition:advanced-227-b-3","collection":"edition","title":"Example advanced-227-b-3","page":227,"topic":"On modes.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-227-b-3.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/227-b.png","sha256":"6d791b9de456ab1def766bd9b6699d9dcdf66da59982224267c6911d55819194","label":"Source crop · printed p. 227","local":false}],"owners":["227-b"],"state":"recorded-review","editionStatus":"verified","context":"Here the lowest pitch remains, which is the true product of arithmetic division. If, therefore, plagal modes arise from arithmetic division, as indeed they do, their formation must be expressed by the following systems.","latin":"Ubi chorda gravissima manet; quod verum productum est arithmeticæ divisionis. Si itaque Modi Plagales ex divisione arithmeticâ gignuntur, uti revera est, eorum formatio sequentibus sistematibus exprimenda est.","issues":["Ascending sequential whole-note intervals; source mode letter C.","Ascending sequential whole-note intervals; source mode letter D.","Ascending sequential whole-note intervals; source mode letter E.","Ascending sequential whole-note intervals; source mode letter G.","Ascending sequential whole-note intervals; source mode letter A."],"verificationNotes":["All printed notes directly visually transcribed by Astra. Rendering comparison pending.","Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"1e828915db103bc7b97671433736627035139260aaf9b4b2a9d67c913c1aba49","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-416","downloads":[],"xmlSha256":"1e828915db103bc7b97671433736627035139260aaf9b4b2a9d67c913c1aba49","integrity":"matched","parts":1,"voices":1,"notes":3,"measures":1,"parser":{"status":"supported","warnings":[],"events":3,"normalizations":[]},"preview":{"path":"previews/edition-advanced-227-b-3.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"c292ba234c61afea95ee0ce5574de6d23dfed5d6c2eeed6bd8a39c44ac3f2230","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"1e828915db103bc7b97671433736627035139260aaf9b4b2a9d67c913c1aba49"}},{"id":"edition:advanced-227-b-4","collection":"edition","title":"Example advanced-227-b-4","page":227,"topic":"On modes.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-227-b-4.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/227-b.png","sha256":"6d791b9de456ab1def766bd9b6699d9dcdf66da59982224267c6911d55819194","label":"Source crop · printed p. 227","local":false}],"owners":["227-b"],"state":"recorded-review","editionStatus":"verified","context":"Here the lowest pitch remains, which is the true product of arithmetic division. If, therefore, plagal modes arise from arithmetic division, as indeed they do, their formation must be expressed by the following systems.","latin":"Ubi chorda gravissima manet; quod verum productum est arithmeticæ divisionis. Si itaque Modi Plagales ex divisione arithmeticâ gignuntur, uti revera est, eorum formatio sequentibus sistematibus exprimenda est.","issues":["Ascending sequential whole-note intervals; source mode letter C.","Ascending sequential whole-note intervals; source mode letter D.","Ascending sequential whole-note intervals; source mode letter E.","Ascending sequential whole-note intervals; source mode letter G.","Ascending sequential whole-note intervals; source mode letter A."],"verificationNotes":["All printed notes directly visually transcribed by Astra. Rendering comparison pending.","Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"994631f22be81983399e4b3be530ab06ea1a22ee137b0ae22a69856043b4992b","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-416","downloads":[],"xmlSha256":"994631f22be81983399e4b3be530ab06ea1a22ee137b0ae22a69856043b4992b","integrity":"matched","parts":1,"voices":1,"notes":3,"measures":1,"parser":{"status":"supported","warnings":[],"events":3,"normalizations":[]},"preview":{"path":"previews/edition-advanced-227-b-4.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"3817c9373e0817323078c0c9c74f1535f4534f8d966f41e61a2dc39fe20b8274","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"994631f22be81983399e4b3be530ab06ea1a22ee137b0ae22a69856043b4992b"}},{"id":"edition:advanced-227-b-5","collection":"edition","title":"Example advanced-227-b-5","page":227,"topic":"On modes.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-227-b-5.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/227-b.png","sha256":"6d791b9de456ab1def766bd9b6699d9dcdf66da59982224267c6911d55819194","label":"Source crop · printed p. 227","local":false}],"owners":["227-b"],"state":"recorded-review","editionStatus":"verified","context":"Here the lowest pitch remains, which is the true product of arithmetic division. If, therefore, plagal modes arise from arithmetic division, as indeed they do, their formation must be expressed by the following systems.","latin":"Ubi chorda gravissima manet; quod verum productum est arithmeticæ divisionis. Si itaque Modi Plagales ex divisione arithmeticâ gignuntur, uti revera est, eorum formatio sequentibus sistematibus exprimenda est.","issues":["Ascending sequential whole-note intervals; source mode letter C.","Ascending sequential whole-note intervals; source mode letter D.","Ascending sequential whole-note intervals; source mode letter E.","Ascending sequential whole-note intervals; source mode letter G.","Ascending sequential whole-note intervals; source mode letter A."],"verificationNotes":["All printed notes directly visually transcribed by Astra. Rendering comparison pending.","Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"f6865ee0902b02e99dcaf5142059480f5f7a574c59dd6bc668456149f92d89f9","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-416","downloads":[],"xmlSha256":"f6865ee0902b02e99dcaf5142059480f5f7a574c59dd6bc668456149f92d89f9","integrity":"matched","parts":1,"voices":1,"notes":3,"measures":1,"parser":{"status":"supported","warnings":[],"events":3,"normalizations":[]},"preview":{"path":"previews/edition-advanced-227-b-5.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"9298d23cbe8ac649173d3c97f442ed98af1bdccc5e74f3c7383657dcc64b9b02","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"f6865ee0902b02e99dcaf5142059480f5f7a574c59dd6bc668456149f92d89f9"}},{"id":"edition:middle-final-227-c-1","collection":"edition","title":"Example middle-final-227-c-1","page":227,"topic":"On modes.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-final-227-c-1.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/227-c.png","sha256":"7041a01eff0a3c332cac643c4052a9b9c9874eba1efc52a500c83127f6194c11","label":"Source crop · printed p. 227","local":false}],"owners":["227-c"],"state":"recorded-review","editionStatus":"verified","context":"According to Zarlino’s opinion, it must be assumed that the beginning, ending, and cadences are common to both modes, so that there is no difference except that the melodic course of the authentic mode must occupy the higher range, and that of the plagal the lower. Nor does this author require that subjects of the authentic mode always proceed upward and those of the plagal downward, as his examples demonstrate.","latin":"Præsupponendum est ex Zarlini Sententia, principium, & finem, clausulasque utrique Modo fore communes: ut adeò differentia nulla sit, nisi, quod modulatio Modi Authentici in acuto, Plagalis verò in gravi existentiam suam habere debeat. Nec requirit hîc Auctor, ut subjecta Modi Authentici ascendendo semper, Plagalis contra descendendo procedant: quod Paradigmata ejus demonstrant.","issues":[],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"dfb4be404b615b92bb590fbc76f57c0caa19c3090bd31576e727ce25e9d78436","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-417","downloads":[],"xmlSha256":"dfb4be404b615b92bb590fbc76f57c0caa19c3090bd31576e727ce25e9d78436","integrity":"matched","parts":2,"voices":2,"notes":18,"measures":5,"parser":{"status":"supported","warnings":[],"events":18,"normalizations":[]},"preview":{"path":"previews/edition-middle-final-227-c-1.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"cd99f592c566306caf42899aa074cbfa57c2ec91fd7332bc3d803baca617be20","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"dfb4be404b615b92bb590fbc76f57c0caa19c3090bd31576e727ce25e9d78436"}},{"id":"edition:middle-final-227-c-2","collection":"edition","title":"Example middle-final-227-c-2","page":227,"topic":"On modes.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-final-227-c-2.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/227-c.png","sha256":"7041a01eff0a3c332cac643c4052a9b9c9874eba1efc52a500c83127f6194c11","label":"Source crop · printed p. 227","local":false}],"owners":["227-c"],"state":"recorded-review","editionStatus":"verified","context":"According to Zarlino’s opinion, it must be assumed that the beginning, ending, and cadences are common to both modes, so that there is no difference except that the melodic course of the authentic mode must occupy the higher range, and that of the plagal the lower. Nor does this author require that subjects of the authentic mode always proceed upward and those of the plagal downward, as his examples demonstrate.","latin":"Præsupponendum est ex Zarlini Sententia, principium, & finem, clausulasque utrique Modo fore communes: ut adeò differentia nulla sit, nisi, quod modulatio Modi Authentici in acuto, Plagalis verò in gravi existentiam suam habere debeat. Nec requirit hîc Auctor, ut subjecta Modi Authentici ascendendo semper, Plagalis contra descendendo procedant: quod Paradigmata ejus demonstrant.","issues":[],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"c418eeff5de3f63833074a1a697e3f97b31129682c8a81ddca645d7306fe8e3a","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-417","downloads":[],"xmlSha256":"c418eeff5de3f63833074a1a697e3f97b31129682c8a81ddca645d7306fe8e3a","integrity":"matched","parts":2,"voices":2,"notes":23,"measures":4,"parser":{"status":"supported","warnings":[],"events":23,"normalizations":[]},"preview":{"path":"previews/edition-middle-final-227-c-2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"9101da3974ac0b0d5387a9600c9b361fc874155392aecd68be941ba6b8699c5c","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"c418eeff5de3f63833074a1a697e3f97b31129682c8a81ddca645d7306fe8e3a"}},{"id":"edition:middle-final-228-a-schema-1","collection":"edition","title":"Example middle-final-228-a-schema-1","page":228,"topic":"On modes.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-final-228-a-schema-1.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/228-a.png","sha256":"86002a8abfae1641ad17ead5be93b1a569cc8bf6017e38baf2452f91c3d6570c","label":"Source crop · printed p. 228","local":false}],"owners":["228-a"],"state":"recorded-review","editionStatus":"verified","context":"Angelo Berardi, otherwise an author of no mean standing, seems to distinguish the authentic mode from the plagal only by name, without regard to subjects ascending or descending or to a high or low melodic range. Indeed, he places the melodic course lower in the authentic mode than in the plagal, as his examples show.","latin":"Angelus Berardus haud aspernandus aliàs Auctor videtur solo duntaxat nomine distinguere Modum Authenticum à Plagali: absque respectu subjectorum ascendentium, vel descendentium: & modulationis acutæ, vel gravis: imò graviorem instituit modulationem in Modo Authentico, quàm in Plagali: ut exempla ejus declarant.","issues":["Prefixed analytical mode division, separately encoded from adjacent composition."],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"08b5ea68c83c93cde3bcd2cb8522030af59459a177337c858ec5f1a8472524ee","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-419","downloads":[],"xmlSha256":"08b5ea68c83c93cde3bcd2cb8522030af59459a177337c858ec5f1a8472524ee","integrity":"matched","parts":1,"voices":1,"notes":3,"measures":1,"parser":{"status":"supported","warnings":[],"events":3,"normalizations":[]},"preview":{"path":"previews/edition-middle-final-228-a-schema-1.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"817ba4af5a6eafd2170822cb1edbf0cf12ae81bf3cbcc26f3dcd6f8421a30aad","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"08b5ea68c83c93cde3bcd2cb8522030af59459a177337c858ec5f1a8472524ee"}},{"id":"edition:middle-final-228-a-1","collection":"edition","title":"Example middle-final-228-a-1","page":228,"topic":"On modes.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-final-228-a-1.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/228-a.png","sha256":"86002a8abfae1641ad17ead5be93b1a569cc8bf6017e38baf2452f91c3d6570c","label":"Source crop · printed p. 228","local":false}],"owners":["228-a"],"state":"recorded-review","editionStatus":"verified","context":"Angelo Berardi, otherwise an author of no mean standing, seems to distinguish the authentic mode from the plagal only by name, without regard to subjects ascending or descending or to a high or low melodic range. Indeed, he places the melodic course lower in the authentic mode than in the plagal, as his examples show.","latin":"Angelus Berardus haud aspernandus aliàs Auctor videtur solo duntaxat nomine distinguere Modum Authenticum à Plagali: absque respectu subjectorum ascendentium, vel descendentium: & modulationis acutæ, vel gravis: imò graviorem instituit modulationem in Modo Authentico, quàm in Plagali: ut exempla ejus declarant.","issues":["Excerpt ends with printed etc.; no final cadence invented."],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"4a20fc0a4b1520ecad59d68b6a9aaf9b79e5136ed4604473c1f029a37d12941a","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-419","downloads":[],"xmlSha256":"4a20fc0a4b1520ecad59d68b6a9aaf9b79e5136ed4604473c1f029a37d12941a","integrity":"matched","parts":2,"voices":2,"notes":20,"measures":3,"parser":{"status":"supported","warnings":[],"events":20,"normalizations":[]},"preview":{"path":"previews/edition-middle-final-228-a-1.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"2ee6d18ec4509e6a4c46c7dfcd47529dbea0fb4f0a20efe2ec10d04afc95997d","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"4a20fc0a4b1520ecad59d68b6a9aaf9b79e5136ed4604473c1f029a37d12941a"}},{"id":"edition:middle-final-228-a-schema-2","collection":"edition","title":"Example middle-final-228-a-schema-2","page":228,"topic":"On modes.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-final-228-a-schema-2.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/228-a.png","sha256":"86002a8abfae1641ad17ead5be93b1a569cc8bf6017e38baf2452f91c3d6570c","label":"Source crop · printed p. 228","local":false}],"owners":["228-a"],"state":"recorded-review","editionStatus":"verified","context":"Angelo Berardi, otherwise an author of no mean standing, seems to distinguish the authentic mode from the plagal only by name, without regard to subjects ascending or descending or to a high or low melodic range. Indeed, he places the melodic course lower in the authentic mode than in the plagal, as his examples show.","latin":"Angelus Berardus haud aspernandus aliàs Auctor videtur solo duntaxat nomine distinguere Modum Authenticum à Plagali: absque respectu subjectorum ascendentium, vel descendentium: & modulationis acutæ, vel gravis: imò graviorem instituit modulationem in Modo Authentico, quàm in Plagali: ut exempla ejus declarant.","issues":["Prefixed analytical mode division, separately encoded from adjacent composition."],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"b73b7916e65d27aab1a896e05a0b1698f287a2edca9fef890b82e8346a03a41a","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-419","downloads":[],"xmlSha256":"b73b7916e65d27aab1a896e05a0b1698f287a2edca9fef890b82e8346a03a41a","integrity":"matched","parts":1,"voices":1,"notes":3,"measures":1,"parser":{"status":"supported","warnings":[],"events":3,"normalizations":[]},"preview":{"path":"previews/edition-middle-final-228-a-schema-2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"b09af96d0625b991f57e4e17953e6089b25cbd51f30a9044e99946d742bdaabc","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"b73b7916e65d27aab1a896e05a0b1698f287a2edca9fef890b82e8346a03a41a"}},{"id":"edition:middle-final-228-a-2","collection":"edition","title":"Example middle-final-228-a-2","page":228,"topic":"On modes.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-final-228-a-2.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/228-a.png","sha256":"86002a8abfae1641ad17ead5be93b1a569cc8bf6017e38baf2452f91c3d6570c","label":"Source crop · printed p. 228","local":false}],"owners":["228-a"],"state":"needs-review","editionStatus":"needs-review","context":"Angelo Berardi, otherwise an author of no mean standing, seems to distinguish the authentic mode from the plagal only by name, without regard to subjects ascending or descending or to a high or low melodic range. Indeed, he places the melodic course lower in the authentic mode than in the plagal, as his examples show.","latin":"Angelus Berardus haud aspernandus aliàs Auctor videtur solo duntaxat nomine distinguere Modum Authenticum à Plagali: absque respectu subjectorum ascendentium, vel descendentium: & modulationis acutæ, vel gravis: imò graviorem instituit modulationem in Modo Authentico, quàm in Plagali: ut exempla ejus declarant.","issues":["Lower thirdbar currently reads F4whole+A4half (six quarters) against eight-quarter upperbar; literal values retained for review, no silent padding invented.","Both voices end on partial two-quarter positions followed by etc."],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":false,"rendered":true,"schema":true},"diagnostics":{"sha256":"d76ce64608c6cd3598b2a01b02e813a4f42a6da7da69a0b312ffeef3ea850276","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-419","downloads":[],"xmlSha256":"d76ce64608c6cd3598b2a01b02e813a4f42a6da7da69a0b312ffeef3ea850276","integrity":"matched","parts":2,"voices":2,"notes":18,"measures":5,"parser":{"status":"supported","warnings":[],"events":16,"normalizations":[]},"preview":{"path":"previews/edition-middle-final-228-a-2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"4bc7ec32a48ec9c11e8b86093a025c4687258ef189dce3bf11951c1e474556cf","playback":false,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"d76ce64608c6cd3598b2a01b02e813a4f42a6da7da69a0b312ffeef3ea850276"}},{"id":"edition:middle-final-229-a-schema","collection":"edition","title":"Example middle-final-229-a-schema","page":229,"topic":"On modes.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-final-229-a-schema.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/229-a.png","sha256":"ab059edf8b20ed62fd9a9e3ddfea61e7b6c23adb04ade1a63907a3d079e28ead","label":"Source crop · printed p. 229","local":false}],"owners":["229-a"],"state":"recorded-review","editionStatus":"verified","context":"Who, knowledgeable in music and acquainted with the opinions of other authors, would assign this last example to the plagal mode, when the nature of its subject and its melodic course seem more suited to the formation of the authentic mode? Still more remarkable is the following composition, given by the same author as an example of the third mode, or E–e, which I shall set out here in full so that you may marvel all the more.","latin":"Quis Musicæ gnarus, aliorumque Auctorum Sententiam callens, hoc ultimum Paradigma Modo Plagali attribuet? quum subjecti natura, & modulatio formationi Modi Authentici magis convenire videantur. Magis mirandus est sequens concentus ab eodem Auctore in exemplum Modi tertii, sive E e, adductus, quem integrum, ut magis mireris, hîc apponam.","issues":["Analytical mode prefix; not first events of the following fugue."],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"63dd02f2b49ba91b5c9a5fcdfbc814917b6f43b44dd54e298290a210d3e03c7f","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-421","downloads":[],"xmlSha256":"63dd02f2b49ba91b5c9a5fcdfbc814917b6f43b44dd54e298290a210d3e03c7f","integrity":"matched","parts":1,"voices":1,"notes":3,"measures":1,"parser":{"status":"supported","warnings":[],"events":3,"normalizations":[]},"preview":{"path":"previews/edition-middle-final-229-a-schema.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"e0737573a6e1ecd08b91f0b8a4dc7e9fd179dfa7a74420e02bf08cb3596b7d79","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"63dd02f2b49ba91b5c9a5fcdfbc814917b6f43b44dd54e298290a210d3e03c7f"}},{"id":"edition:middle-final-229-a","collection":"edition","title":"Example middle-final-229-a","page":229,"topic":"On modes.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-final-229-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/229-a.png","sha256":"ab059edf8b20ed62fd9a9e3ddfea61e7b6c23adb04ade1a63907a3d079e28ead","label":"Source crop · printed p. 229","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/230-a.png","sha256":"40972927445fac488e3a02cdb9b1f7bcc866b2c4249e979f4e19c4a49afd319a","label":"Source crop · printed p. 230","local":false}],"owners":["229-a","230-a"],"state":"recorded-review","editionStatus":"verified","context":"Who, knowledgeable in music and acquainted with the opinions of other authors, would assign this last example to the plagal mode, when the nature of its subject and its melodic course seem more suited to the formation of the authentic mode? Still more remarkable is the following composition, given by the same author as an example of the third mode, or E–e, which I shall set out here in full so that you may marvel all the more.","latin":"Quis Musicæ gnarus, aliorumque Auctorum Sententiam callens, hoc ultimum Paradigma Modo Plagali attribuet? quum subjecti natura, & modulatio formationi Modi Authentici magis convenire videantur. Magis mirandus est sequens concentus ab eodem Auctore in exemplum Modi tertii, sive E e, adductus, quem integrum, ut magis mireris, hîc apponam.","issues":["Prefixed mode division encoded separately as229-a-schema.","Post-bar augmentationdot at8–9 normalized with editorial continuation tie."],"verificationNotes":["Direct visual reading of18 source bars and separate modal prefix across229–230.","Bothtwo Verovio pages viewed and source-compared; rests, entries, chromatic cadence and ties checked."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"114b853ce90877df1f7982681c494fa155d65de99c7b20e4e68d330959d83bde","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-421","downloads":[],"xmlSha256":"114b853ce90877df1f7982681c494fa155d65de99c7b20e4e68d330959d83bde","integrity":"matched","parts":4,"voices":4,"notes":162,"measures":18,"parser":{"status":"supported","warnings":[],"events":153,"normalizations":[]},"preview":{"path":"previews/edition-middle-final-229-a.svg","pages":3,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"6d7c33dd19c4d56785dfd8e578853e75e2d031c679eb6db94c211201be49c274","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"114b853ce90877df1f7982681c494fa155d65de99c7b20e4e68d330959d83bde"}},{"id":"edition:advanced-231-a","collection":"edition","title":"Example advanced-231-a","page":231,"topic":"On various fugue subjects.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-231-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/231-a.png","sha256":"41956a2c8680db6a8898cc0a085cc6d8089f73e0922374c3c5e03d5565f0bb93","label":"Source crop · printed p. 231","local":false}],"owners":["231-a"],"state":"recorded-review","editionStatus":"verified","context":"Joseph. I shall do so without selection, as they come to mind.","latin":"Joseph. Faciam indistinctè, uti mihi in mentem venient.","issues":[],"verificationNotes":["Direct visual note-by-note transcription by Astra. Rendering comparison pending.","Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"9b26d69aedd8ab68113013d8d625121dc2fee695f6a41b1fdded9fbc446db467","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-425","downloads":[],"xmlSha256":"9b26d69aedd8ab68113013d8d625121dc2fee695f6a41b1fdded9fbc446db467","integrity":"matched","parts":1,"voices":1,"notes":5,"measures":2,"parser":{"status":"supported","warnings":[],"events":5,"normalizations":[]},"preview":{"path":"previews/edition-advanced-231-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"f2ddf084f4a102f7a2d752e4b23a14e033b2fe367f6b5dbfea61725fc4549ac9","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"9b26d69aedd8ab68113013d8d625121dc2fee695f6a41b1fdded9fbc446db467"}},{"id":"edition:advanced-232-a-primo","collection":"edition","title":"Example advanced-232-a-primo","page":232,"topic":"On various fugue subjects.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-232-a-primo.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/232-a.png","sha256":"2f9b88d46804e85adddbb437952f10d30cc838991a8a1a28558aaf6f28224341","label":"Source crop · printed p. 232","local":false}],"owners":["232-a"],"state":"recorded-review","editionStatus":"verified","context":"Joseph. In my slight judgment, I think it can be done in two ways. One is to have the final note of the answering part end suitably to the mode; the other is to follow the solmization. For example:","latin":"Joseph. Meo levi judicio, duplici modo fieri posse existimo. Uno: quo ultima partis respondentis Nota Modo congruenter desinat. Altero: Solmisationem sequendo. E. G.","issues":[],"verificationNotes":["All printed notes directly visually transcribed by Astra. Rendering comparison pending.","Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"c70fae5b54dbb1a91d96ff9669ccfa52099ee0c81442ab88fe2472ecaae146a8","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-426","downloads":[],"xmlSha256":"c70fae5b54dbb1a91d96ff9669ccfa52099ee0c81442ab88fe2472ecaae146a8","integrity":"matched","parts":1,"voices":1,"notes":5,"measures":2,"parser":{"status":"supported","warnings":[],"events":5,"normalizations":[]},"preview":{"path":"previews/edition-advanced-232-a-primo.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"0ebb3721dbe80083a48afc7397bfe862dc1a85c2ea1bd9a67fc7eb2e3e5137c8","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"c70fae5b54dbb1a91d96ff9669ccfa52099ee0c81442ab88fe2472ecaae146a8"}},{"id":"edition:advanced-232-a-secundo","collection":"edition","title":"Example advanced-232-a-secundo","page":232,"topic":"On various fugue subjects.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-232-a-secundo.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/232-a.png","sha256":"2f9b88d46804e85adddbb437952f10d30cc838991a8a1a28558aaf6f28224341","label":"Source crop · printed p. 232","local":false}],"owners":["232-a"],"state":"recorded-review","editionStatus":"verified","context":"Joseph. In my slight judgment, I think it can be done in two ways. One is to have the final note of the answering part end suitably to the mode; the other is to follow the solmization. For example:","latin":"Joseph. Meo levi judicio, duplici modo fieri posse existimo. Uno: quo ultima partis respondentis Nota Modo congruenter desinat. Altero: Solmisationem sequendo. E. G.","issues":[],"verificationNotes":["All printed notes directly visually transcribed by Astra. Rendering comparison pending.","Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"3e92e81d5ae1b19fdf3850ca429f856745cb0c50df02ad81091895d2d0206385","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-426","downloads":[],"xmlSha256":"3e92e81d5ae1b19fdf3850ca429f856745cb0c50df02ad81091895d2d0206385","integrity":"matched","parts":1,"voices":1,"notes":5,"measures":2,"parser":{"status":"supported","warnings":[],"events":5,"normalizations":[]},"preview":{"path":"previews/edition-advanced-232-a-secundo.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"8e97850e6bf451c7195733840e963f491373fdee65f793d9eab9e88432cdaedf","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"3e92e81d5ae1b19fdf3850ca429f856745cb0c50df02ad81091895d2d0206385"}},{"id":"edition:middle-final-232-b","collection":"edition","title":"Example middle-final-232-b","page":232,"topic":"On various fugue subjects.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-final-232-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/232-b.png","sha256":"d8c11f35f4e5b26b795f7c4d9fda02ebf55ba5e11773c9ab50f70348aae31296","label":"Source crop · printed p. 232","local":false}],"owners":["232-b"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. The second way of answering is not to be disdained for two reasons. First, it gives greater consideration to the melodic line; second, it does not depart so far from the course of the subject. Make it a firm principle to refrain, as far as possible, from breaking off a subject unless a weighty reason requires it, for consideration of the melody takes precedence over that of the mode. A deficiency in the mode can easily be made up by melodic writing in the other part and by holding a note belonging to the mode above the note lying outside its pitches. For example:","latin":"Aloys. Secundus respondendi Modus ob duas rationes haud aspernandus. Primò, quia sic canendi rationi magis consultum est. Secundò, quia ab Subjecti tenore non adeò receditur. Et firmum tibi sit, ut abrumpendo Subjecto, nisi gravi ratione postulante, quoad fieri potest, abstineas: potior est enim ratio Cantûs, quàm Modi: quia defectus Modi facilè suppleri potest modulando cum altera parte; tenendoque Notam aliquam ad Modum pertinentem, supra illam extra Modi chordam existentem. E. G.","issues":["Ends with two-quarter fragment and printed etc.; final cadence not invented."],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"4ba63539c9733b684df3cce23d61c68b2b66f730c81d0fb6ba2e9fe0f11c76d7","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-427","downloads":[],"xmlSha256":"4ba63539c9733b684df3cce23d61c68b2b66f730c81d0fb6ba2e9fe0f11c76d7","integrity":"matched","parts":2,"voices":2,"notes":15,"measures":4,"parser":{"status":"supported","warnings":[],"events":14,"normalizations":[]},"preview":{"path":"previews/edition-middle-final-232-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"3c448a31d24e3f6cbe5fc0a9f9325f43a6b8ad13b83a8eed544d1cfae7f9ec04","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"4ba63539c9733b684df3cce23d61c68b2b66f730c81d0fb6ba2e9fe0f11c76d7"}},{"id":"edition:middle-final-232-c","collection":"edition","title":"Example middle-final-232-c","page":232,"topic":"On various fugue subjects.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-final-232-c.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/232-c.png","sha256":"47ccf58d9a2fa78d9467dc51fb173ad33a74c01643cee83d6423e3dd0cc87956","label":"Source crop · printed p. 232","local":false}],"owners":["232-c"],"state":"needs-review","editionStatus":"needs-review","context":"Let the same judgment apply to the following subject. For example:","latin":"Idem judicium sit de Subjecto sequenti. E. G.","issues":["Post-bar dots encoded as editorial eighth continuations; verify source clef-step readings in ornamental upper second/thirdbar and accidental carry from first B-flat."],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"c05502681df48691547720493f76b18559395089fa456cdeb4c2c551146fcfb6","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-428","downloads":[],"xmlSha256":"c05502681df48691547720493f76b18559395089fa456cdeb4c2c551146fcfb6","integrity":"matched","parts":2,"voices":2,"notes":28,"measures":4,"parser":{"status":"supported","warnings":[],"events":26,"normalizations":[]},"preview":{"path":"previews/edition-middle-final-232-c.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"0aec6ffccfcb7df926b31ee5cbc35d4b69100da4781b7dca99ed7c6306a137b3","playback":false,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"c05502681df48691547720493f76b18559395089fa456cdeb4c2c551146fcfb6"}},{"id":"edition:middle-final-233-a","collection":"edition","title":"Example middle-final-233-a","page":233,"topic":"On various fugue subjects.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-final-233-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/233-a.png","sha256":"ce2a32792e4e6c024d4ebeb444db9803d52103c0643ca58f497853a31a275804","label":"Source crop · printed p. 233","local":false}],"owners":["233-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. Mode A. For example:","latin":"Aloys. Modus A. E. G.","issues":["Final printed etc. after partial two-quarter bar retained."],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"a87dfe90759bfacf05c846a5f7201482a276f4b4edfe57431b6eb829281e73f1","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-430","downloads":[],"xmlSha256":"a87dfe90759bfacf05c846a5f7201482a276f4b4edfe57431b6eb829281e73f1","integrity":"matched","parts":2,"voices":2,"notes":15,"measures":4,"parser":{"status":"supported","warnings":[],"events":14,"normalizations":[]},"preview":{"path":"previews/edition-middle-final-233-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"53ca63c375e20bee86166b570afddbf80dbc8df395f4d34cc25b79506bcbccb3","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"a87dfe90759bfacf05c846a5f7201482a276f4b4edfe57431b6eb829281e73f1"}},{"id":"edition:middle-final-233-b","collection":"edition","title":"Example middle-final-233-b","page":233,"topic":"On various fugue subjects.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-final-233-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/233-b.png","sha256":"962e7c46c1a71b837fd3ffe5c66370afebb63a0c435c7402d1798cb8629f6a69","label":"Source crop · printed p. 233","local":false}],"owners":["233-b"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. Mode A. For example:","latin":"Aloys. Modus A. E. G.","issues":["Post-bar augmentationdot split editorially; two-quarter ending fragment followed by etc."],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"c2192a643b8b8bfe83e6e3fe2bca3c598b9d88515ba811414d5888e95532d277","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-431","downloads":[],"xmlSha256":"c2192a643b8b8bfe83e6e3fe2bca3c598b9d88515ba811414d5888e95532d277","integrity":"matched","parts":2,"voices":2,"notes":14,"measures":2,"parser":{"status":"supported","warnings":[],"events":13,"normalizations":[]},"preview":{"path":"previews/edition-middle-final-233-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"ed5aa2dad20b0276435eaf599a6b3f62785e9296a634e2773a15886a880d25d0","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"c2192a643b8b8bfe83e6e3fe2bca3c598b9d88515ba811414d5888e95532d277"}},{"id":"edition:advanced-233-c-1","collection":"edition","title":"Example advanced-233-c-1","page":233,"topic":"On various fugue subjects.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-233-c-1.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/233-c.png","sha256":"fafbd014947824fe1af1bdf02703e4d68d5e6d8374eb7fed0dfd280c3f0de549","label":"Source crop · printed p. 233","local":false}],"owners":["233-c"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. But a flat placed at the beginning, outside the melody, will indicate a mode transposed a fourth upward. In that case the subjects must nevertheless be called regular and suited to their mode. For example:","latin":"Aloys. Præpositum autem b. molle in principio, & extra Cantum, indicium erit Modi transpositi in Quartam altam: quo casu Subjecta nihilominùs regularia, & Modo suo congruentia dicenda sunt. E. G.","issues":["One-flat signature.","One-flat signature and common time inherited from first example."],"verificationNotes":["All printed notes directly visually transcribed by Astra. Rendering comparison pending.","Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"05d6aff8026013c10f81c72e94a4cf4f0968d56d1198a2efa50e9b3f358fe127","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-432","downloads":[],"xmlSha256":"05d6aff8026013c10f81c72e94a4cf4f0968d56d1198a2efa50e9b3f358fe127","integrity":"matched","parts":1,"voices":1,"notes":5,"measures":2,"parser":{"status":"supported","warnings":[],"events":5,"normalizations":[]},"preview":{"path":"previews/edition-advanced-233-c-1.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"d2cca40ac844023f37510f36254fd509bcc8eec83166d327cd6acede89dd8fc1","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"05d6aff8026013c10f81c72e94a4cf4f0968d56d1198a2efa50e9b3f358fe127"}},{"id":"edition:advanced-233-c-2","collection":"edition","title":"Example advanced-233-c-2","page":233,"topic":"On various fugue subjects.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-233-c-2.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/233-c.png","sha256":"fafbd014947824fe1af1bdf02703e4d68d5e6d8374eb7fed0dfd280c3f0de549","label":"Source crop · printed p. 233","local":false}],"owners":["233-c"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. But a flat placed at the beginning, outside the melody, will indicate a mode transposed a fourth upward. In that case the subjects must nevertheless be called regular and suited to their mode. For example:","latin":"Aloys. Præpositum autem b. molle in principio, & extra Cantum, indicium erit Modi transpositi in Quartam altam: quo casu Subjecta nihilominùs regularia, & Modo suo congruentia dicenda sunt. E. G.","issues":["One-flat signature.","One-flat signature and common time inherited from first example."],"verificationNotes":["All printed notes directly visually transcribed by Astra. Rendering comparison pending.","Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"25d86361d8d42e1e01e45957c293b583a7fbfc48846d10061a6894bd81cc1a9f","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-432","downloads":[],"xmlSha256":"25d86361d8d42e1e01e45957c293b583a7fbfc48846d10061a6894bd81cc1a9f","integrity":"matched","parts":1,"voices":1,"notes":5,"measures":1,"parser":{"status":"supported","warnings":[],"events":5,"normalizations":[]},"preview":{"path":"previews/edition-advanced-233-c-2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"a7e0b5fb8e5e886e34a105d3cb3628ae208d84d1aeb83336ec2ce23697a8297c","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"25d86361d8d42e1e01e45957c293b583a7fbfc48846d10061a6894bd81cc1a9f"}},{"id":"edition:middle-final-233-d","collection":"edition","title":"Example middle-final-233-d","page":233,"topic":"On various fugue subjects.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-final-233-d.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/233-d.png","sha256":"8e9ef3050aee18f63bf8320b1dca511a910650ba2c32f6d5013be55a9d55dd93","label":"Source crop · printed p. 233","local":false}],"owners":["233-d"],"state":"recorded-review","editionStatus":"verified","context":"But at the present time, when the mixed genus has become strongly established, these subtleties, although necessary for a true understanding of the modes, are not greatly attended to. Proceed now to propose other subjects.","latin":"Verùm hodierno tempore, quo Genus mixtum vi magnâ invaluit, hæ subtilitates, quanquam ad genuinam Modorum intelligentiam necessariæ, non admodum attenduntur. Perge nunc ad alia Subjecta proponenda.","issues":["Deliberate erroneous answering interval retained; arched analytical interval marks preserved in original crop rather than encoded as ties.","Final one-quarter fragment retained."],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"3f9ef57198664b3eed769c66e7f62d5bdfbbf81e9e3a0f8dbc6105a2ea1a7155","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-433","downloads":[],"xmlSha256":"3f9ef57198664b3eed769c66e7f62d5bdfbbf81e9e3a0f8dbc6105a2ea1a7155","integrity":"matched","parts":2,"voices":2,"notes":28,"measures":3,"parser":{"status":"supported","warnings":[],"events":28,"normalizations":[]},"preview":{"path":"previews/edition-middle-final-233-d.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"0442cede96639ed2da5d2fd8342f44643567a4fb3538c743706cc4e506c3e0ef","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"3f9ef57198664b3eed769c66e7f62d5bdfbbf81e9e3a0f8dbc6105a2ea1a7155"}},{"id":"edition:middle-final-234-a","collection":"edition","title":"Example middle-final-234-a","page":234,"topic":"On various fugue subjects.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-final-234-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/234-a.png","sha256":"c095d771d822de2a3169170fdbbfd39b2eaeac117036be01957771a376aab027","label":"Source crop · printed p. 234","local":false}],"owners":["234-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. The interval between the first and third notes of the subject, which consists of a seventh; for the intervening note is not strong enough to cover the impropriety of that leap. In subjects of this kind, where a leap of a fourth occurs between the first and second notes, great attention must therefore be given to the third note, so that it is the same interval from the first note in the answering part as in the part proposing the subject. Now, in the beginning part a leap of a sixth is found between those notes; the same interval must therefore be given to the answering part. For example:","latin":"Aloys. Intervallum inter primam, & tertiam Subjecti Notam, Septimâ constans: nam interjecta Nota non est tanti roboris, ut operire valeret illius saltûs improprietatem. In ejusmodi itaque Subjectis, quorum inter primam, & secundam Notam saltus Quartæ intercedit, plurimùm attendenda est Nota tertia, ut, quo intervallo illa distat à prima Nota Subjecti in parte Subjectum proponente, eodem intervallo distet in parte respondente. Jam in parte incipiente inter dictas Notas saltus Sextæ reperitur: idem ergo intervallum parti respondenti dandum est. E. G.","issues":["Analytical interval arches remain in source; no false ties between different pitches. Final one-quarter fragment."],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"7691b22a8756e33ff28bb67e1a4b4ee43ce95109cc8d46499c9b9c65dfd83eac","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-434","downloads":[],"xmlSha256":"7691b22a8756e33ff28bb67e1a4b4ee43ce95109cc8d46499c9b9c65dfd83eac","integrity":"matched","parts":2,"voices":2,"notes":27,"measures":3,"parser":{"status":"supported","warnings":[],"events":27,"normalizations":[]},"preview":{"path":"previews/edition-middle-final-234-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"7b5adf4195e84f80b00fc95a84e58bf4007438dd1741744ef77a9077cde4317e","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"7691b22a8756e33ff28bb67e1a4b4ee43ce95109cc8d46499c9b9c65dfd83eac"}},{"id":"edition:middle-final-234-b","collection":"edition","title":"Example middle-final-234-b","page":234,"topic":"On various fugue subjects.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-final-234-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/234-b.png","sha256":"2a62f41ea27d618c5503e7e4a9ae175917c36aba76331e0903ecb61dca8e0dfe","label":"Source crop · printed p. 234","local":false}],"owners":["234-b"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. Not at all. Since the subject in the proposing part does not end on the octave of the mode, how could the answering part end on the fifth of that same mode? Moreover, are not all the intervals of the subject and melodic course naturally contained within the octave of the mode? But if, by placing a sharp at the outset, it is changed into a transposed mode, the answer must be arranged somewhat differently. For example:","latin":"Aloys. Minimè. Quum enim in parte proponente subjectum in Octava Modi non desinat, quo modo pars respondens in ejusdem Modi Quinta desinere poterit? Deinde nonne omnia intervalla subjecti, modulationisque intrà Octavam Modi naturali ratione continentur? Si verò Diesi propositâ in Modum transpositum vertatur, paulò aliter responsum instituendum erit. E. G.","issues":["Signature-derived F-sharps explicitly encoded in pitch; final one-quarter fragment and printed etc. retained."],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"a163164a3a8b4f66180a9dd1a8adccd5fc0de0d5b5caf641edcc7c712371d7a2","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-435","downloads":[],"xmlSha256":"a163164a3a8b4f66180a9dd1a8adccd5fc0de0d5b5caf641edcc7c712371d7a2","integrity":"matched","parts":2,"voices":2,"notes":28,"measures":3,"parser":{"status":"supported","warnings":[],"events":28,"normalizations":[]},"preview":{"path":"previews/edition-middle-final-234-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"0ed5cc7a64197f6080c33ba52f36603459984fdcbcb234fa458093a38e0484ac","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"a163164a3a8b4f66180a9dd1a8adccd5fc0de0d5b5caf641edcc7c712371d7a2"}},{"id":"edition:advanced-235-a","collection":"edition","title":"Example advanced-235-a","page":235,"topic":"On various fugue subjects.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-235-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/235-a.png","sha256":"6a0a56d96f3f4c551eca832556b71aa9ff4ae6ff8716510e7c14b9f7661d76cc","label":"Source crop · printed p. 235","local":false}],"owners":["235-a"],"state":"recorded-review","editionStatus":"verified","context":"Thus, according to the nature and difference of the mode, one and the same subject must sometimes be formed differently in its answering part. Come, please propose another subject.","latin":"Ità nonnunquam pro Modi natura, & differentia unum idemque subjectum quoad partem respondentem diversimodè formandum est. Age, aliudque subjectum propone sis.","issues":["Explicit C-sharp then C-natural; B-natural then B-flat."],"verificationNotes":["Direct visual note-by-note transcription by Astra. Rendering comparison pending.","Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"6c4bce1ece6d9339e292f8a2bdc6613323ce7773d922613d68224423e7ff4336","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-437","downloads":[],"xmlSha256":"6c4bce1ece6d9339e292f8a2bdc6613323ce7773d922613d68224423e7ff4336","integrity":"matched","parts":1,"voices":1,"notes":6,"measures":2,"parser":{"status":"supported","warnings":[],"events":6,"normalizations":[]},"preview":{"path":"previews/edition-advanced-235-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"01e9a1a258360f43c9e729475980af1c2dfad5fe90675d4a9574c6db33543708","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"6c4bce1ece6d9339e292f8a2bdc6613323ce7773d922613d68224423e7ff4336"}},{"id":"edition:advanced-235-b","collection":"edition","title":"Example advanced-235-b","page":235,"topic":"On various fugue subjects.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-235-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/235-b.png","sha256":"601273b8d91596bcd1154466e22c0d41c7b53a1bee32961cc12feb7d236a0637","label":"Source crop · printed p. 235","local":false}],"owners":["235-b"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. This subject can be answered in two ways: the first with regard to the mode, the second to solmization. For one wishing to be bound to the mode, the subject must be reduced from the chromatic to the diatonic genus in the following way:","latin":"Aloys. Duobus modis huic subjecto responderi potest. Primus est habitâ ratione ad Modum: secundus ad Solmisationem. Volenti obligare se ad Modum, resolvendum est subjectum ex genere Cromatico in Diatonicum sequenti modo:","issues":[],"verificationNotes":["Direct visual note-by-note transcription by Astra. Rendering comparison pending.","Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"6e2d914dd3f0ec23afe82748e2db54035f768555bb456c48c0ed6ca1ef8e1a60","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-438","downloads":[],"xmlSha256":"6e2d914dd3f0ec23afe82748e2db54035f768555bb456c48c0ed6ca1ef8e1a60","integrity":"matched","parts":1,"voices":1,"notes":4,"measures":2,"parser":{"status":"supported","warnings":[],"events":4,"normalizations":[]},"preview":{"path":"previews/edition-advanced-235-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"e312fd8d871593d356b3efd10ae561c820d73515c803192fd41225986e259d2e","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"6e2d914dd3f0ec23afe82748e2db54035f768555bb456c48c0ed6ca1ef8e1a60"}},{"id":"edition:advanced-235-c","collection":"edition","title":"Example advanced-235-c","page":235,"topic":"On various fugue subjects.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-235-c.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/235-c.png","sha256":"cb084b6192a81e08be8593edc75933178f16264f6058ec4accb655000a314990","label":"Source crop · printed p. 235","local":false}],"owners":["235-c"],"state":"recorded-review","editionStatus":"verified","context":"In that case the answer presents itself of its own accord. For example:","latin":"Quo casu responsum ultrò se offert. E. G.","issues":["Printed opening A4 (space above the top line in alto clef) preserved exactly; subsequent motion to F4/F-sharp4 is not silently regularized."],"verificationNotes":["Direct visual note-by-note transcription by Astra. Rendering comparison pending.","Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"a0c49dd85e16baddf880c11e824557fcfb7edc6da344877d0ebdc30a2c7847f4","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-439","downloads":[],"xmlSha256":"a0c49dd85e16baddf880c11e824557fcfb7edc6da344877d0ebdc30a2c7847f4","integrity":"matched","parts":1,"voices":1,"notes":4,"measures":2,"parser":{"status":"supported","warnings":[],"events":4,"normalizations":[]},"preview":{"path":"previews/edition-advanced-235-c.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"88b43c7729ab498afc8e950b1dd8789a16622ee3f603b1e2f7fc4685590e6afa","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"a0c49dd85e16baddf880c11e824557fcfb7edc6da344877d0ebdc30a2c7847f4"}},{"id":"edition:middle-final-235-d","collection":"edition","title":"Example middle-final-235-d","page":235,"topic":"On various fugue subjects.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-final-235-d.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/235-d.png","sha256":"daa7a9e77df0fae8a087bcbcfa123e7b65c79d42d02c0677d2f819708eeeb1c5","label":"Source crop · printed p. 235","local":false}],"owners":["235-d"],"state":"recorded-review","editionStatus":"verified","context":"Turned into the chromatic genus, the answer will be as follows:","latin":"Versum in genus Cromaticum, responsum sic se habebit:","issues":["Post-bar dot retained as editorial eighth continuation."],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"0549e46e5dc083b92786790e882be12715035f0c0b533a4ae8ffcff593c94a6f","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-440","downloads":[],"xmlSha256":"0549e46e5dc083b92786790e882be12715035f0c0b533a4ae8ffcff593c94a6f","integrity":"matched","parts":2,"voices":2,"notes":17,"measures":4,"parser":{"status":"supported","warnings":[],"events":16,"normalizations":[]},"preview":{"path":"previews/edition-middle-final-235-d.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"bfcadcbceebdb687d9debd6b12b566e8539a4712fb4db00ed3df7c8e2edb163e","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"0549e46e5dc083b92786790e882be12715035f0c0b533a4ae8ffcff593c94a6f"}},{"id":"edition:advanced-235-e","collection":"edition","title":"Example advanced-235-e","page":235,"topic":"On various fugue subjects.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/advanced-235-e.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/235-e.png","sha256":"66b25972664b078340a93f28440f4a8a0dd5b786b820882e8ac917e20c19869b","label":"Source crop · printed p. 235","local":false}],"owners":["235-e"],"state":"recorded-review","editionStatus":"verified","context":"Joseph. Could the subject not have been preserved whole in the answer, with all its semitones retained? For example:","latin":"Joseph. Non potuisset subjectum responso integrum servari, retentis omnibus Semitoniis? E. G.","issues":["Printed opening A4 (space above the top line in alto clef) preserved exactly; subsequent motion to F4/F-sharp4 is not silently regularized."],"verificationNotes":["Direct visual note-by-note transcription by Astra. Rendering comparison pending.","Schema and timeline checks passed; Verovio proof visually compared against source: clefs, pitches, accidentals/key signatures, printed rhythms and sequential versus chord grouping confirmed."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"d67f301a3d57fcebc6494a0e937467b2a848c87245c57f31cb5cab5f08b02966","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-441","downloads":[],"xmlSha256":"d67f301a3d57fcebc6494a0e937467b2a848c87245c57f31cb5cab5f08b02966","integrity":"matched","parts":1,"voices":1,"notes":6,"measures":2,"parser":{"status":"supported","warnings":[],"events":6,"normalizations":[]},"preview":{"path":"previews/edition-advanced-235-e.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"4e1d0b9495e1521bd2f61424406deb8ec3afd31d4b8c0e3784407bda62ace6ce","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"d67f301a3d57fcebc6494a0e937467b2a848c87245c57f31cb5cab5f08b02966"}},{"id":"edition:middle-final-235-f","collection":"edition","title":"Example middle-final-235-f","page":235,"topic":"On various fugue subjects.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-final-235-f.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/235-f.png","sha256":"5fc765f1dc7f2bd9b0af014d31bbe1fdf3cdd7f3cb298207de881327b169a442","label":"Source crop · printed p. 235","local":false}],"owners":["235-f"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. By no means, because E-flat is too foreign and not at all suited to mode D. It would be different if the subject were constructed in this way:","latin":"Aloys. Nequaquam. Quia E. molle nimis alienum est, & minimè conveniens Modo D. Aliud esset, si subjectum ità instructum esset:","issues":[],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"b7b899293c87593fbb989469d0005fedceee1286527748ba997d91355ba51076","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-442","downloads":[],"xmlSha256":"b7b899293c87593fbb989469d0005fedceee1286527748ba997d91355ba51076","integrity":"matched","parts":2,"voices":2,"notes":14,"measures":3,"parser":{"status":"supported","warnings":[],"events":14,"normalizations":[]},"preview":{"path":"previews/edition-middle-final-235-f.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"43e706d08ca441a3c2109fb18d5405188e437a29841a4074c7b4aae2b29e5f5e","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"b7b899293c87593fbb989469d0005fedceee1286527748ba997d91355ba51076"}},{"id":"edition:middle-final-236-a","collection":"edition","title":"Example middle-final-236-a","page":236,"topic":"On various fugue subjects.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-final-236-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/236-a.png","sha256":"2853c1bd10f66479e6f27357230a1ab4a82550daaa9878ffe69ecbac5e1b8173","label":"Source crop · printed p. 236","local":false}],"owners":["236-a"],"state":"needs-review","editionStatus":"needs-review","context":"Here E-flat is inserted into the subject substantially. The second manner of answering, with regard to solmization, is as follows. For example:","latin":"Ubi E. molle subjecto substantialiter insertum est. Secundus respondendi Modus ad solmisationem reflectens. E. G.","issues":["Upper ornamental secondbar flags need independent check; encoded four-quarter grouping. Crossbar arc retained as D5 tie."],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"f5bbacb4b381734ef9f11de7ddb2080e8ced3462d426fbeea9ffdb21d105fcd0","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-444","downloads":[],"xmlSha256":"f5bbacb4b381734ef9f11de7ddb2080e8ced3462d426fbeea9ffdb21d105fcd0","integrity":"matched","parts":2,"voices":2,"notes":25,"measures":4,"parser":{"status":"supported","warnings":[],"events":24,"normalizations":[]},"preview":{"path":"previews/edition-middle-final-236-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"18d55b93996a4cc52d783e5558462ac1b509feb5723e1bbb62d2bef9ac3a7a7a","playback":false,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"f5bbacb4b381734ef9f11de7ddb2080e8ced3462d426fbeea9ffdb21d105fcd0"}},{"id":"edition:middle-final-236-b","collection":"edition","title":"Example middle-final-236-b","page":236,"topic":"On various fugue subjects.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-final-236-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/236-b.png","sha256":"8cd548e8975560f1e878ef322699eebab575945ca8832d4d09fd622e4df20b7b","label":"Source crop · printed p. 236","local":false}],"owners":["236-b"],"state":"recorded-review","editionStatus":"verified","context":"This manner, since it breaks the subject less, should in my opinion be preferred to the first. Almost the same subject, taken upward in the answering part, agrees correctly throughout with both the mode and the semitones. For example:","latin":"Qui Modus, utpote minùs rumpens subjectum, præ primo, meâ quidem sententia, amplectendus est. Idem fermè subjectum ascendendo sumptum in parte respondente, & Modo, & Semitoniis per omnia ritè consentit. E. G.","issues":[],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"9fc708522b1262ec0d29446b09ba151731e04114d50a7eed7666e1f9408a4167","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-445","downloads":[],"xmlSha256":"9fc708522b1262ec0d29446b09ba151731e04114d50a7eed7666e1f9408a4167","integrity":"matched","parts":2,"voices":2,"notes":19,"measures":4,"parser":{"status":"supported","warnings":[],"events":18,"normalizations":[]},"preview":{"path":"previews/edition-middle-final-236-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"00d7cdba305deb71ccecf8f91f87bdaa4d673358f7f5e4bef6fff9612db72c79","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"9fc708522b1262ec0d29446b09ba151731e04114d50a7eed7666e1f9408a4167"}},{"id":"edition:middle-final-236-c","collection":"edition","title":"Example middle-final-236-c","page":236,"topic":"On various fugue subjects.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-final-236-c.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/236-c.png","sha256":"2e37bc98a466564eb495d3dcac3a9ad9b0fa4f01fd6ccbadc9a6e5aab9c3c08a","label":"Source crop · printed p. 236","local":false}],"owners":["236-c"],"state":"recorded-review","editionStatus":"verified","context":"Joseph. With your permission, Master, I shall now propose one or two themes for string instruments, which have a broader field in which to range, and try whether I can construct the answering part. For example:","latin":"Joseph. Proponam modò, pace tuâ Magister, unum, alterumve thema pro Fidibus, quibus latior evagandi campus est, & tentabo, an partis respondentis mihi potestas sit. E. G.","issues":["Original3/4; full-bar rest glyphs have three-quarter durations. Wide instrumental range and final dottedhalf retained."],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"458557ecd47396ad44509c0b9eb2a28d4a7750a6c39022d4da9b576a9aa6430a","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-446","downloads":[],"xmlSha256":"458557ecd47396ad44509c0b9eb2a28d4a7750a6c39022d4da9b576a9aa6430a","integrity":"matched","parts":2,"voices":2,"notes":65,"measures":13,"parser":{"status":"supported","warnings":[],"events":63,"normalizations":[]},"preview":{"path":"previews/edition-middle-final-236-c.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"4e4c8e54dc257ac36d3c56608ba0d7e5edd30d96f1da0a67577466bb001281fb","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"458557ecd47396ad44509c0b9eb2a28d4a7750a6c39022d4da9b576a9aa6430a"}},{"id":"edition:middle-final-237-a","collection":"edition","title":"Example middle-final-237-a","page":237,"topic":"On various fugue subjects.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-final-237-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/237-a.png","sha256":"eda411efed6bce1d081b76ebcdb9d53a9ef385f821d2597c70547ee6a92ec040","label":"Source crop · printed p. 237","local":false}],"owners":["237-a"],"state":"needs-review","editionStatus":"needs-review","context":"Joseph. With your permission, Master, I shall now propose one or two themes for string instruments, which have a broader field in which to range, and try whether I can construct the answering part. For example:","latin":"Joseph. Proponam modò, pace tuâ Magister, unum, alterumve thema pro Fidibus, quibus latior evagandi campus est, & tentabo, an partis respondentis mihi potestas sit. E. G.","issues":["Source clearly prints6/4 but visible upper quarter/eighth/sixteenth values generally total3quarter units per bar. Original signature and literal note values retained; historical proportion convention remains unresolved.","Lower entrybar reads halfrest+D4quarter+G4eighth (3.5 quarters); fullbar rests use printed6/4 duration6. Full playback remains needs-review; no time signature or note values silently doubled."],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":false,"rendered":true,"schema":true},"diagnostics":{"sha256":"448bc2b087151fa406f4d464eb80b5f93c4203ae5a63fdd0efd5dfe7ae93221f","hints":{"unequal_parts":[["1","P1",3,6],["2","P1",3,6],["3","P1",3,6],["4","P1",3,3.5]]}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-448","downloads":[],"xmlSha256":"448bc2b087151fa406f4d464eb80b5f93c4203ae5a63fdd0efd5dfe7ae93221f","integrity":"matched","parts":2,"voices":2,"notes":70,"measures":8,"parser":{"status":"supported","warnings":["A tie is held while other parts finish a longer bar (P1, bar 3, G5)","A tie is held while other parts finish a longer bar (P1, bar 4, C5)"],"events":63,"normalizations":[]},"preview":{"path":"previews/edition-middle-final-237-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"436d2045bdcacc205a11e56246029e989cf828684a604b25a2e27e02ea3083f2","playback":false,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"448bc2b087151fa406f4d464eb80b5f93c4203ae5a63fdd0efd5dfe7ae93221f"}},{"id":"edition:middle-final-238-a-1","collection":"edition","title":"Example middle-final-238-a-1","page":238,"topic":"On various fugue subjects.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-final-238-a-1.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/238-a.png","sha256":"7555c82e547766260837dfe514221c68f67db06ff0e9d4e8b0a1a0a8fdaac5d6","label":"Source crop · printed p. 238","local":false}],"owners":["238-a"],"state":"recorded-review","editionStatus":"verified","context":"Not long ago you were told, Joseph, that, having now left the arduous training ground of the lessons, you are free to use time and proportion of every kind. The matter now requires that I demonstrate how notes differing in form and value become equal in value under a different measure of the beat.","latin":"Haud multùm antè dictum est tibi Josephe, egresso jam ex molestâ Lectionum palæstra, facultatem esse omnis generis tempore, proportioneque utendi: res modò postulat, ut tibi demonstrem, quâ ratione Notæ figurâ, valoreque dispares sub diversâ tactûs mensura ejusdem valoris efficiantur.","issues":["No pitch is specified by source; unpitched notation is faithful, but current playback parser cannot play it."],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"68a1039e67147f49c087270c51cbde94cea5848c64cd87b5ade1d7c51d63fa0d","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-449","downloads":[],"xmlSha256":"68a1039e67147f49c087270c51cbde94cea5848c64cd87b5ade1d7c51d63fa0d","integrity":"matched","parts":1,"voices":1,"notes":0,"measures":1,"parser":{"status":"supported","warnings":[],"events":1,"normalizations":[]},"preview":{"path":"previews/edition-middle-final-238-a-1.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"3f6601d8dd4698e795281e7182263c5dfcbf2733a901c177a70bc2e3af62b684","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"68a1039e67147f49c087270c51cbde94cea5848c64cd87b5ade1d7c51d63fa0d"}},{"id":"edition:middle-final-238-a-2","collection":"edition","title":"Example middle-final-238-a-2","page":238,"topic":"On various fugue subjects.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-final-238-a-2.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/238-a.png","sha256":"7555c82e547766260837dfe514221c68f67db06ff0e9d4e8b0a1a0a8fdaac5d6","label":"Source crop · printed p. 238","local":false}],"owners":["238-a"],"state":"recorded-review","editionStatus":"verified","context":"Not long ago you were told, Joseph, that, having now left the arduous training ground of the lessons, you are free to use time and proportion of every kind. The matter now requires that I demonstrate how notes differing in form and value become equal in value under a different measure of the beat.","latin":"Haud multùm antè dictum est tibi Josephe, egresso jam ex molestâ Lectionum palæstra, facultatem esse omnis generis tempore, proportioneque utendi: res modò postulat, ut tibi demonstrem, quâ ratione Notæ figurâ, valoreque dispares sub diversâ tactûs mensura ejusdem valoris efficiantur.","issues":["No pitch is specified by source; unpitched notation is faithful, but current playback parser cannot play it."],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"3d20217c7f8c5430f2c7edc48de0f9b7e14da8593b3676c429482de2229f7596","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-449","downloads":[],"xmlSha256":"3d20217c7f8c5430f2c7edc48de0f9b7e14da8593b3676c429482de2229f7596","integrity":"matched","parts":1,"voices":1,"notes":0,"measures":1,"parser":{"status":"supported","warnings":[],"events":1,"normalizations":[]},"preview":{"path":"previews/edition-middle-final-238-a-2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"64962016dc3bff521f3420221f215907086f23008ce94d93aaa88cb012114a08","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"3d20217c7f8c5430f2c7edc48de0f9b7e14da8593b3676c429482de2229f7596"}},{"id":"edition:middle-final-238-a-3","collection":"edition","title":"Example middle-final-238-a-3","page":238,"topic":"On various fugue subjects.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-final-238-a-3.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/238-a.png","sha256":"7555c82e547766260837dfe514221c68f67db06ff0e9d4e8b0a1a0a8fdaac5d6","label":"Source crop · printed p. 238","local":false}],"owners":["238-a"],"state":"recorded-review","editionStatus":"verified","context":"Not long ago you were told, Joseph, that, having now left the arduous training ground of the lessons, you are free to use time and proportion of every kind. The matter now requires that I demonstrate how notes differing in form and value become equal in value under a different measure of the beat.","latin":"Haud multùm antè dictum est tibi Josephe, egresso jam ex molestâ Lectionum palæstra, facultatem esse omnis generis tempore, proportioneque utendi: res modò postulat, ut tibi demonstrem, quâ ratione Notæ figurâ, valoreque dispares sub diversâ tactûs mensura ejusdem valoris efficiantur.","issues":["No pitch is specified by source; unpitched notation is faithful, but current playback parser cannot play it."],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"2e2a5b9cec181b5b38dbc8b78970b867f0cae8769a94742b7fe0f7fbb79bc4ba","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-449","downloads":[],"xmlSha256":"2e2a5b9cec181b5b38dbc8b78970b867f0cae8769a94742b7fe0f7fbb79bc4ba","integrity":"matched","parts":1,"voices":1,"notes":0,"measures":1,"parser":{"status":"supported","warnings":[],"events":1,"normalizations":[]},"preview":{"path":"previews/edition-middle-final-238-a-3.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"4b09bd094026a301f3bcf35790113b4cbfc0354e23a7251d85611783dd9b81fe","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"2e2a5b9cec181b5b38dbc8b78970b867f0cae8769a94742b7fe0f7fbb79bc4ba"}},{"id":"edition:middle-final-238-b-1","collection":"edition","title":"Example middle-final-238-b-1","page":238,"topic":"On various fugue subjects.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-final-238-b-1.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/238-b.png","sha256":"9bae6c0d3fe950a84078651e305d81a066792112c4d10e6bb847b9f9c1b56021","label":"Source crop · printed p. 238","local":false}],"owners":["238-b"],"state":"recorded-review","editionStatus":"verified","context":"These three notes, differing in form, have the same value because of the different measure of the beat, as the examples make clear. For example:","latin":"Istæ tres Notæ figurâ dispares propter differentem tactûs mensuram ejusdem valoris sunt: ut exempla manifestant. E. 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For example:","latin":"Istæ tres Notæ figurâ dispares propter differentem tactûs mensuram ejusdem valoris sunt: ut exempla manifestant. E. G.","issues":["Post-bar dot in upperbar2 encoded editorially. Presto word retained without invented metronome value."],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"cf30bbcc61bde6b4ed30883fb54e7703c393554fc627fba76dae006f6b9807dd","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-450","downloads":[],"xmlSha256":"cf30bbcc61bde6b4ed30883fb54e7703c393554fc627fba76dae006f6b9807dd","integrity":"matched","parts":2,"voices":2,"notes":20,"measures":4,"parser":{"status":"supported","warnings":[],"events":19,"normalizations":[]},"preview":{"path":"previews/edition-middle-final-238-b-2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"a110ff802cc7fb19693e21b990d4613c1415af756b9ba431bb1844e72ca93dad","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"cf30bbcc61bde6b4ed30883fb54e7703c393554fc627fba76dae006f6b9807dd"}},{"id":"edition:middle-final-238-b-3","collection":"edition","title":"Example middle-final-238-b-3","page":238,"topic":"On various fugue subjects.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-final-238-b-3.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/238-b.png","sha256":"9bae6c0d3fe950a84078651e305d81a066792112c4d10e6bb847b9f9c1b56021","label":"Source crop · printed p. 238","local":false}],"owners":["238-b"],"state":"recorded-review","editionStatus":"verified","context":"These three notes, differing in form, have the same value because of the different measure of the beat, as the examples make clear. For example:","latin":"Istæ tres Notæ figurâ dispares propter differentem tactûs mensuram ejusdem valoris sunt: ut exempla manifestant. E. 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So that you may understand where, and in which quarter of the measure, ligatures of dissonances are to be used. I say, then, that in duple time marked with a stroke through the sign, for example cut time, ligatures consisting of dissonances must be used only on the thesis, or beginning of the measure, apart from this case.","latin":"Aloys. Ut in cognitionem venires, ubi, & quo tactûs quadrante Ligaturæ dissonantiarum adhibendæ sint. Dico itaque, sub tempus binarium, perticâ subductâ notatum, E. G. 𝄵. non nisi in Thesi, sive in principio tactûs Ligaturas dissonantiis constantes usurpandas esse, exceptâ hac Hypothesi.","issues":[],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"84bb9e8e5da4fb7f494c74f13f90bfaea80dad6f19589caf23504a3e70968d58","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-452","downloads":[],"xmlSha256":"84bb9e8e5da4fb7f494c74f13f90bfaea80dad6f19589caf23504a3e70968d58","integrity":"matched","parts":2,"voices":2,"notes":6,"measures":2,"parser":{"status":"supported","warnings":[],"events":6,"normalizations":[]},"preview":{"path":"previews/edition-middle-final-239-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"f6d60342eb39f31476b7de0cf11a4b3e9a707602f19dc95bb2cf2959023089e7","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"84bb9e8e5da4fb7f494c74f13f90bfaea80dad6f19589caf23504a3e70968d58"}},{"id":"edition:middle-final-239-b-1","collection":"edition","title":"Example middle-final-239-b-1","page":239,"topic":"On various fugue subjects.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-final-239-b-1.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/239-b.png","sha256":"1014c8b409b44c23a6123d4bcccb00bd6ce413633dea307fa481b2dfb3f60ffd","label":"Source crop · printed p. 239","local":false}],"owners":["239-b"],"state":"recorded-review","editionStatus":"verified","context":"In time indicated by the word Presto: in the first and third quarters of the measure. In Adagio time: in every quarter. Let us examine examples.","latin":"Sub tempus vocabulo: Presto, indicatum: in primo, & tertio tactûs quadrante. Sub tempus, Adagio, in omni quadrante. Videantur exempla.","issues":[],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"ccb2a461bc4e3f9c4651affa3048a30c839ebdd0ab230bdca95fcdc7be4cd2e6","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-453","downloads":[],"xmlSha256":"ccb2a461bc4e3f9c4651affa3048a30c839ebdd0ab230bdca95fcdc7be4cd2e6","integrity":"matched","parts":2,"voices":2,"notes":13,"measures":5,"parser":{"status":"supported","warnings":[],"events":10,"normalizations":[]},"preview":{"path":"previews/edition-middle-final-239-b-1.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"8261f015417a19fb9bd4e036e44678c99510a8ce963c73b8083af9e0e87128bb","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"ccb2a461bc4e3f9c4651affa3048a30c839ebdd0ab230bdca95fcdc7be4cd2e6"}},{"id":"edition:middle-final-239-b-2","collection":"edition","title":"Example middle-final-239-b-2","page":239,"topic":"On various fugue subjects.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-final-239-b-2.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/239-b.png","sha256":"1014c8b409b44c23a6123d4bcccb00bd6ce413633dea307fa481b2dfb3f60ffd","label":"Source crop · printed p. 239","local":false}],"owners":["239-b"],"state":"recorded-review","editionStatus":"verified","context":"In time indicated by the word Presto: in the first and third quarters of the measure. In Adagio time: in every quarter. Let us examine examples.","latin":"Sub tempus vocabulo: Presto, indicatum: in primo, & tertio tactûs quadrante. Sub tempus, Adagio, in omni quadrante. Videantur exempla.","issues":[],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"7793756a32fc0988ee38ba24ad7def44688fb4a0e5532396561c7215a8e855dd","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-453","downloads":[],"xmlSha256":"7793756a32fc0988ee38ba24ad7def44688fb4a0e5532396561c7215a8e855dd","integrity":"matched","parts":2,"voices":2,"notes":11,"measures":3,"parser":{"status":"supported","warnings":[],"events":10,"normalizations":[]},"preview":{"path":"previews/edition-middle-final-239-b-2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"3d8bc0dcd4e1603ede949d89dfde834f3188d47bc166999bb730b11c2693dc18","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"7793756a32fc0988ee38ba24ad7def44688fb4a0e5532396561c7215a8e855dd"}},{"id":"edition:middle-final-239-b-3","collection":"edition","title":"Example middle-final-239-b-3","page":239,"topic":"On various fugue subjects.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/middle-final-239-b-3.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/239-b.png","sha256":"1014c8b409b44c23a6123d4bcccb00bd6ce413633dea307fa481b2dfb3f60ffd","label":"Source crop · printed p. 239","local":false}],"owners":["239-b"],"state":"recorded-review","editionStatus":"verified","context":"In time indicated by the word Presto: in the first and third quarters of the measure. In Adagio time: in every quarter. Let us examine examples.","latin":"Sub tempus vocabulo: Presto, indicatum: in primo, & tertio tactûs quadrante. Sub tempus, Adagio, in omni quadrante. Videantur exempla.","issues":[],"verificationNotes":["Viewed Verovio rendering and compared note positions, voice order, rhythms, clefs, rests, accidentals and ties against source reading; explicit issues remain where flagged."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"13d3782eb3583df2c651afaf38b10fe87d4546a0e7523738caa534861ec2fe7c","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-453","downloads":[],"xmlSha256":"13d3782eb3583df2c651afaf38b10fe87d4546a0e7523738caa534861ec2fe7c","integrity":"matched","parts":2,"voices":2,"notes":10,"measures":2,"parser":{"status":"supported","warnings":[],"events":10,"normalizations":[]},"preview":{"path":"previews/edition-middle-final-239-b-3.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"f57c9fa0a41dd68c6b587752ed3d9c6c600eb3606e9944a5a79ec1f4acf668ee","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"13d3782eb3583df2c651afaf38b10fe87d4546a0e7523738caa534861ec2fe7c"}},{"id":"edition:244-246-kyrie","collection":"edition","title":"Example 244-246-kyrie","page":244,"topic":"On a cappella style.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/244-246-kyrie.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/244-a.png","sha256":"4da7028f27db0c91c5c7a447b99f72fd6b8f74a3a77d9b2cc354882f55078d0b","label":"Source crop · printed p. 244","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/245-score.png","sha256":"c4ee6d74b4adcec25186d6b1570495de40e94058a9db1a11549df7e1ba552cdc","label":"Source crop · printed p. 245","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/246-a.png","sha256":"3d6faa2788a989b918cd35ad869b1d9c0cb83b9a65cb8cef30db8aef24da0cdb","label":"Source crop · printed p. 246","local":false}],"owners":["244-a","245-score","246-a"],"state":"needs-review","editionStatus":"needs-review","context":"Aloysius. I think the reason, unless I am mistaken, was also given in the same place in Book One: namely, that intonation will be very difficult for voices aided by no support from other instruments. In this kind of composition great effort must be devoted both to ease and to a natural manner of singing. Therefore subjects must also be natural and easy, yet neither barren nor commonplace. If the brevity of the text and the need to extend the composition require frequent repetition of words, as in Kyrie, Amen, and so forth, care must be taken to compensate fully for the resulting weariness either by a fertile variety of melodic writing or by introducing new subjects. Examples by others should be examined to assist in this. Since you, Joseph, laid the foundations of composition under my guidance and auspices, and I therefore trust that my works will be more familiar to you, I shall set before you as an example the Kyrie from my Mass called Vicissitudinis. You may then gradually proceed to examine the loftier monuments of distinguished men. The undisputed prince of this style is Aloysius of Palestrina, that light of music, whom I again and again commend for your imitation if you are intent on more than ordinary progress.","latin":"Aloys. Et causam, ni fallor, Lib. 1. eodemque loco dictam esse puto: vocibus nempe nullo, neque aliorum instrumentorum auxilio adjutis perdifficilem fore intonationem: in quo genere Compositionis & facilitati, & naturali canendi rationi plurimum operæ dandum est. Quam ob rem subjecta quoque naturalia, facilia, non tamen sterilia, neque trivialia prehendenda sunt. Et si textûs brevitas, & Compositio in longum protrahenda crebram verborum repetitionem requirit, ut in Kyrie, Amen &c. procurandum est, ut nauseæ inde oriundæ, aut fœcundæ modulationis varietate, aut novis subjectis introducendis abundè compensetur: in cujus rei auxilium exempla aliorum inspicienda sunt. Et quia tu, Josephe, ductu meo, auspicioque Compositionis fundamenta jecisti, ideòque mea tibi notiora fore confido, Kyrie ex Missa mea Vicissitudinis appellatâ in exemplar tibi proponam: ut deinde paulatim ad altiora clarorum virorum monumenta perlustranda progredi possis: cujus Styli extra controversiam Princeps est Aloysius Prænestinus, illud Musicæ lumen, quem tibi imitandum, si curâ profectûs haud ordinarii premeris, etiam atque etiam commendo.","issues":["Soprano245firstsystem thirdmeasure/global8 prints repeated Ky under repeatedC5notes; exact textunderlay remains uncertain. Notes, initialalto rests and finaltenorligature have had second-eye confirmation."],"verificationNotes":["Every assigned source crop visually inspected and transcribed; source dialogue consulted for continuity, text and intentional examples.","All rendered pages of the joined candidate visually inspected; unresolved source/notation ambiguities are explicitly listed and full candidate is not semantically verified.","Independent second-eye confirmed sampled opening/closing pitches and rhythms, initial alto rests, key-derived B-flats/B-naturals and upward-stem tenor ligature as Bb3+A3 semibreves."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"ce65d2d4a1233edac1308ac95d4cc4bfbf627e31f416ce05118ec90dad66608c","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-455","downloads":[],"xmlSha256":"ce65d2d4a1233edac1308ac95d4cc4bfbf627e31f416ce05118ec90dad66608c","integrity":"matched","parts":4,"voices":4,"notes":290,"measures":26,"parser":{"status":"supported","warnings":[],"events":264,"normalizations":[]},"preview":{"path":"previews/edition-244-246-kyrie.svg","pages":5,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"5e55516b447254dbece6d6a13cce61f0aaf9e6dc81f786fb959e4455ea5e4979","playback":false,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"ce65d2d4a1233edac1308ac95d4cc4bfbf627e31f416ce05118ec90dad66608c"}},{"id":"edition:244-246-kyrie-prefix-7","collection":"edition","title":"Example 244-246-kyrie-prefix-7","page":244,"topic":"On a cappella style.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/244-246-kyrie-prefix-7.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/244-a.png","sha256":"4da7028f27db0c91c5c7a447b99f72fd6b8f74a3a77d9b2cc354882f55078d0b","label":"Source crop · printed p. 244","local":false}],"owners":["244-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. I think the reason, unless I am mistaken, was also given in the same place in Book One: namely, that intonation will be very difficult for voices aided by no support from other instruments. In this kind of composition great effort must be devoted both to ease and to a natural manner of singing. Therefore subjects must also be natural and easy, yet neither barren nor commonplace. If the brevity of the text and the need to extend the composition require frequent repetition of words, as in Kyrie, Amen, and so forth, care must be taken to compensate fully for the resulting weariness either by a fertile variety of melodic writing or by introducing new subjects. Examples by others should be examined to assist in this. Since you, Joseph, laid the foundations of composition under my guidance and auspices, and I therefore trust that my works will be more familiar to you, I shall set before you as an example the Kyrie from my Mass called Vicissitudinis. You may then gradually proceed to examine the loftier monuments of distinguished men. The undisputed prince of this style is Aloysius of Palestrina, that light of music, whom I again and again commend for your imitation if you are intent on more than ordinary progress.","latin":"Aloys. Et causam, ni fallor, Lib. 1. eodemque loco dictam esse puto: vocibus nempe nullo, neque aliorum instrumentorum auxilio adjutis perdifficilem fore intonationem: in quo genere Compositionis & facilitati, & naturali canendi rationi plurimum operæ dandum est. Quam ob rem subjecta quoque naturalia, facilia, non tamen sterilia, neque trivialia prehendenda sunt. Et si textûs brevitas, & Compositio in longum protrahenda crebram verborum repetitionem requirit, ut in Kyrie, Amen &c. procurandum est, ut nauseæ inde oriundæ, aut fœcundæ modulationis varietate, aut novis subjectis introducendis abundè compensetur: in cujus rei auxilium exempla aliorum inspicienda sunt. Et quia tu, Josephe, ductu meo, auspicioque Compositionis fundamenta jecisti, ideòque mea tibi notiora fore confido, Kyrie ex Missa mea Vicissitudinis appellatâ in exemplar tibi proponam: ut deinde paulatim ad altiora clarorum virorum monumenta perlustranda progredi possis: cujus Styli extra controversiam Princeps est Aloysius Prænestinus, illud Musicæ lumen, quem tibi imitandum, si curâ profectûs haud ordinarii premeris, etiam atque etiam commendo.","issues":["Verified opening excerpt only; full work continues. No cadence or notes added.","Outgoing source tie at excerpt boundary retained as notation/metadata only; playback ends at last written duration without invented receiver."],"verificationNotes":["Direct visual source reading completed, including staff-position pitches, printed clefs, local/key-derived alterations, flags/dots, note/rest values, and lyric onset placement when present.","Every rendered page of this exact file compared to source; MusicXML schema/Verovio rendering and parseScore passed.","Only original opening measures retained. No new cadence, note, rest or fermata added. Outgoing soundties at cutoff removed while source arcs remain notation/metadata; full source score continues."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"6e251171848c5a8fdf33238d577a9c58d9a743aa38d534e9f072de5d6c129c56","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-455","downloads":[],"xmlSha256":"6e251171848c5a8fdf33238d577a9c58d9a743aa38d534e9f072de5d6c129c56","integrity":"matched","parts":4,"voices":4,"notes":72,"measures":7,"parser":{"status":"supported","warnings":[],"events":67,"normalizations":[]},"preview":{"path":"previews/edition-244-246-kyrie-prefix-7.svg","pages":2,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"8e556734270c6b61048b3e96a014ee83d57b53d47aaa38ec0e8c94a76550fece","playback":true,"corpusLinks":[],"relationship":"derived-reading","material":{"group":"derived-reading","reason":"The edition explicitly records this as an excerpt or instrumental reading of existing material.","relatedEditionIds":["edition:244-246-kyrie"],"coverage":{"kind":"excerpt","label":"Verified opening · measures 1–7 of 26; full score continues","lastMeasure":7,"totalMeasures":26},"xmlSha256":"6e251171848c5a8fdf33238d577a9c58d9a743aa38d534e9f072de5d6c129c56"}},{"id":"edition:244-246-kyrie-instrumental","collection":"edition","title":"Example 244-246-kyrie-instrumental","page":244,"topic":"On a cappella style.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/244-246-kyrie-instrumental.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/244-a.png","sha256":"4da7028f27db0c91c5c7a447b99f72fd6b8f74a3a77d9b2cc354882f55078d0b","label":"Source crop · printed p. 244","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/245-score.png","sha256":"c4ee6d74b4adcec25186d6b1570495de40e94058a9db1a11549df7e1ba552cdc","label":"Source crop · printed p. 245","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/246-a.png","sha256":"3d6faa2788a989b918cd35ad869b1d9c0cb83b9a65cb8cef30db8aef24da0cdb","label":"Source crop · printed p. 246","local":false}],"owners":["244-a","245-score","246-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. I think the reason, unless I am mistaken, was also given in the same place in Book One: namely, that intonation will be very difficult for voices aided by no support from other instruments. In this kind of composition great effort must be devoted both to ease and to a natural manner of singing. Therefore subjects must also be natural and easy, yet neither barren nor commonplace. If the brevity of the text and the need to extend the composition require frequent repetition of words, as in Kyrie, Amen, and so forth, care must be taken to compensate fully for the resulting weariness either by a fertile variety of melodic writing or by introducing new subjects. Examples by others should be examined to assist in this. Since you, Joseph, laid the foundations of composition under my guidance and auspices, and I therefore trust that my works will be more familiar to you, I shall set before you as an example the Kyrie from my Mass called Vicissitudinis. You may then gradually proceed to examine the loftier monuments of distinguished men. The undisputed prince of this style is Aloysius of Palestrina, that light of music, whom I again and again commend for your imitation if you are intent on more than ordinary progress.","latin":"Aloys. Et causam, ni fallor, Lib. 1. eodemque loco dictam esse puto: vocibus nempe nullo, neque aliorum instrumentorum auxilio adjutis perdifficilem fore intonationem: in quo genere Compositionis & facilitati, & naturali canendi rationi plurimum operæ dandum est. Quam ob rem subjecta quoque naturalia, facilia, non tamen sterilia, neque trivialia prehendenda sunt. Et si textûs brevitas, & Compositio in longum protrahenda crebram verborum repetitionem requirit, ut in Kyrie, Amen &c. procurandum est, ut nauseæ inde oriundæ, aut fœcundæ modulationis varietate, aut novis subjectis introducendis abundè compensetur: in cujus rei auxilium exempla aliorum inspicienda sunt. Et quia tu, Josephe, ductu meo, auspicioque Compositionis fundamenta jecisti, ideòque mea tibi notiora fore confido, Kyrie ex Missa mea Vicissitudinis appellatâ in exemplar tibi proponam: ut deinde paulatim ad altiora clarorum virorum monumenta perlustranda progredi possis: cujus Styli extra controversiam Princeps est Aloysius Prænestinus, illud Musicæ lumen, quem tibi imitandum, si curâ profectûs haud ordinarii premeris, etiam atque etiam commendo.","issues":[],"verificationNotes":["All pitches, rhythms, rests, clefs, key alterations and ties in the full 26-bar source have been visually checked; the only unresolved item in the unchanged lyric candidate is repeated Ky underlay in soprano measure 8.","Initial alto rests and the final tenor upward-left-stem ligature reading as two semibreves were confirmed in an independent second-eye review.","Created solely by deleting 280 lyric elements from the checked full candidate; all remaining XML structure is identical.","Shared parser confirms exact equality of the complete primary and instrumental playback timelines: 264 sounding events, 208 beats.","All three rendered instrumental pages visually inspected against source crops 244-a, 245-score and 246-a; MusicXML schema and rendering succeeded."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"252c48b25d311512a0226073bb701eba86479583b0d894fd9420b11781d11924","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-455","downloads":[],"xmlSha256":"252c48b25d311512a0226073bb701eba86479583b0d894fd9420b11781d11924","integrity":"matched","parts":4,"voices":4,"notes":290,"measures":26,"parser":{"status":"supported","warnings":[],"events":264,"normalizations":[]},"preview":{"path":"previews/edition-244-246-kyrie-instrumental.svg","pages":5,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"55606d565de28b8ef377e723952f41d56876d2d852bcc3c46854ed7075a2f307","playback":true,"corpusLinks":[],"relationship":"derived-reading","material":{"group":"derived-reading","reason":"The edition explicitly records this as an excerpt or instrumental reading of existing material.","relatedEditionIds":["edition:244-246-kyrie"],"coverage":{"kind":"instrumental","label":"Verified instrumental reading · full 26 bars; lyrics retained in original crop","lastMeasure":26,"totalMeasures":26},"xmlSha256":"252c48b25d311512a0226073bb701eba86479583b0d894fd9420b11781d11924"}},{"id":"edition:246-b-original","collection":"edition","title":"Example 246-b-original","page":246,"topic":"On a cappella style.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/246-b-original.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/246-b.png","sha256":"a34c963080767a2defd3bb007ba1597feeefd1609dbdd91c4cf185014066f04b","label":"Source crop · printed p. 246","local":false}],"owners":["246-b"],"state":"needs-review","editionStatus":"needs-review","context":"But I now recall having encountered a similar case in the lessons: namely, that diminution was omitted there for the sake of the integrity of the subject, in the following manner.","latin":"Verùm jam in mentem venit, in Lectionibus me similem casum habuisse: diminutionem nempe propter subjecti integritatem ibi omissam esse sequenti ratione.","issues":["The source final voice note is a half note while the bass is a whole note. Unequal ending durations retained; source comparison required before synchronized playback."],"verificationNotes":["Source crop inspected at enlarged scale. C1 voice and F4 bass retained; source cross-shaped sharps encoded as single sharps.","No lyrics printed in these isolated punctuation illustrations."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"19e6534a18a500427b4baf4a8e39ad502dc5c988088beb89ad3ea395e9c69afe","hints":{"unequal_parts":[["2","P1",2,4]]}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-459","downloads":[],"xmlSha256":"19e6534a18a500427b4baf4a8e39ad502dc5c988088beb89ad3ea395e9c69afe","integrity":"matched","parts":2,"voices":2,"notes":5,"measures":2,"parser":{"status":"supported","warnings":[],"events":5,"normalizations":[]},"preview":{"path":"previews/edition-246-b-original.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"90b40a6631619a7d7cd8344b011743bdb4f97145865ab836ead5d5c6239bf5d5","playback":false,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"19e6534a18a500427b4baf4a8e39ad502dc5c988088beb89ad3ea395e9c69afe"}},{"id":"edition:246-b-diminution","collection":"edition","title":"Example 246-b-diminution","page":246,"topic":"On a cappella style.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/246-b-diminution.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/246-b.png","sha256":"a34c963080767a2defd3bb007ba1597feeefd1609dbdd91c4cf185014066f04b","label":"Source crop · printed p. 246","local":false}],"owners":["246-b"],"state":"recorded-review","editionStatus":"verified","context":"But I now recall having encountered a similar case in the lessons: namely, that diminution was omitted there for the sake of the integrity of the subject, in the following manner.","latin":"Verùm jam in mentem venit, in Lectionibus me similem casum habuisse: diminutionem nempe propter subjecti integritatem ibi omissam esse sequenti ratione.","issues":[],"verificationNotes":["Source crop inspected at enlarged scale. C1 voice and F4 bass retained; source cross-shaped sharps encoded as single sharps.","No lyrics printed in these isolated punctuation illustrations.","Parent compared rendered notation to enlarged source: pitch positions, original clefs, printed flags/dots/rests and key-derived alterations retained. Redundant accidental glyphs not added for signature B-flat."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"7e0e67ecee16db46fe03f64855392de77e47b4f91de0b91410d2a1ab2444f870","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-459","downloads":[],"xmlSha256":"7e0e67ecee16db46fe03f64855392de77e47b4f91de0b91410d2a1ab2444f870","integrity":"matched","parts":2,"voices":2,"notes":6,"measures":2,"parser":{"status":"supported","warnings":[],"events":6,"normalizations":[]},"preview":{"path":"previews/edition-246-b-diminution.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"d4701a3ce762c4f7b2a20888e0c5f0767bb9a791206982a75aa366fc69b5ffe1","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"7e0e67ecee16db46fe03f64855392de77e47b4f91de0b91410d2a1ab2444f870"}},{"id":"edition:247-254-offertory","collection":"edition","title":"Example 247-254-offertory","page":247,"topic":"On a cappella style.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/247-254-offertory.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/247-a.png","sha256":"f14057c83920312a39631773bdb94714eeae9a517279f25f7acfcd4cc1699ff1","label":"Source crop · printed p. 247","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/248-a.png","sha256":"0190babc5b5eff9b3cce4f9002901e7312e1f27300af5de882376d55c0e32ecc","label":"Source crop · printed p. 248","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/249-a.png","sha256":"9f9ff18352aabf616ba5ea2f111964cb91dcd487f48fc212cd53de37375cd273","label":"Source crop · printed p. 249","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/250-a.png","sha256":"14a04f37bd9ba96280b47c69a96125c260e9d4c2998999dd3ed5a3186bf831e4","label":"Source crop · printed p. 250","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/251-a.png","sha256":"f116f0b1c191ac80b9717b52a877997aeb004d4e42bc8a27a6897f55159df45f","label":"Source crop · printed p. 251","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/252-a.png","sha256":"69e5d286ee01950a8a724cd81a6b20cd5a6bd584212aa0bdac43bc2cefbda08b","label":"Source crop · printed p. 252","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/253-a.png","sha256":"e12cbc756befd0caa24dd51e8c5c2f2917f8e63ff2d7b1a6fcbe53b363bd280d","label":"Source crop · printed p. 253","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/254-a.png","sha256":"eb5967a5b19b5429cff1787eef42a2d6dd5c6eb1309dc6d6d424ba0ab8a85f96","label":"Source crop · printed p. 254","local":false}],"owners":["247-a","248-a","249-a","250-a","251-a","252-a","253-a","254-a"],"state":"needs-review","editionStatus":"needs-review","context":"Aloysius. It can, if it is properly arranged. First, some rest must precede the part that is to introduce a new subject. Meanwhile the other parts will direct their melodic course so that the new subject conceived in your mind has an opportunity to enter either during that continuation, at a cadence, or, more rarely, after a cadence has been made. Since presenting an entire Mass here would be too lengthy, I shall set an offertory before your eyes. Its manner of composition, apart from Kyrie and Amen, largely corresponds to the rest of the Mass text. From this composition you can learn the art of fitting a subject to the text and introducing it at the right moment.","latin":"Aloys. Poterit, si rectè instituatur. Imprimis partem, novum subjectum introducturam, aliquantum pausæ præcedere debet: dum interim cæteræ modulationem ità dirigent, ut novo subjecto mente tuâ concepto, aut sub ipsam modulationem, aut in Clausula, rariùs post Clausulam factam intrandi facultas sit. Et quia Missam integram hîc exhibere nimis longum foret, Offertorium oculis tuis subjiciam, cujus Compositio, excepto Kyrie, & Amen, cum reliquo Missæ textu quasi coincidit, ex quo concentu, subjecti textui aptandi, & opportunè intrandi artificium addiscere poteris.","issues":["Complete92 sourcebars across247–254, including two bars split across source page/system boundaries. Known rhythm conflicts: alto251bar50 totals10; alto253bar84 totals6; otherparts8.","Tenor250 third system measure containing ri-de-ant: following two small angled glyphs unclear. Encoded4-quarter forward gap after C4quarter+B3quarter+A3half, not invented sounding notes/rests. Needs source review.","Soprano250 first-to-second-system arc connects A4 whole to G4 whole (different staff positions); encoded as slur, not forced into same-pitch tie. Needs source review.","Alto251 firstsystem lastbar/global50: literal E4half+D4half tied to stemlessD4whole+E4half totals10quarters, versus8 elsewhere. Possible missing stem or correction; literal durations retained pending source review.","Alto253 opening joined rectangles interpreted as D4+C4 semibreveligature, analogous to246tenor.","Alto253 lastsourcebar/global84 visibly has three stemmed halfnotes Eb4 C4 F4 (6quarterunits), while otherparts total8. Literal values retained; possible missing rest or augmentation requires source review."],"verificationNotes":["Every assigned source crop visually inspected and transcribed; source dialogue consulted for continuity, text and intentional examples.","All rendered pages of the joined candidate visually inspected; unresolved source/notation ambiguities are explicitly listed and full candidate is not semantically verified."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"d6549ca47e7c0a06a14c168565fa089218a1b991485d27c381010339567c3569","hints":{"unequal_parts":[["50","P1",8,10],["50","P3",8,10],["50","P4",8,10]]}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-460","downloads":[],"xmlSha256":"d6549ca47e7c0a06a14c168565fa089218a1b991485d27c381010339567c3569","integrity":"matched","parts":4,"voices":4,"notes":993,"measures":92,"parser":{"status":"supported","warnings":["One part runs past its bar (P2, bar 50: 10 beats in a 4-beat bar; the other parts wait)"],"events":939,"normalizations":[]},"preview":{"path":"previews/edition-247-254-offertory.svg","pages":17,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"2a584857037436792ddee59deee69523e5bc21bf8f259b0b58f02883c471b272","playback":false,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"d6549ca47e7c0a06a14c168565fa089218a1b991485d27c381010339567c3569"}},{"id":"edition:247-254-offertory-prefix-36","collection":"edition","title":"Example 247-254-offertory-prefix-36","page":247,"topic":"On a cappella style.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/247-254-offertory-prefix-36.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/247-a.png","sha256":"f14057c83920312a39631773bdb94714eeae9a517279f25f7acfcd4cc1699ff1","label":"Source crop · printed p. 247","local":false}],"owners":["247-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. It can, if it is properly arranged. First, some rest must precede the part that is to introduce a new subject. Meanwhile the other parts will direct their melodic course so that the new subject conceived in your mind has an opportunity to enter either during that continuation, at a cadence, or, more rarely, after a cadence has been made. Since presenting an entire Mass here would be too lengthy, I shall set an offertory before your eyes. Its manner of composition, apart from Kyrie and Amen, largely corresponds to the rest of the Mass text. From this composition you can learn the art of fitting a subject to the text and introducing it at the right moment.","latin":"Aloys. Poterit, si rectè instituatur. Imprimis partem, novum subjectum introducturam, aliquantum pausæ præcedere debet: dum interim cæteræ modulationem ità dirigent, ut novo subjecto mente tuâ concepto, aut sub ipsam modulationem, aut in Clausula, rariùs post Clausulam factam intrandi facultas sit. Et quia Missam integram hîc exhibere nimis longum foret, Offertorium oculis tuis subjiciam, cujus Compositio, excepto Kyrie, & Amen, cum reliquo Missæ textu quasi coincidit, ex quo concentu, subjecti textui aptandi, & opportunè intrandi artificium addiscere poteris.","issues":["Verified opening excerpt only; full work continues. No cadence or notes added.","Outgoing source tie at excerpt boundary retained as notation/metadata only; playback ends at last written duration without invented receiver."],"verificationNotes":["Direct visual source reading completed, including staff-position pitches, printed clefs, local/key-derived alterations, flags/dots, note/rest values, and lyric onset placement when present.","Every rendered page of this exact file compared to source; MusicXML schema/Verovio rendering and parseScore passed.","Only original opening measures retained. No new cadence, note, rest or fermata added. Outgoing soundties at cutoff removed while source arcs remain notation/metadata; full source score continues."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"7636614c4a96640dc407634fb8c08c6266a84910b4624ff5f30880b4d3e9b7fa","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-460","downloads":[],"xmlSha256":"7636614c4a96640dc407634fb8c08c6266a84910b4624ff5f30880b4d3e9b7fa","integrity":"matched","parts":4,"voices":4,"notes":363,"measures":36,"parser":{"status":"supported","warnings":[],"events":344,"normalizations":[]},"preview":{"path":"previews/edition-247-254-offertory-prefix-36.svg","pages":7,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"4dcd1445d7139771442f190b5bc505137fb84671ddccf36f963b7d80635e0256","playback":true,"corpusLinks":[],"relationship":"derived-reading","material":{"group":"derived-reading","reason":"The edition explicitly records this as an excerpt or instrumental reading of existing material.","relatedEditionIds":["edition:247-254-offertory"],"coverage":{"kind":"excerpt","label":"Verified opening · measures 1–36 of 92; full score continues","lastMeasure":36,"totalMeasures":92},"xmlSha256":"7636614c4a96640dc407634fb8c08c6266a84910b4624ff5f30880b4d3e9b7fa"}},{"id":"edition:255-a","collection":"edition","title":"Example 255-a","page":255,"topic":"On a cappella style.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/255-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/255-a.png","sha256":"c5eddac2f26d3b6972fe7226c339494365c9ac5a1b766982c1a6fffb7600f250","label":"Source crop · printed p. 255","local":false}],"owners":["255-a"],"state":"recorded-review","editionStatus":"verified","context":"Joseph. I see here a progression that I never encountered throughout the course of the lessons: namely, from a fifth to a fifth, although by contrary motion. For example:","latin":"Joseph. Conspicio hîc loci progressum, qui mihi per totum Lectionum cursum nunquam evenit: nempe de Quinta in Quintam, licèt per motum contrarium. E. G.","issues":[],"verificationNotes":["Direct visual source reading completed, including staff-position pitches, printed clefs, local/key-derived alterations, flags/dots, note/rest values, and lyric onset placement when present.","Every rendered page of this exact file compared to source; MusicXML schema/Verovio rendering and parseScore passed."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"a5cfd07d51ccddb35b1c6fb7e33e2f5ff1cfdf0d15ac6f9f8c2b3c2b2c557884","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-468","downloads":[],"xmlSha256":"a5cfd07d51ccddb35b1c6fb7e33e2f5ff1cfdf0d15ac6f9f8c2b3c2b2c557884","integrity":"matched","parts":2,"voices":2,"notes":5,"measures":1,"parser":{"status":"supported","warnings":[],"events":5,"normalizations":[]},"preview":{"path":"previews/edition-255-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"39fdeec81515adf0a71f5c3ad9ac2bc26cebf58999c61aa20c002ebd7fad4d20","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"a5cfd07d51ccddb35b1c6fb7e33e2f5ff1cfdf0d15ac6f9f8c2b3c2b2c557884"}},{"id":"edition:256-a","collection":"edition","title":"Example 256-a","page":256,"topic":"On a cappella style.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/256-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/256-a.png","sha256":"3dabbb98c52b22d4b0120c2682d3c511ecdd14b2e64831b7afd5506fb6c025dc","label":"Source crop · printed p. 256","local":false}],"owners":["256-a"],"state":"recorded-review","editionStatus":"verified","context":"Joseph. In the development of the former subject, I noticed a case where two fifths immediately following one another seem to occur in this way:","latin":"Joseph. In prioris subjecti deductione, Hypothesin perspexi, ubi duæ Quintæ immediatè se sequentes reperiri videntur hoc modo:","issues":[],"verificationNotes":["Direct visual source reading completed, including staff-position pitches, printed clefs, local/key-derived alterations, flags/dots, note/rest values, and lyric onset placement when present.","Every rendered page of this exact file compared to source; MusicXML schema/Verovio rendering and parseScore passed."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"f16f4dce680e6df0c18ce8051306802b63a55bb17261614008a5db8c7160879c","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-469","downloads":[],"xmlSha256":"f16f4dce680e6df0c18ce8051306802b63a55bb17261614008a5db8c7160879c","integrity":"matched","parts":4,"voices":4,"notes":9,"measures":2,"parser":{"status":"supported","warnings":[],"events":9,"normalizations":[]},"preview":{"path":"previews/edition-256-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"3d83c25615c649fac19783f1c1ca944b7d5ee1f83729429c809594a475c745c1","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"f16f4dce680e6df0c18ce8051306802b63a55bb17261614008a5db8c7160879c"}},{"id":"edition:256-261-avemaria","collection":"edition","title":"Example 256-261-avemaria","page":256,"topic":"On a cappella style.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/256-261-avemaria.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/256-b.png","sha256":"44be45b644210d8ba72c21e1949e67f9e021cd392e73007f97954f3486c09f4c","label":"Source crop · printed p. 256","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/257-a.png","sha256":"b859a84c01e6fbaba0a7be43b968922c2ee0676492ffb613362d1a645f226bd8","label":"Source crop · printed p. 257","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/258-a.png","sha256":"799c34028277772ea8db8495fa40cf42d9ebafc060186cc86715c9dfaa6d9eab","label":"Source crop · printed p. 258","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/259-a.png","sha256":"7eea783456371fbedf00206a098a6261b1e94693172515b99bc48f5012468e55","label":"Source crop · printed p. 259","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/260-a.png","sha256":"9b29a5e2840a868ec64774f49c36f76e9427b944cb854208289f9dec31051e7a","label":"Source crop · printed p. 260","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/261-a.png","sha256":"7a29d8127b4e8cc8b8c71dc63794d4aaf88247290fc2d6f4b6c4dcbc0cc88a04","label":"Source crop · printed p. 261","local":false}],"owners":["256-b","257-a","258-a","259-a","260-a","261-a"],"state":"needs-review","editionStatus":"needs-review","context":"Aloysius. Some authors judge so. But the quieter tenor voice easily shows the ear that the second fifth it forms arises not from the preceding fifth but from a third. Nor is this a matter of such importance that the development of the subject should suffer or be conducted less gracefully because of it. From what has been said thus far you will easily examine the rest of the composition, and you will also observe that words which signify nothing by themselves must never be repeated. It remains for me to show you a composition in this style with the obligation of a cantus firmus and the application of a text, from which you will see how subjects are to be introduced.","latin":"Aloys. Ità judicant nonnulli Auctores. Verùm illam secundam Quintam, quam Tenor constituit, non ex Quinta præcedenti resultare, sed ex Tertia, vox remissior Tenoris facili negotio auribus exhibet: nec est res tanti momenti, ob quam deductio subjecti pati, aut minùs bellè deduci debeat. Ex hucusque dictis facilè reliqui Concentûs examen institues, prætereàque animadvertes, verba ex se nihil significantia nequaquam repetenda esse. Superest, ut hujus styli concentum cum obligatione Cantûs firmi, & applicatione textûs tibi exhibeam, ex quo subjectorum introducendorum modum conspicies.","issues":["Complete70 sourcebars across256–261; Gregorian rectangle ligatures represented as semibrevepairs, subject to two explicit timing questions.","Soprano258 second-system firstbar/global23: two upward-stem rectangle notes plus a final black C5quarter. Literal4+4+1 interpretation totals9; ligature duration needs specialist confirmation.","Tenor258 firstbar/global19 lastnote shows overlaid open heads around F3/A3 with handwritten a; F3 entered as candidate printed lowerhead, alternative A3 not sounded. Needs source review.","Tenor259 thirdsystem after G3whole on bus: blank remainder and following blank bar represented as forward gaps(4+8) rather than invented printed rests/notes; duration/hold convention needs review.","Soprano260firstbar/global45 has same ligature+quarter timing question as258global23: literal4+4+1=9 pending duration interpretation."],"verificationNotes":["Every assigned source crop visually inspected and transcribed; source dialogue consulted for continuity, text and intentional examples.","All rendered pages of the joined candidate visually inspected; unresolved source/notation ambiguities are explicitly listed and full candidate is not semantically verified."],"savedChecks":{"parsed":false,"rendered":true,"schema":true},"diagnostics":{"sha256":"2a59c6290b8c1dabf349590e86465c5c5a18b932f468b7b60376f059bbe7407e","hints":{"unequal_parts":[["23","P2",8,9],["23","P3",8,9],["23","P4",8,9],["45","P2",8,9],["45","P3",8,9],["45","P4",8,9]],"invisible_gaps":[["43","P3"]]}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-470","downloads":[],"xmlSha256":"2a59c6290b8c1dabf349590e86465c5c5a18b932f468b7b60376f059bbe7407e","integrity":"matched","parts":4,"voices":4,"notes":718,"measures":70,"parser":{"status":"supported","warnings":["One part runs past its bar (P1, bar 23: 9 beats in a 4-beat bar; the other parts wait)","One part runs past its bar (P1, bar 45: 9 beats in a 4-beat bar; the other parts wait)","A tie is held while other parts finish a longer bar (P4, bar 46, D3)"],"events":693,"normalizations":[]},"preview":{"path":"previews/edition-256-261-avemaria.svg","pages":13,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"c09619388f5ca63b5e5ab419dfbb259043dbe08795929b4f16691f820aa3d781","playback":false,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"2a59c6290b8c1dabf349590e86465c5c5a18b932f468b7b60376f059bbe7407e"}},{"id":"edition:256-261-avemaria-prefix-18","collection":"edition","title":"Example 256-261-avemaria-prefix-18","page":256,"topic":"On a cappella style.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/256-261-avemaria-prefix-18.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/256-b.png","sha256":"44be45b644210d8ba72c21e1949e67f9e021cd392e73007f97954f3486c09f4c","label":"Source crop · printed p. 256","local":false}],"owners":["256-b"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. Some authors judge so. But the quieter tenor voice easily shows the ear that the second fifth it forms arises not from the preceding fifth but from a third. Nor is this a matter of such importance that the development of the subject should suffer or be conducted less gracefully because of it. From what has been said thus far you will easily examine the rest of the composition, and you will also observe that words which signify nothing by themselves must never be repeated. It remains for me to show you a composition in this style with the obligation of a cantus firmus and the application of a text, from which you will see how subjects are to be introduced.","latin":"Aloys. Ità judicant nonnulli Auctores. Verùm illam secundam Quintam, quam Tenor constituit, non ex Quinta præcedenti resultare, sed ex Tertia, vox remissior Tenoris facili negotio auribus exhibet: nec est res tanti momenti, ob quam deductio subjecti pati, aut minùs bellè deduci debeat. Ex hucusque dictis facilè reliqui Concentûs examen institues, prætereàque animadvertes, verba ex se nihil significantia nequaquam repetenda esse. Superest, ut hujus styli concentum cum obligatione Cantûs firmi, & applicatione textûs tibi exhibeam, ex quo subjectorum introducendorum modum conspicies.","issues":["Verified opening excerpt only; full work continues. No cadence or notes added."],"verificationNotes":["Direct visual source reading completed, including staff-position pitches, printed clefs, local/key-derived alterations, flags/dots, note/rest values, and lyric onset placement when present.","Every rendered page of this exact file compared to source; MusicXML schema/Verovio rendering and parseScore passed.","Only original opening measures retained. No new cadence, note, rest or fermata added. Outgoing soundties at cutoff removed while source arcs remain notation/metadata; full source score continues."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"7f0248032be6e1c7a28e67dce3da51b1696c0a6e48e41ba2128dc5f904c4fa2c","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-470","downloads":[],"xmlSha256":"7f0248032be6e1c7a28e67dce3da51b1696c0a6e48e41ba2128dc5f904c4fa2c","integrity":"matched","parts":4,"voices":4,"notes":179,"measures":18,"parser":{"status":"supported","warnings":[],"events":172,"normalizations":[]},"preview":{"path":"previews/edition-256-261-avemaria-prefix-18.svg","pages":4,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"145eaf53ca48840ac35922bf71075d4ce6717b8950031cc21f2e31bbfb92f30a","playback":true,"corpusLinks":[],"relationship":"derived-reading","material":{"group":"derived-reading","reason":"The edition explicitly records this as an excerpt or instrumental reading of existing material.","relatedEditionIds":["edition:256-261-avemaria"],"coverage":{"kind":"excerpt","label":"Verified opening · measures 1–18 of 70; full score continues","lastMeasure":18,"totalMeasures":70},"xmlSha256":"7f0248032be6e1c7a28e67dce3da51b1696c0a6e48e41ba2128dc5f904c4fa2c"}},{"id":"edition:263-265-kyrie","collection":"edition","title":"Example 263-265-kyrie","page":263,"topic":"On a cappella style.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/263-265-kyrie.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/263-a.png","sha256":"cf57758036700c8f4f014ce2bb22df99d7fec1e5472ea989f451e672eee5a267","label":"Source crop · printed p. 263","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/264-a.png","sha256":"13f020f813dd480b407c94415f0de983cabf4c51ecb37ed668aa1f403244c911","label":"Source crop · printed p. 264","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/265-a.png","sha256":"df3a3148fcb1221472c6701d1d30f37e9f4e313273ce9aba881aeac38c79ed2d","label":"Source crop · printed p. 265","local":false}],"owners":["263-a","264-a","265-a"],"state":"needs-review","editionStatus":"needs-review","context":"Aloysius. Nothing particular, except to apply to them—especially to hymns, since they are in verse—music with something of the character of a song. It is therefore not worthwhile to give a separate treatment of them. Let us proceed, then, to a cappella style furnished with organ and other instruments, which enjoys greater freedom of melodic writing, singing, and movement. Let the Kyrie from my Mass called in Fletu solatium serve as an example.","latin":"Aloys. Nihil peculiare quidem, quàm ut iis, maximè Hymnis, utpote versificatis Musicam applices, quæ nonnihil cantilenam sapiat: ut adeò operæ pretium non sit, peculiare quid de iis tradere. Pergamus itaque ad stylum à Capella, Organo, aliisque instrumentis instructum; qui majori, & modulandi, & canendi, vagandique gaudet libertate. Exemplo tibi sit Kyrie ex Missa mea in Fletu solatium nuncupata.","issues":["Complete16 sourcebars across263–265; organfirstbar2voices and subsequentC/F clefchanges retained without addedchords.","Alto264 firstsystem middlebar/global7 has overlaid gray correction above lower D4head; D4 printed lowerhead retained as candidate.","Tenor264 secondsystem firstbar/global9 short ornament flags are faint; .5 .5 .25 .25 .5 reading totals2beforetwoquarters. Needs independent rhythmcheck.","Alto265penultimatebar/global15 contains smeared rectangular long note read as C4breve(8), while otherparts have4quarters; lastbarallpartsbreve. Retain long-note duration as candidate pending source review."],"verificationNotes":["Every assigned source crop visually inspected and transcribed; source dialogue consulted for continuity, text and intentional examples.","All rendered pages of the joined candidate visually inspected; unresolved source/notation ambiguities are explicitly listed and full candidate is not semantically verified."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"238aa3364f1b1607b1d619838ad8958a7e9f4ab194626b718d055964fd5fa7b0","hints":{"unequal_parts":[["15","P1",4,8],["15","P3",4,8],["15","P4",4,8],["15","P5",4,8]]}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-477","downloads":[],"xmlSha256":"238aa3364f1b1607b1d619838ad8958a7e9f4ab194626b718d055964fd5fa7b0","integrity":"matched","parts":5,"voices":5,"notes":318,"measures":16,"parser":{"status":"supported","warnings":["One part runs past its bar (P2, bar 15: 8 beats in a 4-beat bar; the other parts wait)"],"events":301,"normalizations":[]},"preview":{"path":"previews/edition-263-265-kyrie.svg","pages":3,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"ca23f98192d9b8261490515cc81997053fa0a35e81d4011f9cd25b0518760b6c","playback":false,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"238aa3364f1b1607b1d619838ad8958a7e9f4ab194626b718d055964fd5fa7b0"}},{"id":"edition:263-265-kyrie-prefix-6","collection":"edition","title":"Example 263-265-kyrie-prefix-6","page":263,"topic":"On a cappella style.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/263-265-kyrie-prefix-6.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/263-a.png","sha256":"cf57758036700c8f4f014ce2bb22df99d7fec1e5472ea989f451e672eee5a267","label":"Source crop · printed p. 263","local":false}],"owners":["263-a"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. Nothing particular, except to apply to them—especially to hymns, since they are in verse—music with something of the character of a song. It is therefore not worthwhile to give a separate treatment of them. Let us proceed, then, to a cappella style furnished with organ and other instruments, which enjoys greater freedom of melodic writing, singing, and movement. Let the Kyrie from my Mass called in Fletu solatium serve as an example.","latin":"Aloys. Nihil peculiare quidem, quàm ut iis, maximè Hymnis, utpote versificatis Musicam applices, quæ nonnihil cantilenam sapiat: ut adeò operæ pretium non sit, peculiare quid de iis tradere. Pergamus itaque ad stylum à Capella, Organo, aliisque instrumentis instructum; qui majori, & modulandi, & canendi, vagandique gaudet libertate. Exemplo tibi sit Kyrie ex Missa mea in Fletu solatium nuncupata.","issues":["Verified opening excerpt only; full work continues. No cadence or notes added.","Outgoing source tie at excerpt boundary retained as notation/metadata only; playback ends at last written duration without invented receiver.","Outgoing source tie at excerpt boundary retained as notation/metadata only; playback ends at last written duration without invented receiver."],"verificationNotes":["Direct visual source reading completed, including staff-position pitches, printed clefs, local/key-derived alterations, flags/dots, note/rest values, and lyric onset placement when present.","Every rendered page of this exact file compared to source; MusicXML schema/Verovio rendering and parseScore passed.","Only original opening measures retained. No new cadence, note, rest or fermata added. Outgoing soundties at cutoff removed while source arcs remain notation/metadata; full source score continues."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"834bbb87c5d9863821d978da20ecd6518189dec88d46090868891269eb13e0d8","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-477","downloads":[],"xmlSha256":"834bbb87c5d9863821d978da20ecd6518189dec88d46090868891269eb13e0d8","integrity":"matched","parts":5,"voices":5,"notes":132,"measures":6,"parser":{"status":"supported","warnings":[],"events":129,"normalizations":[]},"preview":{"path":"previews/edition-263-265-kyrie-prefix-6.svg","pages":2,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"021ae69de104c30056d86c5e62c423d66d06199fe73cc36760933b04080c0daa","playback":true,"corpusLinks":[],"relationship":"derived-reading","material":{"group":"derived-reading","reason":"The edition explicitly records this as an excerpt or instrumental reading of existing material.","relatedEditionIds":["edition:263-265-kyrie"],"coverage":{"kind":"excerpt","label":"Verified opening · measures 1–6 of 16; full score continues","lastMeasure":6,"totalMeasures":16},"xmlSha256":"834bbb87c5d9863821d978da20ecd6518189dec88d46090868891269eb13e0d8"}},{"id":"edition:266-267-christe","collection":"edition","title":"Example 266-267-christe","page":266,"topic":"On a cappella style.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/266-267-christe.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/266-a.png","sha256":"4fa910972e027f0af3214c50a020d641d1888da1196d206c6282805d26eeafe5","label":"Source crop · printed p. 266","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/267-a.png","sha256":"21b44fe76fe0a524af7a8a700fd71766a2f10b0373c26518b52f176fadcebdc8","label":"Source crop · printed p. 267","local":false}],"owners":["266-a","267-a"],"state":"needs-review","editionStatus":"needs-review","context":"Consider above all, Joseph, the natural and graceful melodic manner of the parts: although closely united, none obstructs another. Observe also the melodic course, which is not commonplace and moves naturally into related modes, and the parts resting at suitable times so that the composition is not overfilled with superfluous and useless entanglement. See how, while all these things are observed, nothing is taken away from the fullness of harmony. Since this style can also be used in three-voice composition—which I have often used successfully—I shall also set out here as an example the Christe of this Mass for three voices.","latin":"Perpende imprimis, Josephe, naturalem concinnumque partium canendi modum; quarum una alteri, quamvis arcto vinculo unitæ, minimè impedimento est. Observa prætereà modulationem non adeò vulgarem, ac naturaliter in Modos affines influentem: & partes opportuno tempore quiescentes, ne Compositio superfluâ, & inutili partium implicaturâ infarcitur; & quo modo his omnibus observatis, nihil tamen Harmoniæ plenitudini decedat. Quum autem etiam in Tricinio hujusmodi stylus adhiberi possit: (quo ego non rarò, nec infeliciter usus sum) Christe quoque hujus Missæ trium vocum in exemplum hîc apponam.","issues":["Complete22 sourcebars for3voices+Organo, printed3/2 retained.","Cantus266firstsystem thirdbar finalstem has superposed gray lowerhead near A4; primary upper C5half retained.","Altus266thirdsystem secondbar/global10 firstG4half +F#4quarter+G4half totals5quarterunits; no missing dot/rest invented.","Cantus267second-system firstbar/global18 literal dottedhalf+quarter+2eighths totals5 versus6 inotherparts; sourcehas handwritten correctionnearuppernotes. No missing beat invented.","Global20 allfourparts print halfnote+quarterrest+quarter=4units despite3/2; this shortbar retained.","F-sharp alteration carried through tie into alto12, without added repeatedaccidental glyph."],"verificationNotes":["Every assigned source crop visually inspected and transcribed; source dialogue consulted for continuity, text and intentional examples.","All rendered pages of the joined candidate visually inspected; unresolved source/notation ambiguities are explicitly listed and full candidate is not semantically verified."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"2162052eb854ebab343696518d110e8dcde73513d7aac75c4452296db3ff90e8","hints":{"unequal_parts":[["18","P1",5,6]]}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-482","downloads":[],"xmlSha256":"2162052eb854ebab343696518d110e8dcde73513d7aac75c4452296db3ff90e8","integrity":"matched","parts":4,"voices":4,"notes":293,"measures":22,"parser":{"status":"supported","warnings":[],"events":283,"normalizations":[]},"preview":{"path":"previews/edition-266-267-christe.svg","pages":4,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"d62cde9187bbe50556e68fc6ec604b218b0533fbfb99029e5521fe7efba246a2","playback":false,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"2162052eb854ebab343696518d110e8dcde73513d7aac75c4452296db3ff90e8"}},{"id":"edition:266-267-christe-prefix-2","collection":"edition","title":"Example 266-267-christe-prefix-2","page":266,"topic":"On a cappella style.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/266-267-christe-prefix-2.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/266-a.png","sha256":"4fa910972e027f0af3214c50a020d641d1888da1196d206c6282805d26eeafe5","label":"Source crop · printed p. 266","local":false}],"owners":["266-a"],"state":"recorded-review","editionStatus":"verified","context":"Consider above all, Joseph, the natural and graceful melodic manner of the parts: although closely united, none obstructs another. Observe also the melodic course, which is not commonplace and moves naturally into related modes, and the parts resting at suitable times so that the composition is not overfilled with superfluous and useless entanglement. See how, while all these things are observed, nothing is taken away from the fullness of harmony. Since this style can also be used in three-voice composition—which I have often used successfully—I shall also set out here as an example the Christe of this Mass for three voices.","latin":"Perpende imprimis, Josephe, naturalem concinnumque partium canendi modum; quarum una alteri, quamvis arcto vinculo unitæ, minimè impedimento est. Observa prætereà modulationem non adeò vulgarem, ac naturaliter in Modos affines influentem: & partes opportuno tempore quiescentes, ne Compositio superfluâ, & inutili partium implicaturâ infarcitur; & quo modo his omnibus observatis, nihil tamen Harmoniæ plenitudini decedat. Quum autem etiam in Tricinio hujusmodi stylus adhiberi possit: (quo ego non rarò, nec infeliciter usus sum) Christe quoque hujus Missæ trium vocum in exemplum hîc apponam.","issues":["Verified opening excerpt only; full work continues. No cadence or notes added."],"verificationNotes":["Direct visual source reading completed, including staff-position pitches, printed clefs, local/key-derived alterations, flags/dots, note/rest values, and lyric onset placement when present.","Every rendered page of this exact file compared to source; MusicXML schema/Verovio rendering and parseScore passed.","Only original opening measures retained. No new cadence, note, rest or fermata added. Outgoing soundties at cutoff removed while source arcs remain notation/metadata; full source score continues."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"66583777febf99748e2c54bbc4f99f0bd42ff81a104df0e8eb90f78fc66fb60d","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-482","downloads":[],"xmlSha256":"66583777febf99748e2c54bbc4f99f0bd42ff81a104df0e8eb90f78fc66fb60d","integrity":"matched","parts":4,"voices":4,"notes":26,"measures":2,"parser":{"status":"supported","warnings":[],"events":26,"normalizations":[]},"preview":{"path":"previews/edition-266-267-christe-prefix-2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"cc820ff687ac90cd13c6aff9be94d65e17588b55ceda90b2adf116f879b35881","playback":true,"corpusLinks":[],"relationship":"derived-reading","material":{"group":"derived-reading","reason":"The edition explicitly records this as an excerpt or instrumental reading of existing material.","relatedEditionIds":["edition:266-267-christe"],"coverage":{"kind":"excerpt","label":"Verified opening · measures 1–2 of 22; full score continues","lastMeasure":2,"totalMeasures":22},"xmlSha256":"66583777febf99748e2c54bbc4f99f0bd42ff81a104df0e8eb90f78fc66fb60d"}},{"id":"edition:268-271-amen","collection":"edition","title":"Example 268-271-amen","page":268,"topic":"On a cappella style.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/268-271-amen.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/268-a.png","sha256":"967f89e51f1c18437b750484cc61b8f6a812e21262c2892bee181fb6e2f924fe","label":"Source crop · printed p. 268","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/269-a.png","sha256":"797712a2212c4ff1ab31b716015078b923ed946777ae0b436cb13685cf119934","label":"Source crop · printed p. 269","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/270-a.png","sha256":"103609aa52375627e5faf821712a5dacbe76a1ede7b9806fdfe2b3e2ba023891","label":"Source crop · printed p. 270","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/271-a.png","sha256":"1ccc3ca79174f39f17278ad72a03b12a62ddb719c75e6b625497488cd9d51d03","label":"Source crop · printed p. 271","local":false}],"owners":["268-a","269-a","270-a","271-a"],"state":"needs-review","editionStatus":"needs-review","context":"This three-voice composition in the freer a cappella style was made more for the sake of melodic writing and imitation than under the obligation of any one subject, except at the beginning. After a cadence and a little rest, a new idea is continually introduced and taken up imitatively by the other parts, offering a melody not unpleasing to the ear. It is all the more perceptible because the parts generally follow one another by oblique motion. Care must nevertheless be taken not to sing a composition in this proportion at too rapid a measure. Since this style comes very close to the preceding unaccompanied a cappella style in ecclesiastical gravity and is more commonly used in modern times, it will not be out of place to present one further example for your consideration: the Amen from my Mass Credo in unum Deum.","latin":"Tricinium hoc liberioris styli à Capella in gratiam modulationis, ac imitationis potiùs factum est, quàm ad alicujus subjecti, nisi in principio, obligationem: ubi post Clausulam, & parum quietis nova semper phantasia introducta, à cæteris partibus imitando excepta haud ingratam auribus exhibet melodiam: eò magis perceptibilem, quod partes plerumque per motum obliquum se sequentes gradiantur. Verùm cavendum est, ne Compositio sub ejusmodi proportione concitatiori mensurâ decantetur. Et quia stylus iste præcedenti à Capella absque Organo in gravitate Ecclesiastica proximè accedit, magisque moderno tempore usu receptus est, haud abs re erit, unum adhuc exemplum tibi considerandum proponere: Amen, nempe ex Missa mea: Credo in unum Deum.","issues":["Complete24 sourcebars268–271; separate vocalbass and Organo retained.","Altus269secondsystem thirdbar/global13 has handwritten correction/circle at E4eighth; printed lowerE4 retained as candidate, no added alternativehead.","Organ269global13 startsA3 while vocalbassstartsF3; this printed difference retained.","Altus270firstsystem lastbar/global18 incoming B4quarter is faint/overwritten; candidate retains B4 matching incomingtie.","Organo270global16–17 is explicitly more active than vocalbass; allprinted eighths retained and nofigured-chord realization added."],"verificationNotes":["Every assigned source crop visually inspected and transcribed; source dialogue consulted for continuity, text and intentional examples.","All rendered pages of the joined candidate visually inspected; unresolved source/notation ambiguities are explicitly listed and full candidate is not semantically verified."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"d676a727aa9a21be0c989d8db5072c696c0178fbeb9a0f9746c65d35499d03a9","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-484","downloads":[],"xmlSha256":"d676a727aa9a21be0c989d8db5072c696c0178fbeb9a0f9746c65d35499d03a9","integrity":"matched","parts":5,"voices":5,"notes":400,"measures":24,"parser":{"status":"supported","warnings":[],"events":343,"normalizations":[]},"preview":{"path":"previews/edition-268-271-amen.svg","pages":4,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"303fb59f69fb521efb7feeb002785405adcd6b4a1588b862ef09b600d5f16b17","playback":false,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"d676a727aa9a21be0c989d8db5072c696c0178fbeb9a0f9746c65d35499d03a9"}},{"id":"edition:268-271-amen-prefix-12","collection":"edition","title":"Example 268-271-amen-prefix-12","page":268,"topic":"On a cappella style.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/268-271-amen-prefix-12.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/268-a.png","sha256":"967f89e51f1c18437b750484cc61b8f6a812e21262c2892bee181fb6e2f924fe","label":"Source crop · printed p. 268","local":false}],"owners":["268-a"],"state":"recorded-review","editionStatus":"verified","context":"This three-voice composition in the freer a cappella style was made more for the sake of melodic writing and imitation than under the obligation of any one subject, except at the beginning. After a cadence and a little rest, a new idea is continually introduced and taken up imitatively by the other parts, offering a melody not unpleasing to the ear. It is all the more perceptible because the parts generally follow one another by oblique motion. Care must nevertheless be taken not to sing a composition in this proportion at too rapid a measure. Since this style comes very close to the preceding unaccompanied a cappella style in ecclesiastical gravity and is more commonly used in modern times, it will not be out of place to present one further example for your consideration: the Amen from my Mass Credo in unum Deum.","latin":"Tricinium hoc liberioris styli à Capella in gratiam modulationis, ac imitationis potiùs factum est, quàm ad alicujus subjecti, nisi in principio, obligationem: ubi post Clausulam, & parum quietis nova semper phantasia introducta, à cæteris partibus imitando excepta haud ingratam auribus exhibet melodiam: eò magis perceptibilem, quod partes plerumque per motum obliquum se sequentes gradiantur. Verùm cavendum est, ne Compositio sub ejusmodi proportione concitatiori mensurâ decantetur. Et quia stylus iste præcedenti à Capella absque Organo in gravitate Ecclesiastica proximè accedit, magisque moderno tempore usu receptus est, haud abs re erit, unum adhuc exemplum tibi considerandum proponere: Amen, nempe ex Missa mea: Credo in unum Deum.","issues":["Verified opening excerpt only; full work continues. No cadence or notes added.","Outgoing source tie at excerpt boundary retained as notation/metadata only; playback ends at last written duration without invented receiver."],"verificationNotes":["Direct visual source reading completed, including staff-position pitches, printed clefs, local/key-derived alterations, flags/dots, note/rest values, and lyric onset placement when present.","Every rendered page of this exact file compared to source; MusicXML schema/Verovio rendering and parseScore passed.","Only original opening measures retained. No new cadence, note, rest or fermata added. Outgoing soundties at cutoff removed while source arcs remain notation/metadata; full source score continues."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"0c94914b9f2fae1df0e1b3cdd25b2473ee79f805f0cecb6798d5958daec2e5aa","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-484","downloads":[],"xmlSha256":"0c94914b9f2fae1df0e1b3cdd25b2473ee79f805f0cecb6798d5958daec2e5aa","integrity":"matched","parts":5,"voices":5,"notes":205,"measures":12,"parser":{"status":"supported","warnings":[],"events":178,"normalizations":[]},"preview":{"path":"previews/edition-268-271-amen-prefix-12.svg","pages":2,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"88c4dc0fcc64b98929ccc8a1e138b243e89c1dea02a2dd2cf0878410d49a69c5","playback":true,"corpusLinks":[],"relationship":"derived-reading","material":{"group":"derived-reading","reason":"The edition explicitly records this as an excerpt or instrumental reading of existing material.","relatedEditionIds":["edition:268-271-amen"],"coverage":{"kind":"excerpt","label":"Verified opening · measures 1–12 of 24; full score continues","lastMeasure":12,"totalMeasures":24},"xmlSha256":"0c94914b9f2fae1df0e1b3cdd25b2473ee79f805f0cecb6798d5958daec2e5aa"}},{"id":"edition:271-b","collection":"edition","title":"Example 271-b","page":271,"topic":"On a cappella style.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/271-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/271-b.png","sha256":"bca8e91bf1e5399c49e6276c3552fd97c659e2aa62bb3d50d7d56e26721aa418","label":"Source crop · printed p. 271","local":false}],"owners":["271-b"],"state":"recorded-review","editionStatus":"verified","context":"Aloysius. What you touch upon here, Joseph, was also raised against me by an excellent musician concerning this Amen. He did not observe that the note in question, the fusa ascending after the dissonance, is a figure of variation, added for the sake of motion and a better melodic line. Look at the substance.","latin":"Aloys. Quod tu Josephe hîc tangis, id etiam ab excellenti quodam Musico circa hoc Amen objectum mihi est: non animadvertente Notam illam, nempe fusam post dissonantiam ascendentem, figuram esse variationis; & in gratiam motûs, & melioris Cantûs adjectam fuisse. Vide substantiam.","issues":["Analytical reduction; postbar dot represents preceding B3 continuation."],"verificationNotes":["Direct visual source reading completed, including staff-position pitches, printed clefs, local/key-derived alterations, flags/dots, note/rest values, and lyric onset placement when present.","Every rendered page of this exact file compared to source; MusicXML schema/Verovio rendering and parseScore passed."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"1324b41e01f288c4860cad46154d41abb619a4d37fd30ed32728185542b4dc61","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-490","downloads":[],"xmlSha256":"1324b41e01f288c4860cad46154d41abb619a4d37fd30ed32728185542b4dc61","integrity":"matched","parts":2,"voices":2,"notes":17,"measures":3,"parser":{"status":"supported","warnings":[],"events":15,"normalizations":[]},"preview":{"path":"previews/edition-271-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"0b75d3c923373c9d6233cf6d65c73c172df8664c3371f523bbcda6bbdd15ef3b","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"1324b41e01f288c4860cad46154d41abb619a4d37fd30ed32728185542b4dc61"}},{"id":"edition:272-a","collection":"edition","title":"Example 272-a","page":272,"topic":"On a cappella style.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/272-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/272-a.png","sha256":"7368c4ca0b543b81085e0917ce377435e2ff25b19d3269c7c36b614982f3f20c","label":"Source crop · printed p. 272","local":false}],"owners":["272-a"],"state":"recorded-review","editionStatus":"verified","context":"Joseph. I remember that you forbade the doubling of sharps used as accidentals. Yet in the ninth measure of this Amen I see the sharp placed in the alto doubled in the tenor. For example:","latin":"Joseph. Memini, te prohibuisse, ne Dieses accidentaliter adhibitæ duplicentur. Et in hujus Amen tactu nono Diesim in Alto positam, in Tenore duplicatam conspicio. E. G.","issues":["Source tenor has incoming arc from preceding context; isolated extract retains first G3 duration without invented predecessor."],"verificationNotes":["Direct visual source reading completed, including staff-position pitches, printed clefs, local/key-derived alterations, flags/dots, note/rest values, and lyric onset placement when present.","Every rendered page of this exact file compared to source; MusicXML schema/Verovio rendering and parseScore passed."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"9c4816c54c8698e8b733682633aef772d07c5a8efb76b42af9c41c24fc3ee3a5","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-491","downloads":[],"xmlSha256":"9c4816c54c8698e8b733682633aef772d07c5a8efb76b42af9c41c24fc3ee3a5","integrity":"matched","parts":4,"voices":4,"notes":16,"measures":1,"parser":{"status":"supported","warnings":[],"events":16,"normalizations":[]},"preview":{"path":"previews/edition-272-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"5c76d68c67c34453a991557aee676c391513535f7643d2369fe624b13c6907a1","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"9c4816c54c8698e8b733682633aef772d07c5a8efb76b42af9c41c24fc3ee3a5"}},{"id":"edition:274-276-recitative","collection":"edition","title":"Example 274-276-recitative","page":274,"topic":"On recitative style.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/274-276-recitative.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/274-a.png","sha256":"e536b43c1b57de28dd268f27a585fe0121ae7c2944488880f235b02199fde5b8","label":"Source crop · printed p. 274","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/275-a.png","sha256":"b605064b827a914352c581d20a85f1f6cbf83ce4953637f863e526cfb8fbfeec","label":"Source crop · printed p. 275","local":false},{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/276-a.png","sha256":"391c4f80578c783e0e8ed9de65a3296cbc47162e22d84c1e8df553ea6e688056","label":"Source crop · printed p. 276","local":false}],"owners":["274-a","275-a","276-a"],"state":"needs-review","editionStatus":"needs-review","context":"Recitative style is nothing other than speech expressed in musical phrases, or an oratorical delivery. Just as a declaimer varies the voice according to the kind of speech, now intensifying it, now relaxing it, now raising it, now lowering it, striving to impart the character of the feeling conceived in the mind, so the composer must do according to the variety of the text. In recitative close to everyday speech, the music should be arranged with a somewhat restrained voice. In contention a sharp voice, sometimes like shouting, is used, with frequent changes in the bass. To a text breathing dignity should be applied music full of gravity, with infrequent changes of bass. This is especially suited to ecclesiastical style, in which it is not rarely used with instruments. For example:","latin":"Stylus recitativus aliud non est, quàm sermo Musicæ modulis expressus, sive Oratoria elocutio. Quemadmodum enim Declamator pro vario Orationis genere, variè quoque vocem flectit, modò incitando, modò remittendo, modò extollendo, modò deprimendo, ejus habitum affectûs inducere studet, quem animo exprimere concepit: idem Compositori Musices, pro textûs varietate faciendum est. In recitativo sermone quotidiano finitimo, Musica voce aliquantum remissâ instruenda est. In contentione vox acris nonnunquam vociferanti similis adhibetur, cum crebra Bassi mutatione. Textui dignitatem spiranti, Musica gravitate plena, rarâ Bassi mutatione applicetur, quæ maximè stylo Ecclesiastico convenit, qui non rarò adhibitis instrumentis usurpatur. E. G.","issues":["Instrument/continuo figures retained in source crops; no keyboard chord realization added.","Printed halfbar at275end joined to276opening.","Candidate: recitative rest shapes and sixteenth flags require independent check in vocal part; only visually explicit notes encoded.","Vocal275finalhalfbar/global9 F4upwardflag reads eighth; joined bar totals4.25 versus4 ininstruments. Literal eighth retained rather than silently shortening to16th; timing needs source review."],"verificationNotes":["Every assigned source crop visually inspected and transcribed; source dialogue consulted for continuity, text and intentional examples.","All rendered pages of the joined candidate visually inspected; unresolved source/notation ambiguities are explicitly listed and full candidate is not semantically verified."],"savedChecks":{"parsed":false,"rendered":true,"schema":true},"diagnostics":{"sha256":"dc0653d07875521af3723708468cef342227b2cf7d8bd6b8ee63fdcd5091de4b","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-492","downloads":[],"xmlSha256":"dc0653d07875521af3723708468cef342227b2cf7d8bd6b8ee63fdcd5091de4b","integrity":"matched","parts":5,"voices":5,"notes":157,"measures":12,"parser":{"status":"supported","warnings":[],"events":132,"normalizations":[]},"preview":{"path":"previews/edition-274-276-recitative.svg","pages":2,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"5ab8c7605a045d25b9397f1ea5f4a8f05719a6f7b1081af1f7de05f586f4a118","playback":false,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"dc0653d07875521af3723708468cef342227b2cf7d8bd6b8ee63fdcd5091de4b"}},{"id":"edition:274-276-recitative-prefix-3","collection":"edition","title":"Example 274-276-recitative-prefix-3","page":274,"topic":"On recitative style.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/274-276-recitative-prefix-3.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/274-a.png","sha256":"e536b43c1b57de28dd268f27a585fe0121ae7c2944488880f235b02199fde5b8","label":"Source crop · printed p. 274","local":false}],"owners":["274-a"],"state":"recorded-review","editionStatus":"verified","context":"Recitative style is nothing other than speech expressed in musical phrases, or an oratorical delivery. Just as a declaimer varies the voice according to the kind of speech, now intensifying it, now relaxing it, now raising it, now lowering it, striving to impart the character of the feeling conceived in the mind, so the composer must do according to the variety of the text. In recitative close to everyday speech, the music should be arranged with a somewhat restrained voice. In contention a sharp voice, sometimes like shouting, is used, with frequent changes in the bass. To a text breathing dignity should be applied music full of gravity, with infrequent changes of bass. This is especially suited to ecclesiastical style, in which it is not rarely used with instruments. For example:","latin":"Stylus recitativus aliud non est, quàm sermo Musicæ modulis expressus, sive Oratoria elocutio. Quemadmodum enim Declamator pro vario Orationis genere, variè quoque vocem flectit, modò incitando, modò remittendo, modò extollendo, modò deprimendo, ejus habitum affectûs inducere studet, quem animo exprimere concepit: idem Compositori Musices, pro textûs varietate faciendum est. In recitativo sermone quotidiano finitimo, Musica voce aliquantum remissâ instruenda est. In contentione vox acris nonnunquam vociferanti similis adhibetur, cum crebra Bassi mutatione. Textui dignitatem spiranti, Musica gravitate plena, rarâ Bassi mutatione applicetur, quæ maximè stylo Ecclesiastico convenit, qui non rarò adhibitis instrumentis usurpatur. E. G.","issues":["Verified opening excerpt only; full work continues. No cadence or notes added.","Outgoing source tie at excerpt boundary retained as notation/metadata only; playback ends at last written duration without invented receiver."],"verificationNotes":["Direct visual source reading completed, including staff-position pitches, printed clefs, local/key-derived alterations, flags/dots, note/rest values, and lyric onset placement when present.","Every rendered page of this exact file compared to source; MusicXML schema/Verovio rendering and parseScore passed.","Only original opening measures retained. No new cadence, note, rest or fermata added. Outgoing soundties at cutoff removed while source arcs remain notation/metadata; full source score continues."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"e85b724400141ab36705caacfbb5fdd45d38d433e023fc25e7d8819768f69ea5","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-492","downloads":[],"xmlSha256":"e85b724400141ab36705caacfbb5fdd45d38d433e023fc25e7d8819768f69ea5","integrity":"matched","parts":5,"voices":5,"notes":34,"measures":3,"parser":{"status":"supported","warnings":[],"events":26,"normalizations":[]},"preview":{"path":"previews/edition-274-276-recitative-prefix-3.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"836e5b3fc918b3985896f785a9195e32798493aa67b1a5374b4aa8ffe717da7e","playback":true,"corpusLinks":[],"relationship":"derived-reading","material":{"group":"derived-reading","reason":"The edition explicitly records this as an excerpt or instrumental reading of existing material.","relatedEditionIds":["edition:274-276-recitative"],"coverage":{"kind":"excerpt","label":"Verified opening · measures 1–3 of 12; full score continues","lastMeasure":3,"totalMeasures":12},"xmlSha256":"e85b724400141ab36705caacfbb5fdd45d38d433e023fc25e7d8819768f69ea5"}},{"id":"edition:277-a","collection":"edition","title":"Example 277-a","page":277,"topic":"On recitative style.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/277-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/277-a.png","sha256":"1093ee227f4d79ade9825611aff4268ca47b7989cab504cc089ea20e8ecbd73d","label":"Source crop · printed p. 277","local":false}],"owners":["277-a"],"state":"recorded-review","editionStatus":"verified","context":"If a comma calls for an ending, it will be made in the following way. For example:","latin":"Si Comma desinentiam desiderat, fiet sequenti modo. E. G.","issues":["Final schematic measure contains only one printedquarter in eachpart and ends etc.; no completion/cadence invented."],"verificationNotes":["Direct visual source reading completed, including staff-position pitches, printed clefs, local/key-derived alterations, flags/dots, note/rest values, and lyric onset placement when present.","Every rendered page of this exact file compared to source; MusicXML schema/Verovio rendering and parseScore passed."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"3d9685bfbaaa21a9c48a211d28252cbd90e7a4134e7b0c0551c1a4b3c8a6fc58","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-497","downloads":[],"xmlSha256":"3d9685bfbaaa21a9c48a211d28252cbd90e7a4134e7b0c0551c1a4b3c8a6fc58","integrity":"matched","parts":2,"voices":2,"notes":26,"measures":4,"parser":{"status":"supported","warnings":[],"events":24,"normalizations":[]},"preview":{"path":"previews/edition-277-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"54b18965fad429753a4980b667549e171f49d3c846e3370cf6498d2dd5bf5dce","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"3d9685bfbaaa21a9c48a211d28252cbd90e7a4134e7b0c0551c1a4b3c8a6fc58"}},{"id":"edition:277-b-1","collection":"edition","title":"Example 277-b-1","page":277,"topic":"On recitative style.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/277-b-1.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/277-b.png","sha256":"e434589ac434ad13af9e4e3430c51d784831c58695bfde35ba6d7346d2a90b91","label":"Source crop · printed p. 277","local":false}],"owners":["277-b"],"state":"recorded-review","editionStatus":"verified","context":"A colon generally ends in the following way.","latin":"Colon fermè sequenti modo desinit.","issues":[],"verificationNotes":["Source crop inspected at enlarged scale. C1 voice and F4 bass retained; source cross-shaped sharps encoded as single sharps.","No lyrics printed in these isolated punctuation illustrations.","Parent compared rendered notation to enlarged source: pitch positions, original clefs, printed flags/dots/rests and key-derived alterations retained. Redundant accidental glyphs not added for signature B-flat."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"a278d8a9ffd66684df89d55c5e0a94991f34a1b91fdcf9ca9d6d8bec2ea1358a","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-498","downloads":[],"xmlSha256":"a278d8a9ffd66684df89d55c5e0a94991f34a1b91fdcf9ca9d6d8bec2ea1358a","integrity":"matched","parts":2,"voices":2,"notes":7,"measures":1,"parser":{"status":"supported","warnings":[],"events":7,"normalizations":[]},"preview":{"path":"previews/edition-277-b-1.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"3d3fc5d1b2e526d01a48dbfcf601225c4db2e586c58edd9008551e84b19d8916","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"a278d8a9ffd66684df89d55c5e0a94991f34a1b91fdcf9ca9d6d8bec2ea1358a"}},{"id":"edition:277-b-2","collection":"edition","title":"Example 277-b-2","page":277,"topic":"On recitative style.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/277-b-2.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/277-b.png","sha256":"e434589ac434ad13af9e4e3430c51d784831c58695bfde35ba6d7346d2a90b91","label":"Source crop · printed p. 277","local":false}],"owners":["277-b"],"state":"recorded-review","editionStatus":"verified","context":"A colon generally ends in the following way.","latin":"Colon fermè sequenti modo desinit.","issues":[],"verificationNotes":["Source crop inspected at enlarged scale. C1 voice and F4 bass retained; source cross-shaped sharps encoded as single sharps.","No lyrics printed in these isolated punctuation illustrations.","Parent compared rendered notation to enlarged source: pitch positions, original clefs, printed flags/dots/rests and key-derived alterations retained. Redundant accidental glyphs not added for signature B-flat."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"644d986ba913f87521d70d32b3489d9b2515eaeadc1325805541bd8c39e4d755","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-498","downloads":[],"xmlSha256":"644d986ba913f87521d70d32b3489d9b2515eaeadc1325805541bd8c39e4d755","integrity":"matched","parts":2,"voices":2,"notes":7,"measures":1,"parser":{"status":"supported","warnings":[],"events":7,"normalizations":[]},"preview":{"path":"previews/edition-277-b-2.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"ba349c36a0158396e82fb3119af207ab396b1ae4b342d793cdb940c380f72571","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"644d986ba913f87521d70d32b3489d9b2515eaeadc1325805541bd8c39e4d755"}},{"id":"edition:278-a","collection":"edition","title":"Example 278-a","page":278,"topic":"On recitative style.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/278-a.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/278-a.png","sha256":"8a192793c1d39d0d40b643a80dac7407cb9a34e4f7b8bd0d80d95bb98bfa94db","label":"Source crop · printed p. 278","local":false}],"owners":["278-a"],"state":"needs-review","editionStatus":"needs-review","context":"A full stop is marked in the same way if the period and sentence have ended but speech nevertheless continues on the same matter. If an entirely different discourse is introduced, however, a formal cadence must be used, though generally an abbreviated one. For example:","latin":"Eodem modo Punctum notatur, si periodus, & sententia quidem finita, verùm nihilominus de eadem re sermo continuatur: si autem alia prorsus Oratio introducitur, clausula formalis, plerumque tamen truncata adhibenda est. E. G.","issues":["Upper and bass durations differ in the final schematic recitative measure. Source preserved without filling rests or stretching notes; alignment needs review. Initial measure is intentionally partial."],"verificationNotes":["Source crop inspected at enlarged scale. C1 voice and F4 bass retained; source cross-shaped sharps encoded as single sharps.","No lyrics printed in these isolated punctuation illustrations."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"252d10685cf95ef74dedb74d115d046dee26ba4dc31ef0804b8be1afe1a1aa7b","hints":{"unequal_parts":[["2","P1",2,4]]}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-499","downloads":[],"xmlSha256":"252d10685cf95ef74dedb74d115d046dee26ba4dc31ef0804b8be1afe1a1aa7b","integrity":"matched","parts":2,"voices":2,"notes":6,"measures":2,"parser":{"status":"supported","warnings":[],"events":6,"normalizations":[]},"preview":{"path":"previews/edition-278-a.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"a91d446d14c9722b6cd635032d9b04fc654cf999b7ca8e982d1e7eee805d2cb5","playback":false,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"252d10685cf95ef74dedb74d115d046dee26ba4dc31ef0804b8be1afe1a1aa7b"}},{"id":"edition:278-b","collection":"edition","title":"Example 278-b","page":278,"topic":"On recitative style.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/278-b.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/278-b.png","sha256":"75c0a4528a44cbe66a385c15f961057d967a6f73080f2694b0ffda7ce2665c95","label":"Source crop · printed p. 278","local":false}],"owners":["278-b"],"state":"recorded-review","editionStatus":"verified","context":"But if the discourse is to end, it must be arranged in the following way.","latin":"Si autem finienda sit, sequenti modo institui debet.","issues":[],"verificationNotes":["Source crop inspected at enlarged scale. C1 voice and F4 bass retained; source cross-shaped sharps encoded as single sharps.","No lyrics printed in these isolated punctuation illustrations.","Parent compared rendered notation to enlarged source: pitch positions, original clefs, printed flags/dots/rests and key-derived alterations retained. Redundant accidental glyphs not added for signature B-flat."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"1f3e62bfe1db553dfbc17e5b5050955daa78cc6cd15c8cdc77c71b511bc46ef3","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-500","downloads":[],"xmlSha256":"1f3e62bfe1db553dfbc17e5b5050955daa78cc6cd15c8cdc77c71b511bc46ef3","integrity":"matched","parts":2,"voices":2,"notes":7,"measures":1,"parser":{"status":"supported","warnings":[],"events":7,"normalizations":[]},"preview":{"path":"previews/edition-278-b.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"3845ce45a45388d80076b680221b816ead49642b4862605b84ca70bd2eda8f04","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"1f3e62bfe1db553dfbc17e5b5050955daa78cc6cd15c8cdc77c71b511bc46ef3"}},{"id":"edition:278-c","collection":"edition","title":"Example 278-c","page":278,"topic":"On recitative style.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/278-c.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/278-c.png","sha256":"b5e15b91d2b98eadaa7609288ebea0f4a1e2e7fe6c5e9a227bcf55e89affc10b","label":"Source crop · printed p. 278","local":false}],"owners":["278-c"],"state":"recorded-review","editionStatus":"verified","context":"A question mark is also expressed variously according to the differing sense of the discourse. For example:","latin":"Signum Interrogationis pro varia Orationis sententia variè etiam exprimitur. E. G.","issues":["Cross above firstbassmeasure B2stem treated as continuo alterationfigure, retained in sourcecrop, not pitchaccidental; no chordrealization added."],"verificationNotes":["Direct visual source reading completed, including staff-position pitches, printed clefs, local/key-derived alterations, flags/dots, note/rest values, and lyric onset placement when present.","Every rendered page of this exact file compared to source; MusicXML schema/Verovio rendering and parseScore passed.","Bass above-staff cross is retained as source continuo figure, not an alteration of B2 and not a realized chord."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"47bc5dc2e89f311893012f509053fe5fc64534864688bae3753fa7a3472ba797","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-501","downloads":[],"xmlSha256":"47bc5dc2e89f311893012f509053fe5fc64534864688bae3753fa7a3472ba797","integrity":"matched","parts":2,"voices":2,"notes":28,"measures":4,"parser":{"status":"supported","warnings":[],"events":28,"normalizations":[]},"preview":{"path":"previews/edition-278-c.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"962479d6f2043cdfdd84cf3caf2c7faf82a29a6cf54998bc2f17fae839dc418d","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"47bc5dc2e89f311893012f509053fe5fc64534864688bae3753fa7a3472ba797"}},{"id":"edition:278-d","collection":"edition","title":"Example 278-d","page":278,"topic":"On recitative style.","species":[],"mode":"","xmlPath":"../fux-counter/musicxml/278-d.musicxml","sources":[{"kind":"image","url":"https://playablebook.com/fux-counterpoint/assets/278-d.png","sha256":"e4ca5bc5007d75bf87ee6e2aff49e1c74386301c681293a306a610977dd0ca26","label":"Source crop · printed p. 278","local":false}],"owners":["278-d"],"state":"recorded-review","editionStatus":"verified","context":"A mark of wonder, or exclamation, is generally indicated in the following way.","latin":"Signum Admirationis, vel Exclamationis fermè sequenti modo indicatur.","issues":[],"verificationNotes":["Source crop inspected at enlarged scale. C1 voice and F4 bass retained; source cross-shaped sharps encoded as single sharps.","No lyrics printed in these isolated punctuation illustrations.","Parent compared rendered notation to enlarged source: pitch positions, original clefs, printed flags/dots/rests and key-derived alterations retained. Redundant accidental glyphs not added for signature B-flat."],"savedChecks":{"parsed":true,"rendered":true,"schema":true},"diagnostics":{"sha256":"0f2cd2ffb2361931fca29da01d6cc448d38899d0831c315b6c169fe49d8378d2","hints":{}},"readingUrl":"https://playablebook.com/fux-counterpoint/#figure-502","downloads":[],"xmlSha256":"0f2cd2ffb2361931fca29da01d6cc448d38899d0831c315b6c169fe49d8378d2","integrity":"matched","parts":2,"voices":2,"notes":13,"measures":2,"parser":{"status":"supported","warnings":[],"events":13,"normalizations":[]},"preview":{"path":"previews/edition-278-d.svg","pages":1,"version":"verovio-6.3.0-425dd7b-fux-preview-2"},"fingerprint":"21f256f15d0dce2c24367176b322cc0fa7dcafd056114c4eadd957fe8454c5a9","playback":true,"corpusLinks":[],"relationship":"later-material","material":{"group":"later-material","reason":"Source lies after the complete species-exercise sequence; no declared excerpt/alternate-reading relation.","relatedEditionIds":[],"coverage":null,"xmlSha256":"0f2cd2ffb2361931fca29da01d6cc448d38899d0831c315b6c169fe49d8378d2"}}],"crosswalk":{"sha256":"45e05e11b13817b7f42d3ff4b8b2c810aca458b933f012fdaf793b7be2f38ca6","method":"Same printed source page plus per-part pitched onset/duration events, joining ties and permitting part reordering only. Rests, spelling, annotations and engraving are outside this identity comparison.","closingDurationRule":"For correspondence only, the final pitched event of each part may differ between 4 and 8 quarter notes. Its onset and pitch, and every earlier pitched event, must agree. Original values and all differences are retained.","summary":{"mappedExercises":123,"unresolvedExercises":0,"editionGroups":{"additional-teaching":104,"corpus-linked":123,"alternate-reading":6,"later-material":289,"derived-reading":16}}}}