Reasoning

concord. ADRI. This is all too true, and experience demonstrates it to us. For when this interval is heard in the voices, or in sounds placed in the low register, then I seem to hear I know not what sadness arising in the composition from such an interval, which greatly offends my feeling. GIOS. Truly, no one of sound judgment could deny this. But if this interval is gradually shifted toward the high register—the more it is transposed, the more delight it renders to the sense—so that if that Major Thirdoriginal: "Ditono". Literally "two tones," the interval we now call a Major Third. which is placed in the low part of any song offends the hearing, that which is placed between the low and the high not only does not offend, but even delights. Then, when it is placed in the highest part of the composition, it gives even greater delight than that given by the two previously mentioned when placed in the manner already described. And because this matter is known to you, I will not extend my words further. DESI. It seems to me that this matter is of no small importance, and this discourse of yours has pleased me greatly. But let us suppose that the Major Third, which you have named, makes a sad effect when placed in a low position in such a manner; will the Minor Thirdoriginal: "Semiditono". Literally "half-minor third," the interval we now call a Minor Third. perhaps produce that same effect? GIOS. Not only will it make it sad, but most sad—of such a sort that it can hardly be heard. CLAV. This is true, Mr. Desiderio; and believe me also, for I experience it often and almost every day on the OrgansClaudio Merulo was a famous organist at St. Mark's Basilica; here he provides practical confirmation of Zarlino's theoretical points. that I play: when I come to touch the Major Third in their low part, a most sad effect is heard. And if by chance I touch the Minor Third, it creates such a great ruin An evocative term for a harsh, clashing dissonance or "muddy" sound. that it can barely be heard. But when these intervals are touched in the middle of such instruments, they give forth a pleasing and sweet sound. And if they are touched even further toward the high register, they produce better effects. Thus, what Master Gioseffo and Master Adrian have said is very true. DESI. Upon my faith, I like this thing, and I believe there are few who consider such matters. CLAV. There are truly few, my Lord; and so few that I would not know where to find many for you. Nor have I ever heard this thing from any other, except from Master Gioseffo. GIOS. I wish to say even more: not only can these intervals offend the hearing when they are placed in the low register, but also when they are placed in the high. For when the Major Third takes the place of the Minor Third, or vice-versa, they give little delight. And know that in the majority of all those musical compositions that give little delight, among the other defects they have, this is one of them. CLA. It is truly so; for many times I have paid attention to certain things that I play, and in all those that delight me, I find the Major Third being repeated among the parts above the Bass. On the contrary, in those that please me little, I have perceived that the Bass many times has the Minor Third above it. I believe that you too, Master, have often paid attention to this thing. ADRI. In truth, it is so. DESI. Pray, Master Gioseffo, give me to understand this thing better. GIOS.

You must know, Sir, as I have said and repeated many times in the InstitutesZarlino’s "Le Istitutioni Harmoniche" (1558), the most influential music theory text of the 16th century.: that consonances in Music have their degrees, and naturally occupy those places that their forms hold among the harmonic numbersThe "Senario," or the numbers 1 through 6, which Zarlino believed contained the ratios for all natural musical intervals.. And when such consonances are placed to the contrary, if they do not make a sad effect, they at least make it less good than they would if they were in their proper places. Therefore, just as the Doubleoriginal: "Dupla". The ratio 2:1. ratio, which is the true form of the Octaveoriginal: "Diapason". From Greek, the interval of an eighth., being placed in numbers between 2 and 1 (to give you an example) holds the first place among them and is the first among the proportions—given that before these two terms 2 and 1, no smaller number is found—so among the consonances none other is found that by origin is prior to the Octave. Hence, the Octave holds the first place in the low register, and before it, no consonance is found that is larger or smaller than it. For which reason I have said many times that the Octave is the first consonance, from which all others are born, whether they be larger or smaller than it. I add also anew that it is not only the beginning, but the element of all the others. Wherefore, just as its simple form, contained in its radical terms 2 and 1, receives no other middle number or term to divide it into two parts, so it does not admit in the first, lowest place of the order of consonances any middle string—not even in the lowest part of any instrument whatsoever—that would divide it into two intervals. From such a division, one would hear an effect no less pleasing than that which is heard when it is sounded simply. In the second place is found the Fifthoriginal: "Diapente". From Greek, the interval of a fifth., whose form is 3 and 2, which holds the second place in the natural order of numbers; therefore it must be placed without any intermediary after the Octave. And just as between 3 and 2 no middle number can fit, so between the extreme strings of the...