Cardano, Girolamo
,
De subtilitate
,
1663
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no, & trishemitonio, ditonum fugiens. </
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<
s
id
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s.011159
">At
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hæc parua ſunt interualla, ſed minora ſunt
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Enarmonici dieſibus diſtincta, & ob id dul
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cior chromatico harmonia. </
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<
s
id
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s.011160
">Vt verò exem
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plum eius habeas in elymis, vt in quinto
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muſicæ docuimus, tremula vox parum aper
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to foramine, hemitoniorum, minimè autem
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tonorum dieſim efficit: quæ perpetuò fu
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giens in ſingulis vocibus incredibilem affert
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ſuauitatem. </
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<
s
id
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s.011161
">Aliud in cheli ( poſtquam Or
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gana huius non ſunt capacia ) ſumamus,
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exemplum. </
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<
s
id
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s.011162
">Scis interualla in cheli hemito
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nio ſingula diſtingui: ſentis tremulas voces,
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quæ dimidium tantùm vocis interualli ſupe
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rant, atque ideò dieſim quantam dulcedinem
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retineant: finge modò ſingulis currentis ma
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nus ictibus tremulas voces interſeri, & cogi
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ta, quàm incredibilem harmoniam ſis audi
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turus. </
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>
<
s
id
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s.011163
">Sed in cheli vnus non poterit ſe ex
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plicare. </
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>
<
s
id
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s.011164
">Commodior lyra eſt, quia etiam ma
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gis retinet voces. </
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<
s
id
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s.011165
">Sed antiqui inſtrumenta
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ad hoc apta conficiebant, inter quorum
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chordas interualla dieſum erant conſtituta.
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</
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<
s
id
="
s.011166
">Extremæ verò eiſdem locis, quæ conſonan
<
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tiam efficiunt, neceſſariò in omni diateſſaro
<
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reponuntur. </
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>
<
s
id
="
s.011167
">Verùm in Diatonico duos ad
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didimus neruos, alterum ſub imo, reliquum
<
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ſupra ſupremum, vt humitoniorum ratio
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conſtaret. </
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>
<
s
id
="
s.011168
">Nuper Nicolaus Vincentius Mo
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nochordium conſtruxit per dieſes diuiſum,
<
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vt tonos ſingulos in quinque ſemitonia mi
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nora in duo diuideret. </
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>
<
s
id
="
s.011169
">Sunt autem in com
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muni inſtrumento claui triginta candidi, to
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ni ergo viginti, & vnus: ſemitonia 8. minora
<
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in inferiore ordine. </
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>
<
s
id
="
s.011170
">In ſuperiore nigri claui,
<
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viginti, ſemitonia autem 49. Ergo Chroma
<
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ticum hoc habet claues quinquaginta, in
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terualla quadraginta nouem. </
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>
<
s
id
="
s.011171
">Semitonia ma
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iora viginti, minora viginti octo, tonos vi
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ginti vnum. </
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>
<
s
id
="
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">Exiſtimat ergo in quatuor illis
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ordinibus, quorum duo ſunt ſuperiores, duo
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candidorum clauorum, totidem nigrorum,
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diuiſis minoribus tonis in duas dieſes, vt
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fiant quinquaginta ſex: maioribus in tres,
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vt fiant ſexaginta: vt ſint omnes centum ac
<
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ſexdecim, claui verò centum ac decem &
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ſeptem, inde pro indiuiſo (de quo dixi) tono
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dieſes quinque totidémque claui conſtare.
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</
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<
s
id
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">Enarmonicum monochordium vocibus cen
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tum ac viginti vna, clauis autem vno plus.
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</
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<
s
id
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">Certè ad commodum non inutilis ratio, ſed
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non omninò exquiſita. </
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<
s
id
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s.011175
">Lucretia quoque
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Todeſcha Bononienſis puella, in cheli addi
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dit ſex chordas, vt eſſent decem & ſeptem
<
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ternæ in ſuperioribus quinque ordinibus.
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</
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>
<
s
id
="
s.011176
">Nete autem, quæ ſingularis eſſet geminata.
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</
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<
s
id
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s.011177
">Quæ Hypates obtinuit locum duas ſuperio
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res habuit vniſonas, tertiam diapaſon inter
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uallo: quatuor medij ordines vniſonum
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trium fidium concentum retinuerunt. </
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>
<
s
id
="
s.011178
">Du
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plex habet incommodum hæc conſtructio:
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ſpaciorum anguſtiam, vt niſi digiti ſint gra
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ciles admodum longi chorauléſque
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præſtãs
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,
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qualis illa erat, quæ cum decimum
<
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ſeptimũ
">ſeptimum</
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>
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ageret annum, nemini poſt haberi poſſet
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difficultatem, & confuſionem non leuem ſit
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paritura: tantúſque numerus fidium è neruis
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vix poſſit in certa contentione diu manere.
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</
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<
s
id
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">Cæterùm illi difficultas addidit decorem: &
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ob artis præſtantiam, ſuauitatem mirabilem.
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</
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<
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id
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">Cùm verò duo ſint extrema, &
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mediũ
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, quod
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vocant Tenorem, in diuerſis vocibus (nam
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quæ de diateſſaro dicta ſunt, ad
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vnã
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tantùm
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referuntur) vox quarta Altus adiecta eſt, quę
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quòd vacua repleat, cæteris ſuauitate præ
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ſtat: cùm enim rei iam perfectæ aliquid addi
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tur artificiosè, ad ornatum plurimùm con
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ducere ſolet. </
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<
s
id
="
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">Ob id omnibus vocibus hæc mi
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ra arte conuenit. </
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<
s
id
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s.011182
">Obſeruat hæc vnicè graui
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tonam, contra quam ſæpè in ſupremum ſe
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attollit: modò quaſi in grauitonam mutata,
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in profundum ſe mergit, ſublimiorem har
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moniæ totius vocem contrario motu obſer
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uans. </
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<
s
id
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">Plerunque circa mediam ſpatia com
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plendo ludit. </
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<
s
id
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">Quo fit vt cùm nobiliſſima ſit,
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præclaram etiam exigat cantatoris naturam,
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& ingenium: quibus fit deſtituatur, nulla
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prorſus euadit. </
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Chromatici
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Enarmonici
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Diateſſari
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inuentio.</
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Altus vox
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nobiliſſima.</
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<
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id
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">Porrò facilis eſt notarum cantus: notas
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vocamus, Vt, Re, Mi, Fa, Sol, La: ſed
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proferre verba, difficilius. </
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<
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id
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">Ideò cùm notas
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prius diſcant pueri, ad verba ſæpè cum dif
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ficultate non leui transferuntur. </
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<
s
id
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">Fit autem
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hæc tranſlatio tribus modis. </
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>
<
s
id
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">Primus eſt, vt
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quia diapente, diapaſon, diateſſaron, &
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cæteras medias conſonantias, itémque ſe
<
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ptimam, & nonam, & ſecundam aure diſ
<
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cat, & proferre voce, atque ita ſub illa
<
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abbr
="
vocũ
">vocum</
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>
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magnitudine verba ac ſyllabas potiùs pro
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ferat, quod arduum ſanè eſt, quoniam ſex
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ta, & tertia duplices ſunt, nec licet eas
<
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proferre ſine imaginatione notarum atque
<
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ita ſi alteram pro altera ſuppoſueris, ſemito
<
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nio diſcordabis à reliquis vocibus. </
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<
s
id
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">Secundus
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modus eſt, vt mente concipias quocunque
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ſpatio ac linea, quæ vox & quanta eſſe </
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