. A compendium: or, introduction to practical music. In five parts. ... By Christopher Sympson . f phsand 2ths being admitted, we will now proceedto the other Difallowances ; which, upon dueexamination, we ftiall find to arife from the veryfame confequence. For the better underftanding of this; you mullknow, Firft, that every Difallowance doth endeither in an Sth or in a $th (by thefe I alfo meantheir OEiaves) Secondly, that a Difallowance iscommonly generated by both the Parts movingthe fame way. Ihirdly, that every Leap in Mu-fie doth imply a Tranfition by degrees, from theformer to the latt

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. A compendium: or, introduction to practical music. In five parts. ... By Christopher Sympson . f phsand 2ths being admitted, we will now proceedto the other Difallowances ; which, upon dueexamination, we ftiall find to arife from the veryfame confequence. For the better underftanding of this; you mullknow, Firft, that every Difallowance doth endeither in an Sth or in a $th (by thefe I alfo meantheir OEiaves) Secondly, that a Difallowance iscommonly generated by both the Parts movingthe fame way. Ihirdly, that every Leap in Mu-fie doth imply a Tranfition by degrees, from theformer to the latter Note^ by which the Leap isformed. Laftly, that thofe implicit Degrees (byreafon of both Parts moving the fame way) doalways produce a Conjecution of two (if not more)Perfeds of the fame kind. To 79 ctA Cofnpendmm ^/ Mu s i c. T o render this more clear, we will take fomeof thofe PnifagtS not allowed in fag. 34, andbreak the Leaps into Degrees, according to whatI (hewed, t>ag. 51, 52, Of breaking a Note, as youfee in the following Examples. 0^ * 6 8 E??3:|p€:3-;j??||i|:p|i|dj:g:pto.

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