Footnotes
1026:1 GENERAL NOTE: Throughout this text Kepler's concinna and inconcinna are translated as "concordant" and "discordant." Concinna is usually used by Kepler of all intervals whose ratios occur within the "natural system" or the just intonation of the scale. Inconcinna refers to all ratios that lie outside of this system of tuning. "Consonant" (consonans) and "dissonant" (dissonans) refer to qualities which can be applied to intervals within the musical system, in other words to "concords." "Harmony" (harmonia) is used sometimes in the sense of "concordance" and sometimes in the sense of "consonance."
Genus durum and genus molle are translated either as "major mode" and "minor mode," or as "major scale" and "minor scale," or as "major kind" and "minor kind" (of consonances). The use of modus, to refer to the ecclesiastical modes, occurs only in Chapter 6.
As our present musical terms do not apply strictly to the music of the sixteenth and seventeenth centuries, a brief explanation of terms here may be useful. This material is taken from Kepler's Harmonies of the World, Book III.
An octave system in the minor scale (Systema octavae in cantu molli)
p. 1027
In the major scale (In cantu duro)
As in all music, these scales can be repeated at one or more octaves above. The ratios would then all be halved, i.e.,
Various intervals which Kepler considers are:
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